How To Choose the Right Cymbals

German company Meinl produces a diverse range of cymbals, from entry-level models right through to handmade instruments of distinction.

Meinl has clearly set out to create a set of contemporary sounding cymbals to sit happily within touching distance of its pro ranges. The high level of automation built into the manufacturing process should guarantee the sort of consistency that is normally difficult for cymbal makers to attain. Of course, such consistency is only desirable if the sound and look of the cymbals is right in the first place and, our minor gripes about the rides aside, they are pretty much spot on.

by Daniel Glass

Although they often play second fiddle to the drums, your cymbals are just as important in defining you as a player. Put as much care into choosing them as you would a new kit, a new car, or any other “serious” purchase. Here are a few things to keep in mind when preparing to bring a new cymbal into the fold.

Before actually heading to a music store or perusing the classifieds, make sure to do the following:

1. Decide what type of cymbals will best support you as a player—the sizes, thickness and brightness that are typical for the type of gigs you do. If a Tony Williams vibe is what you’re after, then you’ll need a heavy jazz ride that can provide good stick definition. If you want that Dave Grohl sound, you’ll need to invest in a ride cymbal that can also be crashed. If you’re a freelancer who plays in any number of styles, it’s important to have a variety of sizes and weights to select from. But don’ t go overboard, a good drummer should be able to draw music out of any cymbal.

2. Educate yourself. These days, options abound like never before, and stores are full of brands and styles that have very specialized purposes. Choice is a great thing, but it can also be confusing. Read product reviews in drum magazines. Find out what your favorite players are using. Most importantly, talk with other drummers—your peers, a teacher, a more experienced player. Once inside the store, don’t be afraid to pull a salesperson aside and ask their opinion as well. It’s what they’re there for.

Meinl HCS Series 14″ Crash

Once you’ve narrowed your choices down, keep the following in mind:

3. Whenever possible, make sure that you play any prospective cymbal before buying it. This may sound obvious, but many younger drummers assume that all 16″ crashes sound alike or that a 22″ ride is an acceptable substitute for a 20″, etc. Listen to advice, but don’t assume that someone else’s favorite cymbal will automatically work for you.

4. Make sure you play prospective cymbals at a drum set. A cymbal might sound great when it’s being hit on the display stand, but does it have the resonance you want in the context of a groove or the punch you expect when it’s crashed in tandem with the bass drum? You won’t know unless you try it all together.

5. Test out new cymbals in conjunction with your existing setup. As with the strings on a guitar, your cymbals should mesh sonically as a set, so don’t feel afraid to bring your cymbal bag with you when you buy. Most music superstores like Guitar Center have “cymbal testing rooms” for just this purpose. Take advantage of them!

Meinl HCS Series 16\” Crash

6. Explore every aspect of a cymbal’s capabilities. Crash it (even if it’s a ride), ride it (even if it’s a crash), check the bell, hit it with both ends of a stick. Note the decay time for crashes. Determine how much of an overtone “wash” builds up when you play time on rides. Swish hi-hats with your foot in addition to hitting them. Although it may not seem like it, cymbals are finely crafted musical instruments—it’s up to you to be fully aware of the array of sounds they can produce.

7. Don’t rule out used cymbals. They’re not only cheaper, but may have developed a unique and incredible sound from being hit over a period of years. Also, don’t feel you need to “clean up” a used cymbal—it may be the grime that gives that cymbal its unique personality. Jim Keltner has described in interviews how he would stomp on new cymbals and throw them down stairwells in an effort to get that “worn in” sound for recording projects.

Daniel Glass has spent the last seven years spreading the gospel of classic American music with neo-swing pioneers Royal Crown Revue. He is currently at work on a book examining “roots” styles of drumming, to be released by Warner Bros. Publications. To find out more, or to contact Daniel directly, go to his website www.danielglass.com

Meinl Byzance Traditional Series 16″ Medium Crash

Preperation

1. Play the right cymbals

Every cymbal has its strengths and limitations. Hitting a smaller or thinner cymbal harder and harder to get a bigger sound or make it louder isn’t the answer. It wasn’t designed to be so loud. So don’t use small, thin cymbals for high-volume, hard-hitting playing (unless you want a contrast in your set-up… but don’t hit them as hard as the rest.)

2. Prepare your stands

No cymbal stand is complete without the following:

• A nylon tube over the center rod so the metal of the stand doesn’t hurt the cymbal and from the bottom of the cymbal tilted to the top:
• a metal support washer to prevent the cymbal from sliding down too far. A felt on top* of the metal washer, under the cymbal, to prevent metal-to-metal contact then add the cymbal before topping it off with:
• a felt on top of the cymbal*
• a wing nut that isn’t tightened down too tight

*Use smaller felts on smaller cymbals (splashes, hi-hats, etc.)

3. Do not over-tighten the cymbal

A cymbal must be free to vibrate. Vibrations are what generate sound in the metal. The looser the cymbal, the better the sound. Tightening it will kill that sound… choking it the same way as if it was being held, or dampening it in much the same way as a piece of tape. If the cymbal isn’t free to move, then the pressure of your playing creates stress in the metal and that can create cracking. Cracking due to over-tightening usually happens around the base of the bell or straight in from the edge.

4. Do not over-angle crash cymbals

These cymbals should be positioned fairly flat and angled only slightly toward you, so your stick can slice across their edge. A cymbal that is angled too steeply is restricted from moving freely and it will suffer the same stress as if it were bolted down too tight. This will restrict the sound and can lead to cracking.

Meinl Byzance Dark Series 8” Splash

5. Play your crash cymbals correctly

The edge of the cymbal is meant to be ‘crashed’, but there are two things you can do to get the most and best sound out of your crashes plus avoid cracking them:

• Don’t hit directly into the edge. If you are ‘chewing up’ your sticks when playing your crashes you may be hitting directly into the edge. When you direct-hit the edge of the cymbal, you are pushing the stick into it. This not only hurts the edge (and your stick), it reduces the response of the cymbal… choking it somewhat. Heavy hitting like this may cause the cymbal to vibrate uncontrollably, for a less than perfect sound. If you must do the occasional direct hit, strike and pull back quickly. Like touching something hot, pulling a punch, or snapping a towel.
• Do you slice your stick across the edge in a sweeping motion? A glancing blow activates the cymbal and lets it vibrate freely because the stick is on and off the cymbal before it vibrates. This sweep-stroke will give you the best sound. It will also create a ‘flow motion’ that will bring your stick back into play faster and more smoothly, so you’ll be playing better.

6. Protect Your Cymbals

Your cymbals are in danger once they are off their stands. They can get knocked over and their edges damaged if you lean them against your stands or other objects while ‘tearing down’ your kit (a small nick on the edge can grow to become a major crack!). Other band members can step on them if they’re lying on the floor. Avoid these dangers by putting them directly into a quality cymbal bag or hard-shell cymbal case. Inserting dividers between the cymbals in the case will prevent metal-to-metal contact. Pieces of cloth, inexpensive kitchen towels (also good for wiping the cymbals clean after playing), or the original plastic bags the cymbals came in, are some options. Always stack cymbals so smaller models fit into larger models.

Meinl Byzance Brilliant Series 20” Heavy Ride

Meinl Cymbals Continue To Inspire

By: Chris Brewer an employee of Meinl

As an employee of Meinl Cymbals, it’s my job to do everything I can to promote awareness of our company and its instruments. Wherever and whenever I have the opportunity, I make it a point to further spread the message about Meinl. This would be an extremely difficult task to manage, if as a drummer myself I didn’t stand behind the instruments that we manufacture. One of the reasons I agreed to work for Meinl six plus years ago was because I did (and obviously still do) stand behind our instruments. Having worked in and around drummers for all of my professional career up through that point, I knew that there was no way I would be able to work in such an artist specific position (Artist Relations Manager, USA and Canada) and try to get artists to endorse our instruments if I didn’t believe in them myself first and foremost.

In my position, it’s necessary to have a broad and specific knowledge of each of our cymbal series and the cymbals within those series as well as a broad and specific of a knowledge as possible of our competitors’ cymbal series and the cymbals within those series. This knowledge enables me to fit existing artists and potential artists into a cymbal setup that works for them. Interestingly enough, I have been forced to re-examine my notions of which of our cymbals will work for certain musical applications. My re-assessment has happened through a number of our cymbal artists and their search for certain sounds to help them achieve their musical ambitions. Quite unexpectedly I have stumbled upon cymbals that have fulfilled these artists’ requests, however these cymbals were not what I had anticipated to be the conclusion of our search.

All of this is exciting to me because it opens up new possibilities for what Meinl Cymbals can achieve for any and every drummer out there. Whether you’re playing country music, R&B, extreme metal, hard bop in a small jazz combo, or four on the floor rock and roll, there are literally many cymbal sound options available to drummers with Meinl Cymbals. While this may seem like I’m trying to make things more confusing rather than simplified, I’m really not. All I’m saying is that a cymbal is as unique as the drummer that plays it. If you hear a jazz ride pattern on a cymbal that another drummer might usually use for a wide open crash-ride, don’t be afraid to utilize it as such. Every company, Meinl included, by necessity has to market their cymbals in a way that presents an organized approach for helping a dealer know which cymbals to stock and for helping drummers find their sounds. Don’t be afraid though, to read between the marketing lines and listen to a cymbal that you might not normally approach, simply because you believe that it wasn’t created with your specific style of music and drumming in mind. You might end up pleasantly surprised, just as I have lately, by what you find that Meinl Cymbals can really do for you.

Meinl Classics Series 14″ Powerful Hi-Hats (Pair)

Sources:

www.meinlcymbals.com/blog.html
http://www.sabian.com
http://www.chrisbsmusic.com
www.danielglass.com

Drum therapy is an ancient approach that uses rhythm to promote healing and self-expression. From the shamans of Mongolia to the Minianka healers of West Africa, therapeutic rhythm techniques have been used for thousands of years to create and maintain physical, mental, and spiritual health.

Current research is now verifying the therapeutic effects of ancient rhythm techniques. Recent research reviews indicate that drumming accelerates physical healing, boosts the immune system and produces feelings of well-being, a release of emotional trauma, and reintegration of self.
Playing within the context of a drum circle is truly an example of the concept of teamwork at its highest level. As the rhythms come together and grow, we quickly realize the need for trust and dependence amongst our fellow drummers. So many of the lessons we learn in the drum circle can be directly applied in our homes, our schools, our workplaces, and our lives.

We learn to relax.

We learn to let go.

We learn to lead when necessary, and follow as needed.

We learn to focus intensely at times, and to just feel our way along at others.

And we learn how–without balance and harmony–the slightest hint of discord can send the whole thing spiraling out of control.

These are important lessons. The beauty is that, when learned in the proper environment, the actual learning process becomes invisible. The transition between these elements is seamless and transparent, and the concepts become as natural as breathing. Not the individual rhythms, of course–many of those take years to truly master–but rather our awareness of ourselves and our role in the bigger picture (in the circle and in life).

Rhythm for a Healthy life : using rhythm for relaxation, meditation and healing

HumDrumStrum now offers workshops and courses aimed primarily at allowing you to use an African-style hand drum as an aid to relaxation and meditation. We cover basic hand drum techniques, understanding rhythm, playing multi-part rhythms in a group, improvisation, finding rhythms to play on your own and meditative drumming.

The workshops specifically provide you with the knowledge and confidence to play your drum both on your own for relaxation and meditation and with a group at a drum circle event (where the focus is on ‘music-in-the-moment’ rather than playing culturally specific rhythms).

We live in a vibrational universe where playing a drum can really help us to relax, de-stress and connect with ourselves and those around us.

Health benefits of drumming: the healing power of the drum

As well as the numerous benefits of drumming that are associated with empowerment, communication, confidence, community and team building, the drum has an amazing ability to facilitate healing and therefore there are also many health benefits associated with playing a drum and participating in a rhythm-based event.

Rhythm-based events:

• enhance psychological and spiritual well-being
• enhance physical well-being
• enhance social relationships
• enhance sensory awareness and physical dexterity
• improve self-esteem, self-confidence and personal development

Check out the following new article from the BBC:

Check out the following link from the BBC, where a new study suggests that drumming sessions at work can help reduce stress and lower staff turnover:

Drumming up a happier workplace

Other interesting articles (please click on the title):

Therapeutic effects of drumming

The voice of the drum

Sources:

http://news.bbc.co.uk/1/hi/business/3507109.stm,
http://www.humdrumstrum.co.uk
http://www.humdrumstrum.co.uk/health.html

Clem Burke, drummer with the band, Blondie has been taking part in the study for the past eight years, which will reveal that physical demands of drumming during a performance are equivalent to those experienced by a premiership footballer during a match.

Burke’s heart rate average between 140/150 beats per minute and he burnt between 400 and 600 calories per hour during trials.

Physiological tests included the measurement of heart rate, oxygen uptake and blood lactate in rehearsal tests and monitoring heart rate and blood lactate during live stage performances.

Dr Marcus Smith from the University of Chichester and Dr Steve Draper from the University of Gloucestershire conducted this groundbreaking research.

Dr Smith said:”There is a clear link between fitness and performance. Musicians need exceptional stamina to sustain optimum output especially when on tour.

“Footballers can normally expect to play 40 to 50 games a year. In one 12 month period, Clem played 90-minute sets at 100 concerts. When you consider the implications of touring on top of the performance requirements for high-profile drummers, it is clear that their fitness levels need to be outstanding.

“Through monitoring Clem’s performance in controlled conditions, we have been able to map the extraordinary stamina required by professional drummers. We can now use this data to benefit others.

A unique dedicated drumming laboratory will be built at the University of Gloucestershire’s Oxstalls campus and over the coming months it is envisaged that other professional drummers will come forward to undertake physiological profiling.

Via the Clem Burke Drumming Project, academics from the Department of Health, Sport and Social Care also aim to join forces with the University’s popular music degree course to develop community outreach programmes targeting overweight and disengaged youngsters.

Dr Steve Draper said: “This is the first facility of its kind in the world and we are extremely excited about the potential here. It is a unique collaboration between science and arts.”

Joe Wilson, course leader in popular music added:”The popular music course is ideally placed to support this research; this is an original and imaginative project that will potentially encourage new thought into how creative and physical acts can be scientifically analysed.”

Strokes

The conga is a tall, narrow, single-headed Cuban drum with an African history . It is thought to be derived from the Makuta drums or similar drums associated with Afro-Cubans of Central African descent. A person who plays conga is called a “conguero”. Although ultimately derived from African drums made from hollowed logs, the Cuban conga is staved, like a barrel. These drums were probably made from salvaged barrels originally. They are used both in Afro-Caribbean religious music and as the principal instrument in Rumba. Congas are now very common in Latin music, including salsa music, merengue music, Reggaeton, as well as many other forms of American popular music.

Most modern congas have a staved wooden or fiberglass shell, and a screw-tensioned drumhead. They are usually played in sets of two to four with the fingers and palms of the hand. Typical congas stand approximately 75 cm from the bottom of the shell to the head. The drums may be played while seated. Alternatively, the drums may be mounted on a rack or stand to permit the player to play while standing.

The moose call or glissando is done by rubbing the third finger, supported by the thumb, across the head of the drum. The finger is sometimes moistened with saliva or sweat, and sometimes a little coat of beeswax is put on the surface of the conga head to help make the sound. The moose call is also done on the bongos.

There are five basic strokes:

• Open tone: played with the four fingers near the rim of the head, producing a clear resonant tone with a distinct pitch.
• Muffled tone: like the open tone, is made by striking the drum with the four fingers, but holding the fingers against the head to muffle the tone
• Bass tone: played with the full palm on the head. It produces a low muted sound.
• Slap: the most difficult technique producing a loud clear “popping” sound (when played at fast and short intervals is called floreo, played to instill emotion in the dancer).
• Touch: as implied by the name, this tone is produced by just touching the fingers or heel of the palm to the drum head. It is possible to combine a touch of the palm with a touch of the fingers in a maneuver called heel-toe, which can be used to produce the conga equivalent of drumrolls.

Afro-Cuban and Puerto Rican

There are various rhythms for the conga, the most well-known being the marcha.This rhythm is commonly played on 1 to 3 congas, but has no true limit for the amount used. The marcha is the most common rhythm in Salsa/Son.

Afro-Dominican

The merengue rhythm, used in orchestral merengue, goes 1 2-1-2. It can also be heard as 1-2-1-2 1-2-1-2-1-2. Essentially, it is the rhythm of the tambora applied to conga. This can be heard on Elvis Crespo’s Suavemente and Grupo Mania’s Me Miras y Te Miro. Originally, this rhythm was derived from the trap drumming of African slaves from various animist religions. In merengue tipico the rhythm is usually more complex and less standardized; it can range from simply hitting the conga on a fourth beat to playing full patterns that mark the time.

Afro-Colombian

The cumbia rhythm, simple and slowly played, goes 1-2-2-1, also heard as 1-2-1-2. It can be heard in Fito Olivares’s Mosaico Fiestero and La Cumbia Sampuesana y La Cumbia Cienaguera by Ancieto Molino y Los Sabaneros.it was an important thing to know

Other Genres

There are many other kinds of rhythms for the conga. It is constantly applied in new genres of music, therefore taking up the rhythms of that specific style, such as punta, reggaeton, Brazilian forms such as samba and bossa nova, and even reggae, funk, go-go, and country music.

THE ONLY DRUMMER-FRIENDLY CONTROLLER
Just plug the Trigger|iO interface into your Mac or PC’s USB port, load up the included copy of FXpansion BFD Lite, and you’re ready to play. Because USB Pro Drum Kit is MIDI compatible, you can track a performance, and then go back afterward and tweak your sounds. Try that with acoustic drums!

USB Pro Drum Kit also opens up a new world of software including BFD, Toontrack, and Reason to drummers and producers looking for realistic drum performances.

ADVANCED DRUM PADS
USB Pro Drum Kit’s acoustic-feeling drum pads are built around 8? mylar drumheads and acoustic-dampening foam for quiet response. The snare and tom pads are dual-zone, enabling rimshot or rim-click sounds on the snare and additional sounds such as wind chimes, cymbals, gongs, and cowbells on the tom rims.

When they wear out, the drumheads can be replaced with any model you choose from any manufacturer. The heads are tunable with a standard drum key for adjustable tension and feel. The triple-flanged counterhoops are covered in removable, sound-reducing rubber sleeves, which further cut acoustic noise.

USB Pro Drum Kit includes a self-standing kick tower, to which any model of single or double-bass-drum pedal can be attached. The kick pad also features a tunable, 8? mylar playing surface.

CYMBALS WITH BUILT-IN TRIGGERS
USB Pro Drum Kit comes with our top-of-the-line SURGE Cymbal Pack with choke: the only serious choice in cymbals for triggering electronics. The kit comes with a 12? SURGE Hi-Hat Cymbal, a 13? SURGE Crash Cymbal with choke, and a 16? SURGE dual-zone Ride Cymbal with choke. Based around a true brass-alloy cymbal and coated with a clear sound-dampening layer, SURGE Cymbals feel like acoustic cymbals because they begin life as just that. The Crash and Ride cymbals feature large choke strips on the undersides for even more attention to accurate cymbal control. The Ride features dual-zone triggers for bell-clanging nuance. And the SURGE Hi-Hat Cymbal is continuously controllable using the included pedal.

SURE-GRIP HARDWARE
The fully adjustable rack is built of 1?-inch metal tubing, which is standard throughout the drum industry. It’s easy to expand USB Pro Drum Kit with any manufacturer’s clamps and mounts. All necessary clamps, professional ?-inch cables, and mounting hardware are included. All clamps adjust with the included drum key. Pad-mounting L-arms feature non-round arms to eliminate slippage from playing. All of the hardware on USB Pro Drum Kit is designed for sure grip and extensive adjustability.

No other drumset blends the realistic feel and touch, with the sonic and creative flexibility USB Pro Drum Kit.

Alesis USB Pro Drum Kit Features:

• Five-piece electronic drumset: kick, snare, three toms, SURGE Hi-Hat, Crash, and dual-zone Ride Cymbals
• 8? drum pads with tunable mylar drumheads for customizable feel
• Brass-alloy SURGE cymbals are real cymbals with triggering
• SURGE Cymbals feature exclusive sound-dampening layer to cut the acoustic noise
• Dual-zone snare and tom pads enable access to a wide palette of sounds from a standard setup
• Choke capability on SURGE Crash and Ride cymbals
• Ultra-fast triggering and intuitive operation
• Interface accommodates up to 10 inputs including continuous control hi-hat
• Easy to expand with additional Alesis pads and SURGE Cymbals
• Includes BFD Lite virtual drum-module with sound library
• Practice quietly with headphones or connect to a PA to rock out loud

Alesis USB Pro Drum Kit INCLUDES:

• Trigger|iO trigger-to-MIDI interface
• 8? dual-zone snare pad
• Three 8? dual-zone tom pads
• Bass drum pad with tower and mount for single or double pedal (pedal not included)
• SURGE 12? Hi-Hat Cymbal
• SURGE 13? Crash Cymbal with choke
• SURGE 16? dual-zone Ride Cymbal with choke
• Continuous-control hi-hat pedal
• Metal drum rack with 1?-inch tubing
• Complete set of firm-grip hardware mounts
• Complete set of connection cables
• Drum key
• Software CD with FXpansion BFD Lite
• Owner?s manual

Alesis USB Pro Drum Kit Specifications:

• USB Computer Interface
• 10-1/4″ TRS Trigger Inputs
• 1- 1/4″ TS input for Hi Hat Continuous control messages
• 1- 1/4″ TRS input for up/down value footswitch
• USB 1.1 Jack
• 1 MIDI Output
• 20- Presets (can be overwritten)
• Controller remapping support
• Trigger|iO Dimensions: 8.5 inch W x 5 inch D x 1.75 inch H
• Trigger|iO Weight: 1 lb, 15 o

PC software makes learning drums easy for HD-1 owners

Roland Corporation is proud to introduce new drum lesson software for owners of the HD-1 electronic drum kit. The DT-HD1 teaches introductory drum patterns and techniques in ways that are fun and easy for any entry-level drummer.

This new software integrates seamlessly with the Roland HD-1 V-Drums Lite electronic drum kit, which is made with the same revolutionary V-Drums technology used by professional musicians. Incredibly quiet, conveniently compact and affordable, the HD-1 brings quality sounds and ease-of-use to anyone who wants to learn to play drums. The DT-HD1 drum tutorial software bundle includes a USB-MIDI interface and an audio cable, allowing drummers to learn while practising with the HD-1. Players can learn how to perform basic drum patterns from different genres of music, all the way up to playing full songs with a backing track. Users can even load their own favourite song data (SMF) and jam along.

In the Notation Screen, a bouncing ball guides players through the patterns and demonstrates which pads to play and which hands to use when playing a fill. The software also allows drummers to slow or speed up tempos, repeat sections, and select specific pads for playback to help them learn more difficult patterns.

The DT-HD1 software makes learning drum technique fun, with features like the Game Screen. Drummers play along with co-ordinated falling blocks to obtain a high score, while learning precision, timing, and technique.

The DT-HD1 drum tutorial software is compatible with Microsoft Windows XP and Vista, and is scheduled to be available in February, 2009.

One of the biggest challenges electronic drum makers face is recreating the feel of an acoustic drumset.

This is because the electronic triggers can’t have repeating vibration waves (or resonance) in order to work right. Drum head surfaces and cymbals therefore end up less responsive than their acoustic counterparts. Well Rhythm Electronic Technology Percussion (RET Percussion) has solved this age old problem with design innovations in the drum pads and cymbals.

Revealed at NAMM

Top artists get behind Yamaha campaign

Four of the country’s top drummers are backing a national music making campaign led by Yamaha Music Schools and aimed at introducing more people to drumming by offering free introductory lessons.

The scheme, championed by Feeder’s drummer Mark Richardson, Amy Winehouse groove-man Troy Miller, Neal Wilkinson (Van Morrison) and Massive Attack and Kylie Minogue drummer Andrew Small, has the potential to bring a whole new audience to the art.

There are currently 25 out of 80 Yamaha Music Schools offering the popular Drum Encounters course and, alongside guitar tuition, it’s one of Yamaha’s fastest growing courses.

Yamaha Music School manager Nigel Burrows commented: “We’re delighted to launch this national push to get more people into music making. It’s a very simple idea; we are offering free introductory lessons for all and, following the huge success of our recent Jools Holland free keyboard lessons promotion, we know many people will subsequently enroll on a YMS course. The scheme has received the support of a high-powered group of pro drummers who will be visiting participating schools wherever possible.

Their endorsement will help us promote the scheme and raise awareness of drumming. The lesson will introduce people to the fundamentals of the art and cover the basics required to play.

Mark Richardson added: “I’d like to introduce more people to playing the drums, and I know that my friends at Yamaha feel the same way – and what better way to get started than by getting your first lesson totally free. Lots of people want to play but are unsure of where to start so probably never take the first step. This campaign is designed to introduce more people to music making generally, and drumming in particular.”

Andrew Small stated:  “I think Yamaha’s offer of a free first lesson is a great way to take the plunge and start playing the drums. Now there’s no excuse not to grab some sticks and have a go.”
yamaha.co.uk

Yamaha Gigmaker – Fusion Kit

Yamaha’s Gigmaker series is a full kit of drums – complete with hardware and cymbals – all at a price that makes owning a set of Yamaha Drums easier than ever. The 5-piece set includes a 20’’x 16’’ bass drum, 16’’x 16’’ floor tom, 12’’x 9’’ and 10’’ x 8’’ toms, and a 14’’ x 5,5’’ snare drum that…

Yamaha Gigmaker – Fusion Kit (no cymbals)

Yamaha’s Gigmaker series is a full kit of drums – complete with hardware and cymbals – all at a price that makes owning a set of Yamaha Drums easier than ever. The 5-piece set includes a 20’’x 16’’ bass drum, 16’’x 16’’ floor tom, 12’’x 9’’ and 10’’ x 8’’ toms, and a 14’’ x 5,5’’ snare drum that…

Yamaha Gigmaker – Rock Kit

Yamaha’s Gigmaker series is a full kit of drums – complete with hardware and cymbals – all at a price that makes owning a set of Yamaha Drums easier than ever. The 5-piece set includes a 22’’x 16’’ bass drum, 16’’x 16’’ floor tom, 13’’x 9,5’’ and 12’’ x 9’’ toms, and a 14’’ x 5,5’’ snare drum that…

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Bernard “Buddy” Rich (September 30, 1917 – April 2, 1987) was an American jazz drummer, bandleader and former Marine. Rich was billed as “the world’s greatest drummer”   and was known for his virtuoso technique, power, and speed.

Rich’s technique has been one of the most standardized and coveted in drumming. His dexterity, speed and smooth execution are considered “holy grails” of drum technique. While Rich typically held his sticks using traditional grip, he was also a skilled “match grip” player, and was one of few drummers to master the one-handed roll on both hands. Some of his more spectacular moves are crossover riffs, where he would criss-cross his arms from one drum to another, sometimes over the arm, and even under the arm at great speed.

Here he is on the Sammy Davis Jr Show with Gene Krupa

He often used contrasting techniques to keep long drum solos from getting mundane. Aside from his energetic explosive displays, he would go into quieter passages. One passage he would use in most solos starts with a simple single-stroke roll on the snare picking up speed and power, then slowly moving his sticks closer to the rim as he gets quieter and then eventually playing on just the rim itself while still maintaining speed. Then he would reverse the effect and slowly move towards the center of the snare while increasing power.

Buddy soloing  featuring a fantastic sweater

Rich also demonstrated incredible skill at brush technique. On one album, Tatum Group Masterpieces No. 3 along with Lionel Hampton and Art Tatum, Rich plays brushes almost throughout with a mastery seldom achieved by any other drummer.

Another technique that few drummers have been able to perfect is the stick-trick where he does a fast roll just by slapping his two sticks together in a circular motion.

In 1942, Rich and drum teacher Henry Adler co-authored the instructional book Buddy Rich’s Modern Interpretation of Snare Drum Rudiments, regarded as one of the more popular snare-drum rudiment books written, mainly because of the Buddy Rich imprimatur.
Animal  Vs Buddy Rich

One of Adler’s former students introduced Adler to Rich. “The kid told me Buddy played better than [Gene] Krupa. Buddy was only in his teens at the time and his friend was my first pupil. Buddy played and I watched his hands. Well, he knocked me right out. He did everything I wanted to do, and he did it with such ease. When I met his folks, I asked them who his teacher was. ‘He never studied,’ they told me. That made me feel very good. I realized that it was something physical, not only mental, that you had to have.”

In a 1985 interview, Adler clarified the extent of his teacher-student relationship to Rich and their collaboration on the instructional book:

“I had nothing to do with [the rumor that I taught Buddy how to play]. That was a result of  Tommy Dorsey’s introduction to the Buddy Rich book,” Adler said. “I used to go around denying it, knowing that Buddy was a natural player. Sure, he studied with me, but he didn’t come to me to learn how to hold the drumsticks. I set out to teach Buddy to read. He’d take six lessons, go on the road for six weeks and come back. He didn’t have time to practice.”

“Tommy Dorsey wanted Buddy to write a book and he told him to get in touch with me. I did the book and Tommy wrote the foreword. Technically, I was Buddy’s teacher, but I came along after he had already acquired his technique.”

This is such a take , just watch his stick control