Drum set up: Quarantine Edition

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Do to New York state regulations, I’m not permitted to use my shared rehearsal space. I actually chose to stop going there a few days prior to the government directive because, frankly, it felt like a risk no matter how cautious I or my colleagues were.

I have NEVER practiced drum set in the apartment I’ve been living in (coming up for two years). I had some mesh heads I bought for my set up in my last apartment (Pearl Sound Off) so I threw them on my Yamaha kit. I had to pick up a head for my 20” BD (Remo Silentstroke) and grabbed another Pearl for a 12” tom.

Previously I had only used mutes for my cymbals, and let me tell ya — they’re god awful. Not only is the sound atrocious, but they feel absolutely miserable. After doing a little bit of research I ordered a 13/14/18 Zildjian L80 cymbal pack from Steve Weiss. I am blown away! The feel is great and they sound is pretty good considering. I especially love the open hats. I often play in small spaces around the city so I may try them out on a gig in the future, whenever that may be. The only thing I’m not crazy about is you hear a significant amount of stick contact. I’m not sure if nylon tips would make it better or worse but I’m going to do some troubleshooting here in the coming days.

Drum Cat

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Since I’m currently not allowed to use my studio space, I have my drums set up in my apartment for once. I have mesh heads around the kit and some Zildjian L80s just arrived. I’ve been practicing, but I haven’t felt particularly called to put out any content. Maybe sometime this week… I’m just trying to quarantine the best I can.

Lewis Flinn's Hood

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Yesterday I got to participate in a reading of Lewis Flinn’s Hood in advance of its upcoming production in Sarasota. Let me tell ya, it was particularly delightful to make some music in a room with other people in these especially uncertain times. The percussion list for this one was big, much of which was provided by Centanni Percussion (thanks Barry!). Special shouts to music director and joyous human Brad Simmons as well as co-orchestrator Justin Goldner who gave me the call.

Gear: Yamaha Hip Gig

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Thanks to the generosity of Jeremiah Fox, I got to play on a Yamaha Rick Marotta Hip Gig Kit for a show this weekend. We had one at Mannes so I was familiar with it, but I had never actually seen it all packed up. I didn’t use the rack tom because the arm mount was a bit stripped and I didn’t use the (very small) snare drum that mounts to the bass drum.

All of the drums fit into the bass drum and all of the hardware fits into the throne. The sound is great if you’re playing a small space and don’t need to produce a lot of acoustic volume. Convenient, yes but heavy as hell! I would still need to put them in a car to get to a gig comfortably. Might be a nice option as a small kit that stays set up in your home, however the price is on the higher end for sure.

That's a Wrap: City of Angels

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I just finished a 4-show run of City of Angels with St. Bart’s Players, the longest running community theater in New York! The book is almost entirely swing so I wanted to use some of my “jazz” cymbals that don’t get a whole lot of use these days. Unfortunately, the gig was in a boomy church so I had to play extremely quietly and those dark, dry cymbals just don’t get enough rebound at soft dynamics, so I swapped them out for some old faithful As. I did, however, get to use my vintage Rogers snare which sounded particularly good for brushwork. It was great to play with my Grinch fam, Joe Graziosi, as well as MD Jon Audric Nelson.

In The Studio: Trumpet Wom'

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This weekend I traveled down to Philadelphia’s Milkboy to record drums for Trumpet Wom’s (née, Trumpet Grrrl) next album.

In a rare occurrence for me, it was just drums being tracked. That offered me the freedom to start, stop, and record as I like. In some ways, it was difficult to not record with others (though I was playing over pre-recorded scratch tracks), but overall it was a more relaxing recording experience, especially since I was feeling adequately prepared despite having no prior rehearsals.

I pieced together a kit from Milkboy’s in-house gear. I used a Gretsch BD and rack, a Ludwig floor tom that our engineer Mike swore by, and a maple Pearl snare. Cymbals were a mix of brands, and they all sounded great! It was truly liberating to travel with just a backpack after hauling a giant suitcase across the country for six weeks with Grinch.

Stay tuned for this album in the coming months!

Gear Pics: The Grinch 2019

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Ready to go in Detroit

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I had to get a picture of my setup for the Grinch this year before my “hut” (shield and baffles) was set up. I’m playing the same DW kit as last year. Big drums=big sound! I’m loving the Paiste crash cymbals as well. They’re really nice for suspended cymbal work. The Fox is such a beautiful theater and it is a true pleasure to get to play here for the second time!