Archive for the ‘#dmsq’ Category

Stewart Copeland’s Echodrums

Februar 20, 2020

>>Instead of having masses of drums, Stewart opts for effects. He’d rather have a Roland Chorus Echo than masses of drums anyday.
„I use the echo on stage – it affects the rhythm. I plug it in and get a rhythm out of it and play with that rhythm. I’ve got a foot switch next to my hi-hat so I can switch it on and off.“
„It’s got different speeds and different kinds of echo and I set it all up before a song. It’s great because you can do on-stage dubs just like reggae records. There’s a million ways of using it.“
„For example, I’ve got two mikes on the snare drum. One goes to the PA and the other to the echo machine. But you don’t hear the beat on the one that goes to the echo machine, just the echo. It comes through my monitors and then through the PA as well. Because the two signals are separeted they can be made into stereo, which has a great effect going from one side to the other.“
„Beat Instrumental“ Sep 1979, Interview by Tony Horkins

>>I first started using echo with Eberhard Schoener. […] Then when we were touring in America and making the customary “English band in New York” stop in Manny’s, I got a Roland Space Echo and an amplifier. I had it on tour with me, waiting to get home to play with it with my guitar. But it was frustrating having it sitting in the truck and never playing with it. So I pulled it on stage during a sound check and had it sitting right behind me. As I was using the echo, I figured I’d put my snare through it, so I got another microphone, stuck it on the snare, put it through the echo to the amplifier sitting right behind me, and immediately, a new device was born. I’ve developed it since.<<


The Police „The Bed’s to big without you“ (Live in Los Angeles 1980): Echo einschalten – Tempo abnehmen und los

>>The Roland has three inputs and I can put three microphones into it and add three microphones to the drumset and it goes into the echo and into the amp. It’s very simple. Jeff took it a lot further than that when I was able to afford a drum roadie. He knew his stuff and really went into it. He’s got two digital delay units, really sophisticated, where you can just punch in the exact delay that you’re requiring, you can switch back and forth, and you can go into repeat and hold. I’ve got an array of foot pedals next to the hi-hat which I hit with my heels to click them on and off. Sometimes I’ll leave them in for a song with just an echo on one of them like a hi-hat or something, and sometimes I’ll have the whole drumset in, but just click it in and out for specific moments. I do that with the different foot switches.<<
Stewart Copeland (Interview in Modern Drummer Oct 1982, by Robyn Flans)


>>He plays through digital delay and presently, we’re using Delta Labs (DL-4) and a memory module. Originally, he played through a Roland Space Echo and the quality of that is good, but not when you’re dealing with frequency ranges from cymbal to bass drum. The Roland Space Echo is fine in sort of a limited range and when I first suggested a digital delay, he said he’d check it out. He liked it because the digital delay reproduces your frequencies from your lowest to your highest. The Roland Space Echo had terrible top and there was no bottom because of the size of the tape, which was small. The digital delay has no tape change.<<


>>For a while we also used another digital delay which also harmonized called an AMS DMX-1580 made by an English company. It’s a digital delay that can also be used as a phasing device and it also can harmonize. The Delta Lab gives you more of a punchier sound, though.<<
Copelands Drumtech Jeff Seitz (Modern Drummer Oct 1982, by Robyn Flans)


Was it difficult for you to get the hi-hat and cross stick intro to work in time with the delay?
>>Not at all. In fact, the delay was a chance discovery which made cool hi-hat stuff really easy. It was a simple trick which is a one repeat delay, so it doesn’t have multiple delays and it doesn’t build up, it’s just one repeat and that makes it much more crisp and with different settings you can get different rhythms. The basic one, which turned into a guitar technique that you can hear all over not only Police albums but U2 albums as well is the dotted eighth note, or quarter note, delay. What that means is, when you go ‚chunk, chunk, chunk, chunk, chunk,‘ the delay of it is a repeat of the one before the last chunk that you played so the result is ‚chugga-chugga-chugga-chugga‘.<<

And this was an accidental discovery?
>>Sort of. One afternoon when we got a pay day, we were touring in America and one day we were in New York with money in our pockets and we went down to Manny’s Music store on 48th Street, a dream of many musicians to go down to Manny’s. We just picked instruments off the wall. Sting and I both bought Stratocasters, loaded up on Roland amplifiers as Roland was the brand of the day. We got every Roland device they made – Sting and Andy each got a set of bass pedals, amps, and delay lines. The Roland Space Echo, Andy got one, so I wanted one too and I got me one.
The next day at soundcheck out in Long Island, we brought all our new toys, arrayed on the stage. They’re trying to get the sound together and we’re playing with all our new toys! With my new Roland amp and my new Roland echo device, I’m sitting there playing my drums and I haven’t got a guitar but I want to play with my echo, so I put my snare drum through the echo. Within seconds, ‚whoa! This is cool!‘ And so we spent the afternoon in an orgy of repeat echo and totally f**ked up the gig that night with repeat echo and that was the beginning of it. It became more refined. I had a foot switch where I could switch it on and off so I could have it for the verse and then switch if off for the chorus when I don’t want all that clattering going on. There were other ramifications where sometimes I could feed the kick to it and other times it’s on the snare drum and other times on the hi-hat.<<

When you used the delay live, was it difficult to stop it feeding back?
>>It was only one repeat, that’s how you stop it feeding back, except that with monitors, the whole thing would come out of the monitors one way or another and that would go back into the system, so yes there is a danger even with a single repeat just because of the monitors. That was before they invented earwigs. In-ear monitoring didn’t exist at the time.<<
Rhythm Magazine, Feb 2014 („Classic Drum Sounds: ‚Reggatta De Blanc‘ Stewart Copeland on recording the pioneering Police track“ by David West)


>>The echo gadgets I use on stage have done a lot towards improving my consistency of tempo.<<
Musicians Only, Oct 1980




November 23, 2019

Zur Kulturgeschichte des Klatschens gibt es glücklicherweise schon ein paar schöne Beiträge, beispielsweise dieses 5-Minuten-Filmchen vom BR, oder „A Brief History of Applause, the ‚Big Data‘ of the Ancient World„, die wie folgt vielversprechend beginnt:
>>In the seventh century, as the Roman empire was in the decline period of its decline and fall, the emperor Heraclius made plans to meet with a barbarian king. Heraclius wanted to intimidate his opponent. But he knew that the Roman army, in its weakened state, was no longer terribly intimidating, particularly when the intended intimidatee was a barbarian. So the emperor hired a group of men to augment his legions — but for purposes that were less military than they were musical. He hired the men to applaud. Heraclius’s tactic of intimidation-by-noisemaking, the audible version of a Potemkin Village<<

Klatschen statt Kämpfen gefällt mir schon mal sehr gut 🙂 Und der Schritt zur gemeinsamen Party ist dann auch gar nicht weiter groß!!
Tatsächlich geht’s mir heute ums gemeinsame Klatschen, ums „miteinander Sound machen“! Egal ob das profane „2 und 4“ sind, pulsierende Viertel, die gleichermaßen bei Motown als auch im Bierzelt funktionieren, treibende Offbeats oder ausgecheckte Pattern (die auch gerne mal zum Komplexen tendieren, siehe Flamenco oder 80er Electro).


Ich lege jedenfalls mal zwei Spotify-Listen an und schreibe verschiedene Clap-Beats daraus ab, die sich dann beispielsweise zu eigenen Grooves addieren lassen, die vielleicht als Bodypercussion-Übung taugen oder als Gruppenspiel im Unterricht. Insgeheim bedrucke ich Kopf schon eine stylische Klatschpappe und freue mich auf die zukünftige Interaktion!

Geschenktipps, no delay

Dezember 12, 2018

Also, wenn ich jetzt nach einfachen Geschenkideen gefragt werden würde, dann hätte ich zur Antwort:

Meinem langjährigen Nebensitzer Ralf werde ich das (ganze) Schalko-Buch schicken, anderen Freunden nur das skurrile Weihnachtsdinner daraus, zudem finde ich das aktuelle (freeware!) Bilderbuch-Album äußerst verteilenswert. Für Kinder nach wie vor ganz oben: die von Peter Kaempfe vorgelesenen „Griechische Sagen und Fabeln“. (Und für Kunst-und Geschichts-interessierte Leser habe ich auch noch „1913“ ins Bild gemogelt).

Gerne schwärme ich auch noch von meinem Produkt des Jahres, einem Toaster aus Buenos Aires (= Blechwanne plus Gitterrost für den Gasherd), welcher simple-genial ist, altes Brot in leckeres verwandelt und mich vor allem an meine Schwester erinnert!

Und schließlich (wenn auch leicht befremdlich), halte ich für alle Musiker abermals mein aktuelles Werk, „Das moderne Schlagzeugquartett“ hoch* – weil’s den Schalter umlegen kann, weil’s Spaß macht und die Weihnachtsferien sich optimal zum Spielen eigenen!


* bestellbar durch Mail an mich, dann kommt es Widmung und/oder Gemälde…

Signature Fill-Ins

November 22, 2018

Ein schönes kurzes Lehrvideo, mit dem sich mehrere Sachverhalten erklären lassen:
Beispielsweise Zach Danzigers Ansatz, auch mal Fill-Ins mit vollem Risiko und von der Titelgeschwindigkeit entkoppelt rauszubolzen, nur mittels Ohr bzw. gefühlter Übersicht auf der passenden „eins“ zu landen – er visualisiert diese Spielart mit einer Ladung Büchern die durchs Treppenhaus kullern* – ich habe sie mit dem Bild „umfallendes Bücherregal“ abgespeichert.

Aber auch die lehrreiche Beschäftigung, Licks und Fills der Helden zu kopieren und im persönlichen Stil darzubieten! In diesem Fall Phil Collins‚ Monster Fill aus „In the Air tonight“:

In diesem Sinne bastel ich auch gleich eine neue Karte fürs „moderne Schlagzeugquartett“ mit dem Titel Signature Fill-Ins:


*aus dem Modern Drummer Interview 3/2018

MD: >>…you often play fills that are uniquely out of time. […] It’s not displacement or against the groove; the fills are off straight time, yet you always land on 1. What is that?Zach: That began at the 55 Bar in New York. The acoustics are pretty harsh, which tends to make me play unrelaxed. With Leni Stern at the 55 once, I played a fill that I intended to be smooth and even, but it came out sounding jagged. For the rest of the gig, I decided to play fills more like how Elvin Jones or Jack DeJohnette might phrase a set of fours. It felt a little out of place to take that approach in a straight-8th musical setting, distorting the placement of the subdivisions but trying to come down exactly on the 1, but at least I didn’t have to worry about being letter perfect with the inner workings of the fill.
I realized this could be a concept to expand on, and I’ve stuck with it. I hear the bigger pulse of time—say, quarter notes, but what goes into those quarter notes is similar to the sound of dropping sticks on the floor, or books falling down a staircase. The notes are landing both on and off traditional subdivisions, but I still hear quarter notes in my head, or mark quarter notes with my hi-hat foot to hold it together.
[…] I suppose that if you analyzed it, it might look like some convoluted polyrhythmic groupings, but I don’t think of it like that at all. I’m just stretching the time with a bigger pulse as the framework.<<

ab zum Kiosk!

Dezember 20, 2017

Hey, im aktuellen Drums&Percussion Magazin (1/2018) gibt es nicht nur eine schöne Rezi des modernen Schlagzeugquartetts, sondern auch noch ein passendes Doppelposter, mit  kleinem Überblick und dem Oberspieler. Ich bedanke mich beschwingt beim LEU-Verlag und bei Nalan Music | Art Photography und zock‘ noch ’ne Runde…

Die Woche hatte ja schon mit schönen Besprechungen (beispielsweise im „off beat“ 6/17) und diesem ausführlichen Testbericht von Lars-Oliver Horl auf bonedo begonnen (dort wird übrigens auch der Kreis zum one arm bandit aus dem Video geschlossen…)



Dezember 10, 2017

Danke an Axel Mikolajczak für die erste (und schöne) Besprechung des „Modernen Schlagzeugquartetts“ in der Dezemberausgabe des STICKS Magazins!
Ich orakel mal: potentielles Weihnachtsgeschenk!