Archive for the ‘E-Drum’ Category

Echtzeitkunst mit konkretem Anspruch

Juni 29, 2021

Traumhafte Kulisse, spannender Plot, Corona-konform!

Vom 1. bis 11. Juli werden im Frankfurter Ono2 die Ergebnisse des Moment:an Versuchs präsentiert, bei dem die Zeichnerin Kamü und das Musiker Duo Rubow & Leicht intermedial improvisieren, um schöne Bilder und einen stimmigen elektro-akustischen Sound zu erzeugen.
Es gibt einen 15 minütigen Film fürs Schaufenster (und hier), Galleriezeiten (täglich 19-21h) sowie drei Live-Happenings (am 01./08./11. Juli jeweils ab 21h) vor dem Frankfurter Ono2 (Walter-Kolbstr. 16).

Gestartet wird in völliger Freiheit. Um den Moment zu strukturieren helfen große Ohren, offene Augen und ein kleines Regelwerk, ein dezentes „wenn – dann“ Verständnis, das angewendet werden darf, aber nicht muss, sowie subtile klangliche Verstrickungen:
Denn es wird nicht nur auf Trommelfellen und Becken geräuschvoll gezeichnet, die (mittels Drum-Pickup abgenommen) Fell-Klänge bzw. die mit einem Mikrofon bemalten Becken und radierten Vorlagen können ebenso das Klangergebnis beeinflussen…

Neustart Kultur!

I cannot believe it’s true

Juni 26, 2021

Fährt einem bei der Anfahrt zum Gig ein älterer Fiat Regata voraus, so läuft im Kopf „Police„, landet man wenig später überraschender Weise auf der Landstraße 303, dann hüpft der Schrittmacher des elektronischen Musikers vor Freude, stellt sich der Auftrittsort schließlich als Open-Air im Hofgarten heraus, dann jubelt auch der organische Trommler in mir.
Und letztlich: Musikmachen vor echten Menschen, hell yeah!
Das war eine äußerst angenehme Wiederaufnahme des Wülker „Go“ Fadens!

Von Arne gab es noch die Empfehlung zum Audiobook von Phil Collins „Not Dead Yet“, woraufhin ich mich bei Rückfahrt direkt durchs Solo-Ouevre des großartigen Drummers gehört habe.
Selbstverständlich mit Nostalgiewelle, aber auch neu entdeckten musikalische Facetten, wie beispielsweise:
– viele Beats, die (teilweise programmiert) ganz/fast ohne Beckenklänge auskommen: „In the Air tonight“, „Like China“, „Do you Care?“, „Don’t loose my number“. 
Die Höhen kommen dann meist vom e-Shaker, steigernde Energie entsteht oft dank Tom-Overdubs.
– der „I don’t care anymore“ Opener dessen Snare/Tom-Phrase trocken beginnt und zur Steigerung einfach immer stärker effektiert wird
– Echodrums bei „Hand in Hand
– ein zitiertes „Tonight“ Tom-Fill in „Thru these Walls“
– immer wieder Brit-Funk („Behind the Lines“, I’m not moving“, „I cannot believe it’s true“)

Jetzt will ich mir noch das Corona bzw. Free Jazz Experiment anhören, bei dem mehrere Hannoveraner Musiker unabgesprochen und ohne einander zu hören gejammt haben.


Sonstige Wochen-Highlights:
Carlton Barrett hinterm Simmons Kit (1987) und dieses Max Frisch-Zitat:

>>Man sollte die Wahrheit dem anderen wie einen Mantel hinhalten, dass er hineinschlüpfen kann – nicht wie ein nasses Tuch um den Kopf schlagen.<<

Why to jam with a DJ, what to add to complete tracks?

Mai 29, 2021

It’s about energy, it’s about interaction, spontaneous improvisation that leads to a unique experience, it’s about traceability, it’s about adding human factor, it’s about uniting acoustic and electronic approach, it’s about sweating and funk (contrary to Kraftwerk’s ideal of an electronic performance with drummers that don’t sweat), it’s about teamwork, it’s about the moment („im Präsens zu Hause sein“), it’s about energy!

And for us drummers it’s about opening the ears, about being totally concentrated and focused, about reacting, about learnig how the counterpart thinks, about flowing togehther, about anticipating things, about being risky, about being brave, about sometimes fearless taking the helm, about letting go… and above all: it’s about making music together.

We have a lot of vocabulary in our backpack that we could add to enhance the story and we just can think of some strategies in advance. Here some thoughts in relation to my jam with the Soulphiction mix:

– usually I would play a lot of four on the floor to this kind of tracks. But the kick pulse is already existing, so maybe I also consider playing around the programmed bass drum and double it only on selected parts.

– to tune the acoustic kick higher would also help not to compete with the bass frequencies of the playbacked music.

– thinking in frequencies also helps with your other instruments

– thinking of patterns as well: do I double what I hear (whole groove or some accents only) or can I fill some gaps of the existing beat? Complete drum groove or overdubbed percussions (or hybrid combinations of both ideas)?
According to the four on the floor question: do I need a backbeat all the time?
Or in a more radical way: beat or texture?

– thinking of attitude: flowing with similar shuffle degree or behaving like a complete different breakbeat that is layered on top?

– think of colours: what sound possibilities do I have? Only acoustic options (different sound zones, preparations, various stick materials) or also electronic instruments?
[I also like to using a full e-drum kit when jamming with a DJ, as I can route my output through his mixer and be nothing different than „a third record“ that he could tweak.]

– In my exampled I had the following sound options:
A. Four different cymbals: a main hihat (14“ Meinl Byzance Jazz), a deep and rough second hihat (18“ Anika Nilles Deep Hats) that also work as a beautiful ride, a thin crash (18“ Byzance Vintage Crash) for accents and swells and a 22“ Sizzle-China (Byzance Jazz China Ride) for textures or flow.B. Wood and dual sticks (with felt on the back side, VicFirth 5a and 5adt), (VF heritage) brushes and rutes (VF Remix Brushes), plus additional shakers (Meinl Caxixi & Luis Conte Shaker).
Meinl Waterfall and Chimes for special transitions. A cardbox clap for an optical „what’s this?“ effect…
C. Preparations. To dampen and reduce overtones: Meinl Waterfall on top of the hihat, BFSD Donut and Little Muffkopf for the snare drum: Meinl Dumbal for more electronic vibes on the snare. Last but not least: play with the snare strainer and put wires on and off.
D. Electonics: a Roland SPD:One Electro (for typical claps or noisy efx with a long reverb tail), Boss RE-20 for additional groove layers or dub effects. Both boxes can be tweaked intuitivley

– be aware of the arc of suspension (of the DJ, of your playing over a track, of your playing over the whole set), of breakdowns and drops, of pauses and silence, of air to breathe…

With both videos you get a full insight in my realization and you can watch me drumming and follow my brain working 🙂

My advice: grab a nice DJ mix, have fun while drumming along (and record your performance to analyze your trip with time distance) .
General advice from Billy Heart: »It’s not how many things you know, but how many ways you can play one thing«.

Hey and if you want to support the master’s family: the „go fund me“ page for Soulphiction will be continued until the weekend.

Live Techno from Berlin from Munich

Mai 18, 2021

Tipp: Tim Sarhan mit Komfortrauschen, live Stream um 20:30h aus der Münchner Unterfahrt.
A-, E- und FX Drums galore!

809 Kick

April 27, 2021

Hannes Bieger hat aus zwei Legenden eine neue (Kickdrum) gebastelt und zum freien Download auf Soundcloud gestellt.

Barriemore Barlow

März 21, 2021

Nach diesem Foto (von Annie Colbeck) wurde ich neugierig. Wer ist dieser Barriemore Barlow und was macht er mit diesen vielen Fußschaltern? Jedenfalls spricht der Elektronik-afine Engländer im Modern Drummer Interview (November 1986) diese Weisheiten aus:

>>Many drummers still think that the rhythm machines and click tracks are a threat, but I think the best way to consider them would be as your best friend: They’re reliable; they’re always there. You can still get a lot of feel as well. If there’s just a machine recorded, then it’s very static, but if you have the combination of both, you can hold back, lay back the snare drum beat just a fraction, and still make it swing.<<

>>When you design a part—no matter what the instrument is—I think you ought to have an actual sound color in mind when you play that part. When you hit that bass drum at a particular point, rather than it just being a bass drum sound happening, I think you ought to have in mind a sound and a color inside the whole song that that particular note is playing at that time.<<

>>I play anything that sounds good.<<

Jethro Tull reizt mich nicht so, aber das eigene Ding („Tandoori Cassette„, 1982) und die elektro-akustischen Beiträge aus den frühen 1980er Jahren.

Robert Plant „The Priciples of Moment“ (1983)

Our Tribute to Chick

März 20, 2021

Wahnsinn, mit etwas Zeitversatz den Helden meiner Jugend beim Schwärmen zuzuhören: Dave Weckl, John Patitucci, Frank Gambale und Eric Marienthal unterhalten sich über Chick Corea und ihre Zeit bei der Elektric Band:

An der Stelle. als J. P. erwähnte, dass Dave Weckl damals schon alle Elektronik nicht nur selbst verwaltete, sondern auch zusammen mischte und dem FOH eine Stereosumme übergab, wollte ich es genauer wissen und schlug das Modern Drummer Interview vom Oktober 1986 auf:


>>“I have always been a sound nut. That’s why I have always carried my own P.A./monitor system. Now I have all the drums gated through Omni Craft noise gates, so there is no leakage and everything is clean. The system is all in stereo. For monitors, I use two sets of Eastern Acoustic Works speakers: two 15″ sub-woofer cabinets and two 15″ full- range cabinets. A Crown Micro Tech amp powers the sub-woofers, and a Carver amp powers the full-range speakers. The cross- over is handled by an Audio Arts Stereo Tunable Crossover. I use a Studio Master mixing board with six channels for drums, and the other two channels for my Linn and Simmons SDS5. This gives me control over my balance of acoustic sounds with electric sounds. Also in the rack is a Roland digital delay, Roland digital reverb, and a DBX 166 stereo compressor/ limiter noise gate. 

„My Simmons SDS5 is triggered from Detonator mic’s on my drumshells. I had my Linn customized for dynamic sensitivity. I assigned my bass drum, snare drum, second rack tom, left-hand tom, and Simmons pad to the trigger inputs in the Linn. I have the trigger sensitivity set so that I can get both the acoustic and Linn sound by hitting the drums, or just the triggered sound alone by hitting the rim. It’s rigged this way for the Simmons sounds also. Chris Anderson and David Rob wired up my rack and customized my Simmons, so that I can change all programs with a quick button push and also turn individual channels on and off with foot switches. With this setup, I can quickly get any combination of acoustic and electric that I want.“<<

Selbstverständlich musste ich das Vierer-Gespräch immer wieder unterbrechen, um im nächsten Tab Gegenzuhören. Und fragte mich, ob man im Track „India Town“ (19:46 und 24:20) nicht zufällig beobachten kann, wie Weckl gerade den Delay-Aux-Weg aufdreht?

In puncto selbstgesteuerter Snare-Hall gibt es jedenfalls eine klare Aussage:

>>“With my 13″ snare drum, I can get away with using almost no tape on the head at all. I use one little piece of tissue and tape up at the top of the drum, and my normal tuning is relatively high—depend- ing, once again, on the tune. Even in con- cert, I change the tuning of the snare drum. If I want a fatter sound, I usually detune the two lugs that are right next to the tape and all of a sudden get a big, fat, wet snare drum. On stage, I will usually boost up the reverb a lot when I do that, in order to compensate for the dryness.“<<

Abschließend noch etwas Gear & Attitude Talk zum Track „Rumble“:

>>“Rumble,“ the opening cut on the record, is the most overdub-oriented piece, consisting only of keyboards and drums/ percussion. It is a tour deforce example of artistic integration of acoustic and electronic drums, percussion, and drum machine. Unlike many contemporary recordings, which employ drum machines as lead-footed tyrants, this track shows off Dave’s ability to play between, on top of, around, and along with the machine in a way that points to new horizons in the creative use of drum machines. In other words, in this decade in which the machine has become the drummer’s most controversial friend/foe, Dave has succeeded in making it his friend—but it is also understood that he can whip his friend’s butt. „Rumble“ has become a much-talked- about cut among drummers. For those who have been attempting to analyze it through repeated turntable spins, Dave’s explanation serves as a valuable study guide. 

„On the eight-bar drum breaks at the beginning of the tune, I was actually playing along with the drum machine—playing exactly what the machine was playing, except for the hi-hat part. Then, when the solo groove comes in, it’s two completely different drum parts. Chick had programmed a Linn 9000 part—partly because he had sequenced a bass part and partly as a working groove over which he could compose. This part ended up becoming part of the feel for the piece. But I hadn’t heard it until I actually came out to California to start the album after the tour. So it was really a challenge, because I had to come up with a part on the day we were cutting it. We had discussed whether we should keep the whole part for the solo groove or just keep parts of it. I suggested that we should just let that part continue, and I would come up with something around it that would result in one combined part. I had to figure out something to play that wouldn’t get in the way of the machine, which was already a full part in itself. The Linn part is an eight-bar hi-hat, bass drum, snare drum, and cowbell pattern that keeps repeating.“ 

„Through my triggering, I was able to assign sounds in my own Linn to anything on the drumkit. The tambourine heard on the track is actually triggered from my left-hand floor tom. That became part of the pattern, so I always had to repeat it every fourth bar. The hand clap was also played by me on a Simmons pad that was fed into the Linn machine. I played on the ride cymbal, doing a looser thing, and I made sure not to play too much with my bass drum, because there was a pretty busy bass drum part already happening in the Linn program. If you listen closely, you can hear that the Linn bass drum part has more of an airy, Simmons-like sound, whereas my real bass drum is tighter with more bottom. The higher pitched snare drum with a little more ring is mine.“

„Later, I overdubbed percussion parts with cowbells, bongos struck with sticks, timbales, and cymbals. We just set up a whole bunch of instruments, and I toyed around with them. We had about six different cowbells on a stand. I just started playing a groove and Chick liked it. At the end of the solo section, there are some hits. I decided to play them on the timbales rather than on the drumset, which would have disrupted the groove. The other solo break in the middle of the solo section and the out section comprise an orchestrated written part that Chick composed with the Linn machine. I doubled that part with the drums and percussion. Recording the track ended up being a one-day creative session that really worked.“<< 

„The Beauty of Electrified and Programmed Drum Grooves“ Playlist

März 16, 2021

Neulich rief Norbert Saemann an und fragte, ob ich nicht Lust hätte für die Abonnenten des Meinl Newsletters eine exklusive Spotify-Playlist zusammenzustellen.
KLAR! Thema? Wäre mir überlassen. STEILVORLAGE!

Und so habe ich unter der Überschrift The Beauty of Electrified and Programmed Drum Grooves einen kleinen Funkturm errichtet, »not a timeline-based history of DJ culture, but a colorful mix to give kudos to all the engineers and researchers in music production, to all the bedroom producers and bricoleurs who find and develop new percussive sounds, textures and aesthetics, to all the visionaries and brave drummers who know that there is always more to discover.«

Für den Meinl Newsletter kannst Du Dich hier anmelden, anschließend werden Dir wohl Mitte der Woche der Link und meine Gedanken zur Playlist zugestellt (bestimmt mit dem oben abgebildeten Kurierfahrzeug).

Kannst jedenfalls schon gespannt sein: hier klopft der Gangsta-Rapper einem Peter Erskine oder Danny Gottlieb hinterm Simmons-Set anerkennend auf die Schulter, Sly Dunbar raucht einen mit der Bedroom Produzentin aus Offenbach, Jeff Porcaro programmiert die Linndrum, Jojo Mayer hebt ab, J Dilla fließt, Herbert betrommelt den Körper seiner Freundin, D’Angelo wackelt, Theo Parrish ebenso, Squarepusher beept mit Missy Elliot, Goldie grinst, Portishead weint, wer lötet eigentlich dahinten in der Ecke?? Egal, Phil Collins trommelt für den Dancefloor – ich tanze dazu und schau mir all die stromgeladenen Rhythmusmaschinen und Protagonisten im Netz an –
und so weiter und so fort: knappe acht Stunden Spitzenqualität!

the beauty of drumsynth sounds

März 10, 2021

Passend zu den ins ddrum geladenen Vermona DRM**-Klängen und getrommelten 80er Fill-Ins bei der Turntablerocker Show, hier zwei e-Drum Pioniere:
Einmal Sly Dunbar mit seinem Simmons SDS-V in Karibikfarben* (1984/85). Electro Reggae vibes… 

Und das große Tama Fibre Star Kit von Gary Numan Drummer Cedric Sharpley mit Synare.
[via @tama_drums_history]

Gary Numan „Cars“ (1979), mit dem elektronischen Crash-Effekt (>>a burst of filtered noise<<)

Hey, und Peter Erskine! So ein geschmackvoller Player! Nicht nur, dass er im Fusion-Kontext ein Simmons integriert (Diktat der Mode?), sonders es auch jenseits der oft gehörten Tom Fills bespielt, beispielsweise indem den neuen Solisten zunächst rein elektrisch begleitet (hier ab 15:03). Zudem auch noch White-Noise-Sounds nach meinem Geschmack verwendet! Ach, überhaupt: >>But my initial interest in electronics had to do with triggering sounds from the acoustic drums. I enjoyed being able to kick in an electronic sound at a certain point that could make a floor tom sound like the end of the world. If you’ve got a good sound system, something like that can be real effective if you use it judiciously. So I had a Simmons SDS5, which was perfect for that. It had a fat, beefy, analog sound.<< Peter Erskine in Modern Drummer July 1987

Der Hancock/Rockit Gig (Live in London, ein Tag nach meinem zwölften Geburtstag…) mit zwei Simmons-Drummer darf eigentlich auch nicht fehlen:

* In der Red Bull Music Academy erzählte Sly folgende Geschichte: >>It was the Syndrum first. I got one – two little Caribbean musicians – and we brought it home to experiment. But then again, I saw an advertisement for Simmons, so I ordered one, a red, green and gold one. But then I canceled it because I didn’t know what I was buying. I think Boy George and Culture Club bought it. I said, “Really? Now I’ve got to get it.” So, I went and bought another one for when we were cutting the Black Uhuru Anthem album [1983]. They sent it down to Nassau. The first time I played it on a record was the Rolling Stones’ Too Much Blood album [1983], there’s a track where I did a snare with the Simmons for the first time. Mick said, “Come and overdub this.” So I went and overdubbed it. I knew it was going to be the age of electronics, so I started getting into it. I used a Simmons on the Anthem album and a couple of records in Jamaica. <<

** apropos: ein Vermona DRM-1 MKIV geht demnächst an den Start

*** auch der Übergang ins Digitale ist noch sehr charmant:

[Bill Bruford]

Als dritter Plattenspieler am See

März 9, 2021

Leider muss der für Freitag angekündigte Gig mit SoulPhiction verlegt werden; ich tröste mich mit der zufällig gefunden YT-Reportage über das Turntablerocker Konzert in Losheim am See (2001). Denn dieses Konzept mit der Band als „dritter Plattenspieler“ hat bei mir den Schalter umgelegt bzw. das perfekte Bild geliefert, um DJs für eine gemeinsame Sache zu überzeugen. 
In diesem Sinne auf bald – im Club (und am See)!

Trivia am Rande: die TTR-Tour 2001 war die erste große Reise, auf die ich ein Echogerät mitnahm: das Line6 DL-4 veredelte die Simmons-Tom-Fills (die im Studio mit der Syncussion/Vermona DRM-1 erzeugt, beim Gig aus dem ddrum4 getriggert wurden).
Mein damaliges „Electronic Rack“ ist nach wie vor im Einsatz, nur umschließt es jetzt meinen kompletten Recording-Apparat (mit Acousta Pult, Soundkarte, Mikrofone). Nachhaltig, halt.

Und passend zum Thema erzählt Martin Stimmig auf IG etwas zum Spannungsbogen eines Clubtracks:
>>this sunday in my #askstimming series I’ll answer your question about the arrangement building – 
it’s a part of our creation process which is very similar to storytelling. there are similarities to cooking and painting, but the arrangement basically is storytelling. that means – you need to know where you wanna go before you start. a writer knows where his story leads to before he begins to write therefore we need to think about this very early as well. once I have a satisfying loop ready I play around with different effects, with filters, see from which element I gain tension from (which element is bringing me to the climax) and once there pops up an idea I start to build. unfortunately, no plan survives the incident in reality. that’s why it’s important to be flexible, usually what works is pretty close to what I imagined. and sometimes something completely different does it. this is one of the biggest reasons for being frustrated during the process, I see this as a fight which I usually win – sooner or later.<<v