Anthony Dio

The Drumbike

I am not a motorcycle enthusiast.  But if I were one & if I have the resources and the insanity to pimp out a bike, this is something that I would love to do...  A drumbike!  This is a treat for drummers out there who are into motorcycling.

Mid-March 2010 Random Thoughts

First of all... HAPPY BIRTHDAY!!  Yesterday (11 March) was the birthday of my sister Monica Dio-Grau & my niece Nikki D. Navarro.  Yes, they share the same birthdate.  Nikki, the only child (so far) of my sister Binky & husband Dr. Louie Navarro, turned one yesterday.  In celebration of her first birthday, I am posting my favorite photo of Nikki.  She was around 7 months when this pic was taken.  Here's Nikki, enjoying a book.  This photo never fails to make me smile...

The family will be celebrating this Sunday afternoon, and I look forward to that.

***

Recently, one Sunday, the praise and worship team had a lunch meeting with the pastor, after the church service.  The pastor shared his wonderful idea.  Since the Bread Of Life Ministry's theme as of late conveys Filipino pride, spirit, and nationalism, the pastor strongly urged the band to start using Filipino ethnic musical instruments.  A good start can be through experimentation with our Tagalog songs.  Later on, maybe it can be incorporated in our performances on a normal basis.

It's possible for us to sample these indigenous sounds through the use of samplers (courtesy of my church bandmates who happen to be full-time musical arrangers).  But it would be cooler and more visually appealing to use the actual ethnic instruments.  And the best part is the ministry is willing to invest on these instruments.  Last Sunday, a full-octave kulintang was set up during the service.  And one recent service, the praise and worship team from Davao was in town, and they have instrumentalists who played the kulintang and several other ethnic Filipino instruments.  Based on recent events, the ministry is serious in promoting Filipino music with the help of our indigenous musical instruments.

This would benefit me greatly, for I've been thinking about exploring and learning about our native musical instruments.  Since I'm a drummer, I do not have any knowledge with musical notes and scales, and I do not have a sense of musical pitch, I prefer to focus more on ethnic percussion instruments.  The idea I have in mind is I should look for authentic Filipino percussion which I can incorporate in my drumkit setup and be able to play it with sticks.  I'm thinking of something like what jazz fusion superstars Dave Weckl and Horacio "El Negro" Hernandez did with their drum set-ups.  Hand drums such as bongos and djembes are positioned on the left side of Mr. Weckl's kit, and he plays these with sticks.  Meanwhile, El Negro has cowbells and blocks mounted around his set-up.  He even plays some of these with his foot, courtesy of a percussion bracket attached to a foot pedal.  Instead of using Western and Latin/Afro-Cuban percussion, i would use our homegrown ethnic percussion.

Another inspiration I have in mind is legendary Filipino drummer Jun Regalado.  I remember his famous piece where he mounted three kulintangs (placed over three cymbals) in his drum set-up, and played these in a contemporary arrangement of Sitsiritsit, a Filipino folk song.  Here's a video...

Admittedly, I am unfamiliar with our Filipino indigenous musical instruments, so this is new and uncharted territory for me.  Not only am I interested in learning about these instruments, but I also want to learn about traditional Filipino rhythms used by our native tribes and ancestors.  Not only will all these benefit me as a Filipino drummer and musician.  I can also possibly apply all these in the future, with my band's music or with other possible projects.  And I think it will be good for the Filipino drummer.

Now I need some aid on research (books, websites, etc.) and sources of authentic Filipino ethnic percussion.  If you have any links or leads, please let me know.

***


I recently got hooked with formspring.me.  It's quite a new website, which somehow works like Twitter, but it's in a Q&A format.  It says on the front page, "Ask questions, give answers and learn more about your friends."  So, it's as simple as that.  I had it incorporated in my website through a widget (on the left-side bar).  It's also a simpler and more useful alternative to my Q&A Page.

It's funny how I keep on receiving these personal questions from anonymous people.  Though most of the questions aren't so bad, some questions are funny, and some are uncalled for and too personal that I decided not to answer those.  I was hoping to receive sensible questions about the things I am into, such as music and drumming.  Instead, I receive these personal inquiries.  I'm not complaining, and I appreciate the fact that my formspring account is active in that manner.  Maybe it just hasn't sunk in me yet that I'm in a band that has a fair share of admirers and followers.  And I'm just the kind of artist who values musical integrity more than image.  But it's still a blessing, because I've seen other people's formspring pages, and the Q&As there are way more hilarious.  Some even treated theirs like a chatroom.  Others end up arguing, especially with the asker having the option not to reveal his/her identity, it's quite easy to start an online word war. 

My advice to fellow formspring account holders:  Be extra careful with what we post and with the info we're giving away (and that goes with other social networking sites as well), and we have the option not to answer every question asked.  If the question's too personal or if it's crossing the line, or if it's not a question at all but a bait for some online hating, don't entertain it.  Discard all those nonsense.

***


It's summer season here in the Philippines.  It's very hot, and weather experts say that it's only the beginning of summer and it will just get hotter (!) in the coming weeks.  Many people are affected by this heatwave.  In fact, one bandmate was recently treated for heatstroke (he's doing better now).  Our Civic has this small crack on the windshield, which was caused by a flying pebble when my Dad was driving along the Star Highway in Batangas.  The tiny crack's been there for over a year, until recently (and finally), the crack began growing bigger just a couple of weeks ago.  A horizontal crack is growing right in the middle of our windshield, and it's getting bigger, no thanks to the heat wave.  That's why we've been parking the Civic under the shade.  We'll have that glass replaced soon.

While many people are getting dramatic over this heat wave, I am wondering why I am not so greatly affected with it yet.  My friends would say that we live on a hill and it's windy in our area.  But no, my folks are feeling the heat.  I drink plenty of good liquid (water, juice, non-fat milk), which is always helpful.  I also eat less bad food (those rich in fat & cholesterol), which could be helpful too.  And I think it helps that I don't move so much.  By being economical or efficient with my movements, I won't "overheat".  It must be psychological too.  I don't let the heat wave affect my performance.

I am also fortunate that after all these years, I finally have reliable airconditioning in my own room.  I think it was a conscious effort by my parents not to make us accustomed to airconditioning on a daily basis when we were growing up.  I think it's a good move, even if I'm asthmatic and at times I badly need all the fresh air I can get.  I still don't use my airconditioner on a daily basis.  I only use it when it's really hot.  But lately I've been using it more frequently, and I'm glad the newer models are more energy-efficient (I have the LG split-type airconditioner in my studio room).  Plus, I always use the timer.  I don't want it running round-the-clock.  I'll will let it run for a few hours, then it will turn off.  When it's hot again, then I'll just turn it on again.

***


A few more random thoughts...

We from K24/7 will be introducing our new bass player soon.

Mid-March 2010 marks my sixth year with K24/7.  Wow, six years...

I just cancelled my Multiply, Friendster, and MySpace accounts.  My accounts from these sites have become frequently idle, and in order to simplify my online activities, I finally decided to let go of these.  Now I can concentrate more on the quality sites.  Thank you to these sites for being great hosts and great social venues over the years, especially to Multiply, where my blogging life began.

I remember Francis M.  It's been a year since his passing.  Here's my humble little tribute blog for him, which I wrote last year.  Long live Francis M!

John Mayer will be performing in Manila this May!  Now that's huge.  I'm a big fan of his music, and I would love to watch his show.  I hope he'll bring with him his Trio bandmates Pino Palladino and groove master Steve Jordan.

Earthquakes are happening all over the world.  In fact, when we had this recent gig at a hotel in Makati, some of my bandmates and I can feel some earthshaking.  We cannot stop Mother Nature, so the least that we can do is pray and be vigilant.  Let's be prepared, in case a big one hits us on this side of the world (knock on wood).

New Era Drum Tracks

I want to look back at my recording sessions, and share some of my thoughts about my drum tracks in our New Era album.

I played drums on four tracks in our album - Sweetest Thing, Don't Ever Let Go, Your Smile, and Pangako.


Sweetest Thing

"My bandmates and I were in the studio, working on "Sweetest Thing", which is the last song we finished for our upcoming album.  This is an original song written for us by our dear friend Mike Luis of Freestyle.  Mike is a genius when it comes to songwriting, and the song is sooo good that it gave my bandmate Paolo quite a headache while he was working on it in his computer haha, figuring out some of the notes Mike used (because Mighty Mike wasn't able to chart the notes, I think).  It's a groovy, bouncy, and catchy tune.  Anyway, the vocal parts were recorded on Wednesday night.  Earlier that day, we had a last-minute decision to have my drum parts recorded live.  At first, we thought of programming the drum parts.  But I thought that I should play the drum parts live.  I like the song, I like Paolo's drum ideas for it, and I was determined to put my mark in that song.  And so, we booked a recording date at Blue Door Studio in Quezon City (the same studio where I recorded my drum parts for 'Pangako').  I was scheduled the next evening."

"In the studio, I set up a small kit which I felt would fit the song just right.  My drumming inspiration for this song is Ahmir "?uestlove" Thompson, drummer and producer of Philadelphia-based hip-hop band The Roots.  I went for the less-is-more approach.  For this track, I want my drums to sound crisp and tight, almost like a toy, but still "realistic" enough for listeners to say, 'Hey, those are live drums!'  I used three drums - an 18"x 20" kick and a 14" tom, which are both from my Tama Superstar kit, and my 5.5"x10" Black Panther Premium Maple, my choice snare drum for this track.  I set up a few Zildjian cymbals - a pair of 12" A Special Recording Hi-Hats and a 16" K Dark Thin Crash (the said cymbals belong to my drummer friend Marco Katigbak), and my 20" K Custom Medium Ride.  I thought of using my 8" A Custom Splash, but I find it too bright-sounding for the song, so I decided to remove it on my studio set-up.  Paolo thought of using flammed cross-sticks for the backbeats on some of the verses, which is why I had my 13" Tama Artwood Maple snare drum on standby for that purpose (since I won't be able to play cross-sticks on a 10" snare).  But later on during the session, we decided not to play cross-sticks anymore.  And so, it was the 10" Black Panther all the way."

--- excerpts from my October 29, 2008 blog


I am pretty much happy with the outcome of this track, as I was somehow able to estimate the sound and feel I envisioned for the song.  We got the tight, snappy, toy-like sound out of the drums, plus the bouncy & playful feel.  The 10" Black Panther snare was the star of the drum set-up I used in that track.  I remember feeling quite loose during this session, so it enabled me to become more playful behind the kit.  Yet, I was having that "?uestlove-ish", less-is-more vibe, and I was making sure that my parts would still serve the music right.  The tricky part in this track is the bridge part, where the groove shifts to a tight 16th note feel, against the shuffle grooves played through the verses and choruses.

This is one fun song to play, and drummers who'll play to this song can go loose.  I look forward to playing this tune live.


Don't Ever Let Go

"I just recorded some of my drum tracks this week at SoundsRite Recording Studio in Makati, which is operated by drummer Boyet Aquino (who is best-known for his work with Francis M's band Hardware Syndrome).  The studio has a good reputation for its high-end equipment and facility & quality recording results, and its clients include a good number of big names in the music biz.  Though Boyet has an impressive collection of high-end drums, I still chose to use my Tama Superstar kit."

"On the Monday night session, I recorded Don't Ever Let Go, which was written by Paolo.  This is quite a difficult track for me because of the crafty drum parts Paolo envisioned for the song.  This was the old song which we recorded at Blue Door Studio  a couple of years ago, but had some bad luck.  I'm already through with that unfortunate experience, and I'm glad that I'm able to perform better in the studio this time, without any technical problems."

"I can't remember what I ate that time, or if the stars were aligned during those nights.  But for some reason, I feel good with recording my drum tracks at SoundsRite."

"In the studio, I brought with me my Tama Superstar kit, which has birch shells (birch drums are tried and tested in recording/studio situations).  My toms are fitted with clear Evans G2 batters.  My 18"x20" kick drum is fitted with an Evans EMAD batter and an Evans EQ3 Resonant black front head (with 5" offset hole).  Though my drums are pretty much set up for live situations, I was eager to hear how it performs in the recording studio.  At first, the drums sounded big and boomy.  After some tweaking, we were able to get decent tom sounds which responded well in the mix and complimented the songs.  I should try coated batter heads next time for the toms, for a warmer sound.  The kick drum's heads needed to be loosened and Boyet placed some cloth inside in order to kill some of the overtones (because of the EMAD head, I don't have any muffling inside my kick drum).  We were able to get a decent, thuddy, low-end sound from the kick."

"Opting to play simpler drum parts in the recording compared to what I would normally play on a gig, I only used the 10" and 14" toms, though I had the 12" tom set aside, in case it's needed.  I was also able to use my 5"x13" Tama Artwood Maple and 5.5"x10" Black Panther Maple snare drums.  I tried my Old Faithful 5.5"x14" Tama Starclassic Maple, but the Magic Drum and the Cat sounded more fitting for the songs.  I was also able to use my two broken Zildjian K Custom Dark crash cymbals.  Even if they had those cracks and were de-modified, they still retain that K Custom magic in their sound.  It still has that complex, trashy & sophisticated character, while the damages dried up its decay.  I kept these old cymbals because I felt that they'll work well in the studio.  And gladly, they did."

--- excerpts from my April 26, 2008 blog


Don't Ever Let Go has become a favorite among most of our loyal friends and following.  The story behind the making of this song is interesting.  First of all, Paolo wrote this love song based on one bandmate's past relationship experience (guess who).  Second, during the first couple of drum recording sessions for this song back in '07, the computer at Blue Door Studio crashed - twice!  And during that time, never did that incident happened in that studio, which pretty much has a decent track record.  And it's so funny and coincidental that the two gear crashes happened during the sessions for this one song.  There's really something about this song.

Finally, we were able to record the drum parts at SoundsRite studio in the summer of '08.  I think the delays on the drum recordings in '07 were destined to happen.  Because during the SoundsRite sessions, I was more confident, I was more prepared, and I had my then-brand new Tama Superstar kit prepared for recording. 

I think I finished the recording in a couple of hours, which surprised me because I never thought I'll finish that soon, considering the sensitivity of the song and some of the more specific drum parts Paolo wanted.  Those drum fills during the bridge and the last chorus?  I can't remember the number of times I did retakes!  I would have played the drum parts differently in this track.  But this was Paolo's composition, so with him being the composer and producer, I have to respect that. 

I said this to most of our friends, and I'll say it again... Don't Ever Let Go is the most challenging song that I've recorded in our album.  And it's even more challenging to play it live.  Believe me, it's not as easy as it sounds.

In this song, my main snare drum is my workhorse "Magic Drum" 5"x13" Tama Artwood Maple.  Plus, I have once again proven my theory on broken K Customs in this recording session.  Despite the defects, they sounded lovely in the studio.


Your Smile

"I recorded Your Smile, which was a bit easier for me because of its groovier, more straight-ahead nature; yet we need to make sure that my parts feel and sound right for the songs."

--- excerpt from my April 26, 2008 blog

Many listeners would think that the drum parts in Your Smile are programmed.  But no, the whole thing is 100% live recording.  It might not sound obvious during the first half of the song, which is mostly straight-ahead cross-stick grooves.  But once the snare drum comes in at the last chorus after the bridge, that would hint the use of real drums played by a real drummer.  Listen to the dynamics of the snare drum backbeat.  I was in my "drum machine" mode during this song's recording session, yet I still want it to feel like it's human.  And I have to say, this is one of my favorite tracks in our album.

Two snare drums were set up for this track.  The main snare is my "Old Faithful" 14" Tama Starclassic Maple.  It has the die-cast hoops, so I played the cross-sticks on that drum.  On the left side of the kit is the 10" Black Panther Maple, where I played the backbeats of the last chorus.  In case you're wondering about the splash cymbal model I used for this track, it's a 12" Zildjian Extra Thin Splash, which my good friend Rommell Garcia lent to me.


Pangako

"Recording began at around 12am.  I did a couple of practice takes then made adjustments such as fine tuning the drums, making sure that the drum sounds will fit nicely with the song.  (Studio Assistant) Ian double-checked the microphone set-up and prepared a click track for me.  Then we went on with the actual recording.  I'm not aiming to finish quickly or become a one-take wonder.  The most important thing for me is to serve the music by playing drum tracks which will compliment the song.  But still, we need to be efficient and productive with our studio time."

"On my first take, I wasn't quite warmed up yet, and I was still absorbing the feel of the song, the drumkit, and the studio room.  But I felt confident that I'll be able to do better takes as we progress.  I think it was on my third or fourth take when I finally got in the zone.  I was fully warmed up and my focus was on a high level at that point.  I thought I made a couple of good takes.  But we know the drum parts can still get better."

"Recording resumed at around 3am.  I lost a bit of momentum, and my hands got cold because of the strong air conditioning.  But good thing I regained focus, and I was able to do my best takes of the night.  In order for me not to repeat the whole take, we just went back to the parts which needed refinement, such as cymbal crescendos and embellishments, some fill-ins, and some hits which will lock in with the bass guitar parts."

"My drumkit for this session is a Premier Artist Birch kit, which belongs to my good friend Ernest Ramos.  I used two toms - an 8"x10" rack tom and a 14"x14" floor tom.  Both toms are fitted with Evans G1 Coated batter heads.  The kick is a 16"x18".  Don't let its small size fool you.  It's the biggest-sounding 18" bass drum that I've ever heard.  It has a solid low-end thump, which often surprises those who hear it.  The kick is fitted with an Aquarian Super Kick I Clear batter head, which contributes to that huge sound.  The front head doesn't have a hole for the mic.  I don't want to make a hole because the kit isn't mine and I don't want to ruin the nice white Aquarian coated front head.  So we removed the front head and put a pillow in it (Ernest didn't put any muffling on his kick).  The snare drum I used is my Old Faithful 5.5"x14" Tama Starclassic Maple, which is fitted with an Evans G1 Coated batter head and an Evans Snare Side 300 resonant head."

"I used my Zildjian cymbals.  My hi-hats are a pair of 14" K Custom Dark Hats and my ride is a 20" K Custom Medium Ride.  The two crash cymbals used are my semi-retired damaged cymbals, which I both acquired from my friend Bennii Obana sometime last year.  On my left side was my freshly-cracked 17" K Custom Dark Crash, which I recently retired from gigging.  On my right side was my de-modified 18" K Custom Dark Crash which had so many hairline cracks when I acquired it, I had it cut after I wounded my finger.  Even if these crashes are damaged, they still have that spirit in their sound.  I thought that I'd just save these cymbals for studio work, where I think they'll sound well.  And they did sound exceptional in the studio."

--- excerpts from my November 16, 2007 blog


My drumming inspiration on Pangako is Jeff Porcaro.  This is a love song with a pop arrangement and mass appeal, and I can't think of any other musical inspiration better than Jeff Porcaro, who was not only a groovy pop rock drummer with a solid foundation.  He was a master of great feel and sensitivity.  He had the knack for playing drum parts which fits best for the music, in relation to its theme and emotions.  What mattered to Jeff the most is how the listeners feel the music.  I recorded my drum parts for Pangako with Jeff Porcaro in mind.  In fact, I think some of the drum fills I used reflected his huge influence on me.  May this be my humble tribute to one of my favorite drummers.  May God bless Jeff Porcaro's soul.

To fellow drummers who are curious about the accent cymbal I used during the bridge/guitar solo part, that was the broken 18" Zildjian K Custom Dark Crash on the right side of the set-up, which was trimmed down because of multiple hairline cracks.  It sounded like a trashy china/crash hybrid, and it sounded great on recording.  So, before disposing those broken cast cymbals, think about it first.  You'll never know how they'll sound like in the studio.  You'll never know if it's magic.

***


Final thoughts...

The music on Dry Your Eyes and Pangarap Ko'y Ikaw were arranged, programmed, and recorded by Jay Durias of South Border.  So, if the songs are coming from a musical master, I wouldn't dare touch it!  But if Jay would ask me to record the drum parts, I would have done it.

That Side Of Me and Prelude To Ecstasy might have been more slamming if we were able to record live drums for it.  But it's alright, because it turned out just fine.  Playing it live during our gigs would be a different story...

Come Back... It's the most perfect drum recording...  Because there are no drums on it! ;)

I'm planning to play more live drums on our next album, and I would love to do something more refreshing and out of the box.  I'm looking forward to that.

Pearl ePro Live Electronic Drumset

Gearhead Thoughts: Practice Pad Obsession, Studio Room Idea, Turkish Pies, and The Right Pedal

I'm having this love affair with my Pro-Mark PSD Small Double-Sided Practice Pad.

I've had this nifty little thing since last month, and it's helping me a lot.  Unlike my bulky old 12" RealFeel Double-Sided Practice Pad, the petite Pro-Mark practice pad's small size and light weight allow me to easily carry it, and it fits well in my stick bag or in my Pacsafe everyday messenger bag.  Thanks to its portability, I can take this and my pair of Carbosticks practice sticks wherever I go.  I can do warm-ups before the gig.  Plus, I can also work on my singles, doubles, and paradiddles on dressing rooms, hotel rooms, cafes, restos, on the couch, in front of the TV, or wherever place applicable.  And because it looks simple yet attractively nice, with its black finish and soft blue rubber pad, it's making me eager to use it more often.  It's like, whenever I see it, it goes, "Come on, let's do some workout!"

I've been working a lot on hand exercises using my practice pad instead of an actual snare drum or a drumkit.  It's always great to do workouts on a snare drum.  However, for me, it can get annoying to hear monotonous & repetitive snare drum hits.  Hearing snare drum rolls over and over and sounding like a machine gun isn't so musical-sounding.  So thanks to the practice pad, I can silently do my hand workout.  Though of course, when it's time to apply the actual rudiments in a musical setting and in an actual instrument, that's when it's time to practice on the real drums.

Right now, I've gone back to the fundamentals, which are the single strokes, double strokes, and paradiddles.  These are the things that I've been working a lot on the practice pad.  I wish to play single strokes like Mike Alba, who by far has the most insane single stroke I've ever seen from a Filipino drummer.  I would love to play singles with a broad range of tempo and dynamics, plus the crispness and articulation.

Another thing that I'm working on a lot is my left hand, which is often the weak hand if you're a right-handed drummer (it's the other way around if you're lefty).  Naturally, my left arm is not as strong as my right, so I'm focusing more on the weak hand.  I've been doing these finger exercises which the great drummer Jojo Mayer demonstrated in his amazing instructional video, Secret Weapons for The Modern Drummer.  Though far from perfect, my right hand can already utilize its fingers as enhancement tools for my hand technique.  I play matched grip, so my left hand holds the drumstick similar to my right.  My left hand is still getting the hang of it, so I'll just keep working on that.  Hopefully someday, my left hand will be as strong as my right.  Plus, I also continue working on the Moeller technique, which has become a very effective tool for me, especially when I choose to play more efficiently with minimal effort.

Improving on technique does not happen overnight.  But persistence will lead to rewarding results.

***


The photo on the right shows how my studio room looks like right now.  I had the drumkit rearranged a bit so that a table will be directly behind me when I'm on the drum throne.  It's good to have a sturdy table nearby.  I can place some small drum gear, accessories, practice materials, magazines, play-along gear, and electronics nearby.  I am also fortunate to have found a really nice Belgian-made rug, which I got on sale for half the price.  It not only serves as my drumkit's rug, but it also helps enhance my room's aesthetics.

The next phase of my studio room project is to make it a sweet-sounding room.  My studio room is pretty much effective in keeping the peace with people around me, as the gypsum board/styrofoam/concrete blocks combo is doing a good job in keeping the sound in.  Right now, with the bare walls plus the furnishings and shelves which add mass to the room, my room is still pretty much a loud room.  With performance-level playing and volume, my eardrums won't last for hours inside the room.

So, Phase Two of my studio room project will be about taming the acoustics of my room.  My Dad and Uncle bought all these foam for replacing worn-out foams from the seats of my Uncle's jeepney.  They had too much foam, which they just set aside.  One day, when I was practicing, I thought of bringing in some of these  4"-thick foam, which are the size of mattresses, then I leaned them on my walls - one each on either side of the room.  I played for an hour, and noticed that the foam helped with the sound absorption.  Thanks to that experiment, I got an idea.  I can cut these foam into big squares, wrap it with acoustic cloth or decorative cloth, then mount it on my walls.  These sound absorbers will greatly help with the room acoustics, plus it can also be decorative pieces and it will help make my room look better, depending on my choice of cloth design and color & on where and how I'll position the foam pieces.  I should blog about this when I finish this project.

***


The other day, I paid a visit to The Drum Shop Manila, which is owned and operated by good friend and drummer Vinci Rodriguez.  He informed me a few weeks earlier about these new, authentic Turkish-made cymbals he's bringing in, and he invited me to check it out.  And so, this was my first encounter of the Murat Diril Cymbals.  Vinci has a set of the Renaissance line, which I think is like their cymbal range for general musical applications.

My first impression on these 100% handmade Turkish cymbals is they possess the archetypal Turkish cymbal sound, which is deep, dark, mysterious, and rich with complex tones.  They did have those qualities, which I immediately noticed when I tested one by one a set of 14" hats, a 20" ride, a splash, and 3 crashes of different sizes.  What I really dig is its old school sound.  I can imagine myself playing James Brown grooves with these cymbals.  It has this old, dirty, funky sound quality in it. 

I was also expecting these models to be as lightweight as my Zildjian K Customs, but I was surprised how heavy they weighed.  I think this will be a huge advantage for drummers who are looking for old school sounding cymbals, but durable enough to be used on heavier musical styles or live applications.  For drummers who prefer a more lightweight set of cymbals, Mural Dirit has a series which meets that requirement, and Vinci's shipment of that line is on its way here.

These are my impressions based on my observations from the showroom.  I'll be testing these cymbals in a live situation soon, then I'll be blogging about it.

For further info regarding Murat Diril Cymbals, click here.

***

Also, during that visit to The Drum Shop, I was able to try out an Axis A Longboard single bass drum pedal.  After a few minutes of testing, I think I found it...  I think I finally found the right pedal for me.  The Axis pedal is sleek and lightweight.  Its design may look somewhat industrial, but it's so well-machined and I like its mechanical simplicity.  I also like the fact that there are only a few parts to adjust and tinker, unlike some popular pedals out in the market right now that are too techy with all the numerous bells and whistles for individual adjustments and customization.

When I was testing the pedal on Vinci's drumkit, I immediately felt the difference.  I tried various footwork techniques which I find challenging to play on a conventional pedal, and it felt notches easier on the Axis.  Heel-toe, quick doubles, triplets... It was more effortless on the Axis.  I even tried fast straight-ahead beats on the single pedal Axis, and it felt so much easier.  And so I thought, if this seems easier, what more if I play a double-bass Axis?  The longboard design plus all its components were all well-thought, and I appreciate gear that can greatly help musicians play better.  I know that pedals are such personal choices amongst us drummers.  But I think this is the right one for me.

One major downside...  It costs a fortune.  I need to save up if I want one of these.  But I'm sure it will be all worth it.

The Drum Shop Manila distributes Axis products here in the Philippines.  For further info, click here.

Happy New Era! My First 2K10 Blog is About Strength and Sports

Happy New Era, friends and loved ones!

New year, new decade, new era...  2010 seems to be a very promising year.  I ended 2K9 and began my 2K10 by working hard as usual, and going through pain and sickness through the New Year weekend.  I didn't really have enough rest during the Holidays.  Before the New Year, I had the asthma attack, which was the heaviest I had in the longest time.  It was so heavy, I was forced to use a puff/inhaler, which I stopped using in the last 7 years.  Then on New Year's Eve, I had too many "mixes" of food and drinks, which caused an upset stomach, which led to a stiff back, then followed by high fever.

In my 5 years and 10 months with K24/7, I never missed a gig because of sickness.  I only missed a couple because of family weddings (one of those two gigs, I followed after the reception to play the last set).  I would love to think of myself as the "Iron Man" in the band because of my almost unblemished gig attendance.  But last weekend, especially our gig last night at Mugen, I finally reached my limit.  I've become accustomed to performing even when I'm not feeling well.  This time around, I finally need to take a break.

I'm not the healthiest and strongest person.  That is why each day is a challenge for me to become the strongest person that I can be.  I was a thin, frail, asthmatic kid growing up.  Though I played basketball and rode on my skateboard almost everyday in our backyard when I was little, I was frequently on check with my asthma.  I also had poor appetite, eating little veggies and more junk and sweets.  When I grew older, that's when I realized that I need to take better care of myself and be physically stronger.  When I became a professional drummer, that's when I began to become more careful with my body.  Especially nowadays, when I'm not getting any younger and the gigs seem to become more physically demanding, the more I take extra care of myself.  Drumming and sports have its parallels, which is why I consider myself as an athlete, as discussed in this old blog of mine.  As much as I can, I act and behave like an athlete.  I rest, relax, and conserve my body whenever I have the opportunity.  I don't make any big movements when not needed.  I try to eat right.  I'm being as disciplined as I can.

Though I am not an active sportsman (which is a frustration of mine), I get plenty of inspiration from sports.  I get pretty much inspired by success stories from sports, particularly in basketball.  In fact, it makes me cry at times...  Michael Jordan's game-winning plays against Utah in 1998, the dramatic Miami Heat championship in 2006, "The Shot" of Dino Aldeguer back in '99 for La Salle's championship, the 2007 La Salle UAAP Championship where the Archers swept the heavily favored and seemingly undefeatable UE Red Warriors...  Oh yes, I cried on those.  I can somehow relate to how hard the journey is before ultimately reaching the top prize.  Some people may think like, "Yeah, it's just basketball..."  But, for those who take basketball with a very high level of passion and pride, achieving goals and aspirations mean so much.  I kind of relate drumming with the motivational and psychological factors of sports, and carried with me the discipline, professionalism, and blue-collar work ethic.

Remember that crucial Finals "flu game" when Michael Jordan saved the day for the Bulls, even if he had the flu and was feeling really weak?  What heart, pride, and determination!  I was totally inspired by that (and yes, I cried on that too).


First Random Thoughts blog of 2K10 coming up...

November 2009 Random Thoughts

It's been a month and a half since my last Random Thoughts blog.  Let me go through this episode with a review of my recent tweets, in chronological order...

"lucky that i was already at Onstage when the Greenbelt 5 shootout took place... was strolling around the area minutes before it happened..." - 6:06 PM Oct 18th

I was in Greenbelt that Sunday morning for the church service, when the robbery at the Rolex shop in Greenbelt 5 happened.  The second Sunday service of Bread Of Life in Onstage Greenbelt 1 begins around 10am.  After the opening praise and worship performance, my bandmates and I have the habit of strolling around the mall.  Shops begin to open by that time, then we return to Onstage a few minutes before the closing prayer, for the closing songs.  Luckily, I was already on standby at the Onstage lobby when the incident happened.  I was just sitted on one corner, tinkering on my iPod, when I heard three loud bangs.  At first, I thought those were just the sounds of shutter doors of nearby stores.  But it was louder than normal.  Then a series of loud bangs followed.  And when I noticed people entering the Onstage lobby, running in for safety, it was clear that something bad was happening outside.

The original Greenbelt 1 and the new Greenbelt 5 malls are connected, and Onstage (2nd floor, GB1) isn't so far away from the fine watches & jewelry shops at the ground level of GB5.  News reports said that the exchange of gunshots lasted around 3-5 minutes.  Being there, it was way longer, around 15 minutes.  That moment, we had no idea yet of what's exactly going on.  My church bandmates, who were still strolling around the mall when it happened, ran to Onstage for their safety.  Our bandmate who came in last was really lucky because he was so close to the crime scene.  He actually saw the armed men and ducked for his dear life when crooks began exchanging gunshots with authorities.  Thankfully he escaped the mayhem despite becoming deaf for a moment because of the loud gunshots (his hearing is okay now). 

We are usually done with the services at around 12-1230pm.  But everybody in Onstage was requested to stay put inside the theater due to safety and security reasons.  At around 2pm, we were allowed to leave Greenbelt by groups, using the fire exits.  My bandmates and I were among the last to leave.  We thought the parking will be closed by investigators and we might be forced to leave our cars overnight.  But good thing the authorities allowed motorists to leave the carpark, as long as we show our driver's licenses and registrations. 

It's funny that my church bandmates and I were in a sticky situation once again, a few weeks after our Ondoy experience.  We're still pretty much lucky.  Despite tighter security and some interior redecorating at the crime scene, life was back to normal around the Greenbelt area the following day.  I wonder what has happened with the Rolex robbery case?

"i'm saying goodbye to double bass for now... i'm going back to single bass. i'll be blogging about that soon..." - 9:10 PM Oct 20th

You can backread that blog.  But right now, I really miss having a double pedal.  I'll write a Gearhead Thoughts blog soon in relation to that.  Though I'm getting the hang of playing single bass, I realized that there's so much stuff that I can't do with a single pedal.  I guess my feet are already wired for double bass.  But every gig has become a challenge.  I'm still in search for a nice single bass pedal for my personal use.  But I'm planning to get a new double pedal next year.  Perhaps as a reward for this challenge, I want to get the best double bass pedal I can afford.  Still thinking about it...

"the vacuum cleaner is my favorite household 'chore' appliance... makes life easier... God bless the soul of the person who invented it..." - 5:36 PM Oct 23rd

And I really mean it.  For someone like me, who is asthmatic and sensitive to dust, I'm really glad that there's such a wonderful invention called the vacuum cleaner.  I've been doing a lot of vacuuming in our new house in the last few weeks.  For me, house cleaning is impossible without it.

"i watched THIS IS IT last night... got teary-eyed at certain parts... so inspiring... MJ is THE GREATEST. :)" - 1:58 PM Nov 2nd

I'm totally inspired by this documentary, and I'm glad producers decided to release it.  This Is It is another testimony to the greatness, professionalism, sense of perfection, megalomaniacal tendencies, and pure spirit of Michael Jackson.  Though I always thought of his Dangerous years as his prime, I'm so amazed by how great he still was, even if he's already 50!  Though not as vigorous as his younger years, MJ still had the same artistic drive and passion.  He never ceases to amaze people with his performance, as evident from how the young dancers were reacting to his solo rehearsals.  So enthusiastic, they were like little kids again when they see their hero MJ do his thing.

I would love to compare 50-year old MJ to another great MJ - NBA legend and Basketball Hall of Famer Michael Jordan.   During Jordan's earlier years, he was on fire with all his high-flying dunks, acrobatic shots, and amazing plays.  But when Jordan matured, particularly during their championship years, he was still a model of greatness, though he doesn't need to be flying all over the place anymore.  I kinda see Michael Jackson that way in This Is It.  For me, the new concert is like an updated or modernized version of his record-breaking tours during the 80's and early 90's, catered for the new millenium, for a new generation of audience, and for MJ's more fragile physique.  Plus, I love the care, thoughtfulness, and attention to detail MJ showed during the production, from the notes and pieces played by his band to the dance rehearsals; from the new mini-movies to the stage props.  MJ was really on top of his game.

Geez, it could have been an awesome show!  I'll surely get a DVD copy once it's out in the market.

"had fun at the benefit show for Raffa. it's always great hanging out with fellow musicians. best wishes to bro Wendell, Jaja & baby Raffa.:)" - 4:47 AM Nov 6th

K24/7 was invited to perform for a fundraiser event for Raffa, the baby of Wendell Garcia, drummer of Pupil & among the best all-around session drummers in the Pinoy music scene.

Here's some info about Raffa's rare disease, copied from the event's promotional material:

"Raffa (Son of Jaja Borja and Wendell Garcia) is suffering from a rare connective tissue disorder in which the skin becomes inelastic and hangs loosely in folds called Cutis Laxa. His been in and out of the Hospital for over a year and spent about a month in ICU.

Cutis Laxa is characterized by skin that is loose, hanging, wrinkled, and lacking in elasticity. The loose skin is often most noticeable on the face, resulting in a prematurely aged appearance. The affected areas of skin may be thickened and dark. In addition, the joints are loose (hypermobility) because of lax ligaments and tendons. When cutis laxa is severe, it can also affect the internal organs. The lungs, heart, intestines, or arteries may be affected with a variety of severe impairments. In some cases, hernias and outpouching of the bladder can be observed."

The fundraiser, which was held at Taboo, was highlighted by performances from several bands and artists, ranging from rock to jazz to R&B.  It was one of the most fun gigs I ever had this 2009.  Though bands played short sets, nothing beats hanging out with fellow musicians and appreciating great music together.  But most important, we were able to help out Raffa.

Cutix Laxa Update For Raffa

 
"happy birthday to Paolo Banaga, my K24/7 bandmate and brother in music... :)" - 4:49 AM Nov 6th

It's birthday season for majority of the K24/7 family.  So, advanced and belated Happy Birthday to all the celebrants...

Paolo (06 Nov), producer Alvin (13 Nov), manager Ate Alona (15 Nov), Ryan (27 Nov), Kiko (29 Nov), yours truly (05 Dec), Ian (07 Dec)

"lots of tech probs last night at our gig, but it's ok... realized that many modern musicians are so dependent on gadgets nowadays..."  - 11:34 AM Oct 24th

"tough gig @ OTG last night... had to once more deal with tech probs which are beyond my control... hate it when it happens... spoils my fun." - 4:45 AM Nov 7th

"but i still tried my best to groove better and forget about the technical issues... though stressful, i think it was still a nice gig..."  - 4:48 AM Nov 7th

The things that have been frustrating me on gigs in the last month or so are technical issues which are beyond our control, namely the electronic devices and set-ups which run the play-along sequenced tracks we use on some songs.  My bandmates and I have been pretty much "hardware-challenged" lately since Teddy decided to leave the band.  In our band, almost by default, the main keyboardist is usually the guy running the sequenced tracks.  When Teddy left, so did his gear, mainly his laptop and/or iPod, where he operates the tracks.  Ian is still in the process of setting up his gear for that purpose, while Paolo's laptop's been having some tech issues.  So, we've been making compromises with our gear.  My iPod was heavily used during Ian's first few weeks with us.  Classic iPods can be quite tricky to operate during live situations, until we figured out that we can plug it on Ate Alona's Macbook then play the songs through iTunes.   Currently, the services of my iPod are no longer needed, because my bandmates have already copied the tracks on the laptops.  Though this simplified the tech issue, Paolo had a few instances when multi-tasking became quite a chore, at times forgetting the cues on when to stop certain tracks.

Though stressful and challenging, we're getting the hang of all these tech concerns.  But whenever the sequenced tracks go nuts, it's us drummers who get screwed up the most, since we're the guys who have to nail it down and obliged to play along with it.  And when the drummer goes nuts, so will the rest of the band.  That's why it's so much of a burden for me whenever something goes wrong with the play-alongs.  I would accept it if I make mistakes during gigs.  But these technical glitches are something which my bandmates and I do not cause.  It's like there's no Plan B or we cannot escape from it.   

Being a true-blue musician, I sometimes wish just to play pure music.  I mean, as much as possible, I want to be organic and I don't want to become too dependent on machines, which I think is a trait I noticed from most modern musicians.  It's not that I don't want to play along a sequenced track or work with a computer, which are great for certain applications, and can help certain songs, melodies, and tempos sound more consistent.  Technology is awesome, and it can assist us musicians in a myriad of ways.  But sometimes, it just gets too techy, and it makes me yearn to play pure, unadulterated, natural, straight-from-the-heart-and-soul music.  No electronics, no gadgets and gizmos, no gimmicks... just me and my instruments.

"watching This Is Spinal Tap... every conscientious musician should see this flick hahaha! :)" - 1:13 AM Nov 12th

Enough said.  Just watch it.  Trust me...

"though nobody has won anything yet, thanks to those who greeted us for the Wave 89.1 Urban Music Awards nomination... :)" - 6:46 PM Nov 14th

K24/7 is nominated in the Best Urban Band category at Wave 89.1's first-ever Urban Music Awards.  For more info, click here.

Honestly, at first, when I received the news about our nomination, I had mixed emotions.  I thought it's cool that we are nominated.  Like how Paolo puts it, prior to this, we never experienced getting nominated for any award, so it's an honor and a privilege to be recognized in that light.  But, when I learned that fans determine who will win through SMS votes, I thought that it's just another popularity contest.  If I were the person running the tally, I would work it like it's a government election - it should absolutely be a one-time vote, so that means voters should be firm with their choice.  With the SMS votes, fans and listeners can vote as many times as they want.  Hence, this is more of a "hatak" thing.  Though it's good for marketing and publicity, I can't see how text votes can raise our value and musical integrity as professional artists.

But we got word that the Urban Music Awards will have both a sort-of People's Choice Awards (where there will be winners determined through SMS votes), and a panel of judges from the Wave camp who will choose the deserving awardees.  So, upon learning that, I guess that's fair enough.  We'll have these details verified.

It's also a blessing that we are nominated, considering that we are a band that has been around for quite some time already, and has yet to release its latest album.  We owe it to our friends and followers.  Thank you very much for the tremendous love, support, and the great patience (for waiting for our new album to come out).

To vote for K24/7 via SMS, text "WAVE 891 UMA K24/7", then send to 2968.  (Note: It's okay to use small letters; it isn't strictly all-caps.  Just make sure that the format & "K24/7" are typed correctly.)

"reviewing my recent tweets... preparing to write another Random Thoughts episode... it's been awhile since my last "real" blog..." - 9:34 PM Nov 23rd

Task finally completed.  'Til the next blog.!

PS > My twenties days are numbered...

Gearhead Thoughts: Back to Single Bass, For Now

Lately, I've been having mixed emotions about my recent decision.  Last week, I sold my Tama Iron Cobra double bass pedal.  So now, I'm officially back to single bass.

I sold my double pedal out of necessity and because of artistic reasons.  To be honest, finances are quite tougher right now, with my new studio room and all the bills.  I need some added funds to pay for my quarterly insurance bill, and I'm glad the sale was able to help me out with that.  Musically, I was thinking of going back to single bass for quite some time, in order to go back to basics and concentrate more on my right foot.  This idea is now fulfilled.

I've been playing single bass for a week now, which is quite a challenge for me because I've been playing double bass for so long that I got so used to it.  My right foot is doing more work right now, while my left foot seems wired for playing two pedals that I need to adjust.  It's funny because there were times during our gigs when I was about to instinctively play a double bass lick, and my left foot would naturally respond by shifting from the hi-hat pedal going to the twin pedal's slave pedal, only to realize that, "Oops, no more double pedal!"  It has become a challenge especially during K24/7 gigs, where I found ways to integrate double bass in our style of music.

I guess I have to agree with my bandmate Paolo when he told me that double bass has become my trademark.  It's a pretty unique quality, considering the idea that double bass is unusual on most mainstream musical styles, which includes R&B and hip-hop.  I'm not really a heavy, speed demon type of double bass player.  I choose when to use it in our music.  I also have this goal or artistic intention of applying double bass on popular music.

When fellow drummers and musicians ask why I play double bass with K24/7, I would ask back, "Why not?"  Drumset drumming is a constantly developing modern art form; it's still evolving up to this very day.  Why not integrate double bass drumming on R&B, hip-hop, pop, and most popular, groovier styles of music?  I think it's an interesting idea.  Some drummers, mainly the younger ones, would often think that double bass is about speed and is intended for rock, metal, and heavier styles.  It saddens me whenever there are some immature, close-minded, know-it-all types who criticize me for having a double pedal with K24/7.  I know I'm not an advanced-level double bass player, I know I need to improve further, and I intend to work harder on my double bass technique when I go back to double bass.  Personally, double bass is not limited to certain musical styles.  It's all up to our creativity, and we can only be limited by our imagination. Plus, all double bass drummers should keep in mind that the guy who began the art of double bass drumming was this jazz/big band drummer.

We should keep in mind that in today's very modern times, thinking out of the box can be a very fruitful and wonderful thing.  For example, we now see modern progressive rock/metal drummers who choose to play on small set-ups, instead of the stereotypical gargantuan multi-tom monster set-up.  We all have the freedom to choose.

I have a strong admiration for dominant double bass drummers such as Virgil Donati, Derek Roddy and Mike Portnoy.  I do wish I can someday reach their level of footwork speed, precision, and power.  Yet, I also have a great admiration for tasteful double bass drummers like Simon Phillips, Tim Alexander, Steve Smith, Vinnie Colaiuta, Steve Gadd... and the list goes on.  They are the types who are not so heavy and uber-technical on double bass; yet, when they choose to use it, their executions are very musical.  Having a double bass pedal doesn't mean that you have to play it all the time.  It's like a pianist has 88 keys on his synth, and that doesn't mean that he/she needs to use all those notes in one song.  We need to pick our drum parts wisely, tastefully, musically.

Anyway, going back to single bass...  Like I said, my drumming-related reason for going back to single bass is because of my intention of going back to the basics.  And this includes my right foot technique.  I feel like I need to work more on my right foot.  When I was starting out back in the 90's, I was pretty much on the right track.  I was so into those single bass grunge drummers - Matt Cameron of Soundgarden, Dave Kruzen and Dave Abbruzzese of Pearl Jam, Sean Kinney of Alice In Chains...  I also dug the drumming of Eric Kretz of Stone Temple Pilots and Chad Smith of the Red Hot Chili Peppers...  And thanks to these guys, I went back in time to discover the excellence of the late great John Bonham of Led Zeppelin... Thank Heavens for Bonzo's mighty, lightning-quick right foot!

I was so determined with my bass drum foot back in the day.  Until one day, my heavy metal bandmates back in high school persuaded me to learn double bass, so that we can play some Metallica and Pantera tunes.  At first, I wasn't so fond with the idea.  Then after one jam session, they lent me a double bass pedal so that I can start practicing with it.  From that moment on, and by the time I discovered the great progressive rock drummers, I got hooked with it. 

Now I'm bringing back my enthusiasm for single bass.  I've been playing single bass on church services in the last three years.  The songs we play do not require double bass drumming.  I once brought my double pedal at a church service, but I never really got to use it.  I think I was only able to use it for a climactic ending for one fast song haha!  Realizing that, I know that I'll just be fine without a double pedal with K24/7.  It's just that, I got so used to playing double bass with my band.  I find myself adjusting some of my drum parts.  I'm missing double bass.  I miss playing those "quad" fill-ins, those straight-ahead singles, those crazy song endings...  I miss sneaking those double kick licks on songs like Icebox, Four Seasons of Loneliness, and our old-school MJ-EWF Medley. 

I know I'll be going back to double bass sooner or later, and hopefully be able to score a better set of twin pedals.  In the meantime, I'm rocking and grooving on a single bass pedal.  I'm going to buy a nice single pedal soon...

My First Taste of My New Studio Room

Late this afternoon, I went to check out my studio, which is already structurally complete, but still an empty room.  I brought with me my Cat (5.5"x10" Black Panther Premium Maple snare drum), my Tama Iron Cobra hat stand (which has an L-arm mount attached to it, for mounting the Cat), and my sticks.  I was curious with the acoustics of my room.

I have two goals for my studio room's acoustics: isolate the room in order not to disturb people around me, and make it a really good-sounding room.

I set-up my Cat on one side of the room, and played some marches and rudiments.  My parents were outside, and they said they can still hear me play, but it wasn't so annoying nor disturbing.  It was like lowering the volume notches down.  My first goal was met, and I'm so glad because this is my biggest priority.  I don't want people around me going nuts because of my drumkit's natural volume.

Regarding my second goal...  The room is still bare, so understandably there's plenty of reverb.  And it was loud inside!  But once we have some furniture in, such as the built-in cabinets, shelves, and table on one side of the room, plus my sofa bed, a big rug for the drumkit, and some furnishings and appliances, that would greatly help with the sound absorption.  I also plan to experiment on mounting diffusers/baffles/acoustic panels, which can help make my room sound and feel better.

My new studio room should be ready sometime next month.

*Thanks to my Mom for the photo above...

Jamming on Bagets' New Gear

The photo above was shot last night.  I dropped by at Off The Grill to check out Benjie Mendez and his new DW and Meinl gear, courtesy of Lyric.  Bagets had a gig with Paolo Santos, Jano Queyquep (lead guitar) and Marlowe Mata (bass).  A number of fellow drummers were present last night, which included Lyric's two representatives, Gep Macadaeg and Lester Banzuelo (Fuseboxx).

Bagets' DW drums sound absolutely amazing, and his Meinl Byzance cymbals are among the most crisp and cleanest-sounding metal I've ever heard.  I feel that these instruments compliment Bagets' drumming style so well.  Near the end of the first set, Bagets called me, then Jeff Lima to jam.  I think Bagets wants to hear his gear played by other drummers, and/or he gave us the opportunity to try his DW/Meinl set-up.  I was smiling almost the whole time when I was playing on Bagets' kit.  It was such a joy to play!  It really felt so good!  It felt so easy playing those beautiful drums and cymbals, which responded beautifully to whatever touch or level of dynamics we play.  It's like the kit is helping us play better.  It's always a wonderful feeling to play musical instruments that allow us musicians to express better.

I felt very inspired after playing on Bagets' drumkit.  Why?  First, I'm so happy for Bagets' new endorsement deal.  I can feel the happiness of my mentor, knowing the musical hardships and frustrations he's gone through all these years.  He deserves all these blessings.  Second, it goes to show that being truly committed and dedicated to your chosen art has its rewards.  I am very aware that living a musician's life isn't a breeze, and there will always be tests and struggles along the way.  But, I believe that if we musicians just keep on improving and developing, expressing our musicianship with dignity and conviction, being honest with our work, sharing the bounty, and be an inspiration to others, then it's by fate that we'll be rewarded in some ways.

As for myself, I don't know if it will mean more gigs for me and my band, or a future endorsement deal, or whatever opportunity that may come...  To be honest, I don't really want to think about it.  I don't want to think about potential financial or musical success, or fame, especially.  Personally, I don't really want to become famous; but if it's bound to happen, I'm hoping that it will be in a positive way.  Anyway, it's perfectly normal to dream on.  But for now, I just want to get better as an artist.  And deep inside, I feel that if we just go on, keep on learning, working hard, doing positive things, and be the best that we can be with our chosen craft, the rewards will come someday.

I'm really feeling so inspired right now...

The Neil Peart Influence, Part 1: How I Got Into Neil, and Why I Revere Him So Much

Today is the birthday of Rush drummer Neil Peart.  Happy Birthday!!

Many great drummers from past to present have inspired me to become a better drummer and musician.  But no one else has inspired and influenced me more and in a life-changing way than Neil Peart.  He is, and will always be, my biggest drumming hero; my number one drummer of all time.  He not only influenced me as a drummer and musician.  The man is a genius; an intellectual, a philosopher, a writer, a traveller... a brilliant and worldly human being with an insatiable thirst for knowledge and a never-ending pursuit for learning. 

Many of my long-time friends are familiar with my reverence for Neil Peart.  Some of you might wonder how a drummer like me, who is currently grooving with an R&B band on a regular basis and playing mainstream music for a living, was moved by one of the greatest rock drummers ever. 

I first discovered Neil Peart and Rush back in high school.  I was around 14.  One day in school, I was hanging out during breaktime when I saw my friend and fellow drummer Rommell Garcia, and he's got this cassette tape in his shirt pocket.  Out of curiosity, I asked what he had there, and it was Rush's 1989 live album, A Show Of Hands.  That was the first time I saw a hardcopy Rush album.  I was already reading Modern Drummer that time, and I've seen those old Ludwig and Zildjian ads with Neil on it, and he was praised so much by his contemporaries and mentioned frequently in the magazine (and they still do up to this day).  I also recall a Neil Peart reply to one Ask A Pro inquiry, and I remember how long and detailed and convincing his response was.  So, I was like, I have to check out this Neil Peart guy.  I borrowed Rommell's tape, then listened to it at home after school.

From that moment on, life and drumming were never the same again.

Yes, I've become one of them; a Peart disciple; one of those thousands of drummers all over the world whose life was changed and enriched after hearing Neil and Rush for the first time.  It must be some kind of Neil Peart obsession phase or syndrome, which I'm sure many drummers can relate with.  I instantly became a fan, and got hooked to his crafty, muscular, and very creative drumming.  After listening to A Show Of Hands for the first time, that was it!  Going through the first few songs in the live album - The Big Money, Subdivisions, Marathon... plus numerous rewinds to recall those incredible drum parts...  It was magic for me.  I made a duplicate of that cassette tape, then studied it for hours and hours.

And the obsession continues.  After that, I tried to look for all the Rush recordings I can find (their albums are pretty much hard to find on this side of the world).  I went through my magazines and looked for any Peart-related article.  I went through their recordings one by one... Moving Pictures, Permanent Waves, 2112... And the list goes on.  I also got a video copy of A Show Of Hands, thanks to my buddy Michael Ong (guitarist of Fuseboxx).  That was the first Rush/Peart video I've ever watched, and thanks to that, it became visually easier for me to figure out the things he played on his massive wrap-around double bass drumkit.  The power, precision and craftsmanship of his drumming is phenomenal; not to mention, his integration of electronics and percussion instruments in his elaborate set-up.  Seeing his Rhythm Method drum solo on video also took my Peart studies to another level, finally seeing how he did his famous solo.  That time, the cross-sticking between the snare and floor tom was the killer for me.  It took me all summer long figuring it out and trying to play it on my kit.

Up to this day, I still follow Rush and Neil Peart.  Rush's newer albums may have mellowed by Rush standards, as compared to the more aggressive and exploratory nature of their classic 70's and 80's recordings.  But the magic is still there, and they never fail to amaze me.  I recently listened to their latest live recording, Snakes and Arrows Live, and they still sound so incredibly heavy, after over three decades of touring and thousands of concerts.  Rush's music and Neil's drumming is timeless.

I recently got my October 2009 Modern Drummer, and it has this feature on Neil, titled "Reasons To Love Neil Peart".  I am shocked that author Adam Budofsky confessed in the article that he "never loved Neil Peart", meaning, he never went through a Rush/Neil Peart obsession phase.  I thought it was funny.  But out of curiosity, and in order to confront his "Neil problem", he went through his research for this article, to cite the importance of Neil Peart in the art of drumming.  He also invited 30 drummers who served as "panels of Neil experts", which is amazing because these drummers come from all different fields and styles of music, from jazz to R&B to metal.  It goes to show that Neil's influence transcends musical boundaries; Neil's not just a rock drummer's drummer.

"Reasons To Love Neil Peart" noted 15 reasons/points on why Neil Peart is revered by many drummers.  Here's my take on each of those 15 reasons...

1. Inspiration

Neil Peart's intense passion for drumming, music and life is infectious.  Drumming-wise, his style has set a new standard, and has generated so much excitement to many drummers. 

2. Precision and Consistency

Rush is known for replicating their recordings in their live shows, and it's amazing that after all these years, Neil is still very solid and consistent.  Show after show, he is precise and consistent with his signature drum grooves and fills.  And I agree, that's a hard thing to do. 

3. Rising Above Technique

Neil is a technical drummer.  But what I really admire the most is how creative he is in using his technique to make their music better and more meaningful.  The rhythms and fills he created, it really fits the music of Rush.

4. Sound

Neil's drumkit sounds compliment his playing style.  Personally, I don't prefer high tunings on toms.  But according to the article, Neil tunes his toms very high (essentially in bebop range), which leads to an exciting, unique, and aggressive sound.  I agree that it works very well on Rush's recordings and concerts.  Neil's toms are very clear and articulate; one can hear the notes and identify which tom he's playing.  Adding to his drum sounds are his signature Sabian Paragon cymbals, which has the presence, clarity, and cutting power that can match his drum sounds.

5. Ability To Garner Respect, Even From Non-Fans

Whether you're a Rush/Neil fan or not, Neil is very well-respected in many aspects.  Everything he does, whatever he plays, writes, thinks, or stands for, he does it with dignity and conviction.

6. Expertise At Handling Odd Meters

My first odd meter lessons were Soundgarden, which brought me an understanding of how these are used in songs.  Then, when I discovered Neil and Rush, they took my odd meter schooling to the next level.  The best example is Limelight, where Neil smoothly shifts between 7, 6, 3, and 4 throughout the song.  Other examples of notable Rush songs with multiple meter changes are Jacob's Ladder (from Permanent Waves), Subdivisions (from Signals), and Freeze (from Vapor Trails).  I also dig how Neil mathematically breaks down or plays around time.  Examples are the "7/4 War Furor" section (3:54) of By-Tor And The Snow Dog (from Fly By Night), and the 7/8 instrumental sections of Tom Sawyer (from Moving Pictures).  Thanks to Neil and Rush, when I moved on to Dream Theater, Tool, Porcupine Tree, and other modern progressive groups who heavily use odd meters, I can already "get it".

7. Elaborate And Impeccably Designed Kit Setups

For me, Neil is the ultimate "poster" drummer.  I enjoy looking at photos of Neil with his massive and beautifully designed drumkits.  Neil's drumkits are also among the most recognizable, especially his wrap-around kit mounted on a rotating octagonal stage.  Neil's use of multiple percussion instruments such as crotales, tubular bells, cowbells and blocks are also noteworthy.  Many drummers dream of having a drum set-up as impressive as Neil's.  Some fanatics even duplicated Neil's set-up.

8. Desire For Self-Improvement

Neil considers himself as an endless apprentice of his chosen art form.  Even if he's already among the greatest drummers in the world, successful, multi-awarded and well-respected, he's not the kind of person who will be easily contented, resting in his laurels.  He has the endless desire to further improve himself.  During the 90's, he went to master teacher Freddie Gruber for further lessons, which has significantly improved his sense of feel.

9. Drum Solos

Neil Peart is a master of the art of soloing.  His innovative structured drum solos, a frequent highlight on Rush shows, continues to awe and inspire many drummers.

10. Precisely Orchestrated Parts

Neil has created some of the most memorable drum parts in rock music.  His grooves and fills on classics such as Tom Sawyer, Limelight, and YYZ (all from Moving Pictures) have become integral parts of the songs.  These songs won't sound the same without those exact signature drum parts.I also dig Neil's timely use of percussion instruments and effects cymbals.  Fine examples of songs with well-orchestrated drum and percussion parts are Mystic Rhythms (from Power Windows) and Tai Shan (from Hold Your Fire).

11. Incorporation Of Electronics

Neil is among those great drummers who are in the forefront of electronic percussion technology.  His integration of electronics in his set-up is relevant especially during Rush's "synthesizer years" in the 80's.

12. Hi-Hat Work

Whether incorporating it on fills or driving sixteenth notes, Neil's use of the hi-hat is noteworthy.  Some fine examples of Neil's amazing hi-hat work are La Villa Strangiato (from Hemispheres), New World Man (from Signals), The Big Money (from Power Windows), and Prime Mover (from Hold Your Fire).

13. Support Of Other Players

Somehow, I see Neil as an ambassador of drumming.  He is known to acknowledge or give credit to fellow drummers.  Even if he's more of a private person and is seldom seen on drumming events, he is very supportive to the drumming community.

14. Burning For Buddy

Neil is responsible for producing Burning for Buddy, an all-star drumming tribute to the late great Buddy Rich.  It's wonderful that Neil thought of organizing such a project to honor one of the greatest drummers who ever lived.

15. Elevation Of The Perception Of Drummers

Neil's impact on all of us drummers from different walks of life and fields of music is very significant.  Neil has helped put drummers on the spotlight.  He is continuing how Gene Krupa elevated the status of drummers as being the guys who "just hit things and make noises on the side."  For me, Neil is a "thinking man's drummer".  His care, intelligence, and worldliness (according to the article), plus his boldness, creativity, passion, and inner drive and desire brought the art of drumming to higher levels.  Add his brilliance as a lyricist and writer & his zest for life, reflected from being a reader, philosopher, adventurer, traveller, motorcyclist, and cyclist.  Neil Peart is one brilliant human being; simply one of the most inspiring individuals on earth.

All photos from Drummerworld.com.

More Neil Peart blogs soon...

Tama Starphonic Snare Drums... *wow!*