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This blog is intended to help beginning drummers with a logical and systematic method for finding their OWN IDEAL positioning for the components of their drum kit. The emphasis is on comfort and easy playablity and NOT "cool" looks.  Lots of beginning drummers know where the various components are usually located when the drums are set up. If you DO need a quick familiarization of drum terms, then here a really GOOD one that Rob (Little Drummer Boy) has created: http://www.drumsoloartist.com/live/drumforum/index.php/topic,334.0.html Therefore, I will talk about specifc adjustments and will not deal with definitions of various drum set components. We can easily see that the drum set mounts and stands are adjustable for different heights and angles. The bass drum pedal and hi hat pedal are also adjustable. This allows the drummer to get every component adjusted to their own personal preference. 
That's one of the unique situations about your drum set....... you have the ability to position the components so they are comfortable for your playing. Everyone has different heights, arm lengths, and leg lengths…..so everyone has slightly different placements that feel better for them as individuals. I’ve often seen beginnings drummers want to set their drums up to visually emulate the drum set-up of a favorite drummer. That may or may not work best for them because of their physical characteristics. So where do you start to get the best set-up for you? I’m going to use an illustration with a five piece drum kit, two crash cymbals, a ride cymbal, and hi hats. I realize that not every beginning drummer has THIS particular configuration, but it will work fine for the explanations I’m going to provide. Where do you start first?  Drum Throne (stool) Although this is often the least considered piece of hardware, it is the very foundation of your balance…..your stability……your comfort……and it should be suitable for anchoring your body for long periods of time at the drum kit. The seat should feel “good” to sit on. Most of the really cheap thrones actually DON’T feel that good to sit on…..much less for long periods of time. So, do yourself a favor at the very beginning and spend a few more bucks for a good, solid drum throne.  It should be sturdy enough, so the upper tube won't slip from your body weight sitting on the seat. A memory lock for the vertical tube is a really good feature, since it helps to lock the position in place. You should adjust you throne so that the seat does not cramp or bind at the place where your underside thighs hang off of it. For those who play “heel” down it is usually best that your legs make basically a ninety degree angle to the floor. For those who play “heel up” or maybe even BOTH “heel up” and “heel down”; I recommend elevating the height of the throne just a bit more…. so that even though you heel touches the pedal, it isn’t supporting the weight of your legs on the floor. Bass Drum and Hi Hat Place the bass drum and the hi hat at distances so that your feet are comfortably positioned above and on the pedals. This is why the height of the throne IS SO IMPORTANT. Unless your foundation is solid and comfortable, you will fatigue easily and never get the control you need to master the feel of these components. Play some patterns with just these components. You may find that you will need to alter the height of your throne, or the distance of the hi hats and bass drum to get these positioned for your own ideal feel. Snare Drum and Hi Hat Height Next, set up your snare drum stand and snare drum. Depending upon your seated height and arm reach, this positioning will also be unique according to your own body characteristics. Some drummers play the snare drum where the drum head angle is tilted. Some prefer the snare drum set perfectly flat. The most typical angle today, seems to be with the head tilted slightly toward your crotch. HOWEVER, position it WHATEVER WAY is easier for your to play on it. The trick is to adjust the height and angle so that you can play with you wrists and arms relaxed. You should be able to comfortably play a stroke or a roll, as well as a rim shot, at the angle that best suits you.  Next you want to raise or lower your hi hat height so that the top cymbal is comfortable to play on……and so you don’t accidently smack your snare drum hand while playing a hi hat cymbal pattern. Most drummers seem to have the hi hat height a bit higher (to significantly higher) than the snare drum height. Again, it is a matter of finding the most comfortable playing position. Rack Toms You may have one rack tom…..you may have three, but for the sake of this example I am assuming two. Today’s modern tom mounts permit quite a bit of flexibility, so it is worth it for you to spend some time finding out exactly where your ideal playing positions will be. Some drummers mount two rack toms on a floor stand with the snare drum almost against both of them. This has become a popular way to position them over the years. Other drummers mount the rack toms onto the bass drum with one tom almost touching the snare and the other tom to the right of it (in a right handed set-up). The typical tilt is slightly toward you to facilitate a solid stick impact position. Extreme angles, though sometimes used, do tend to make the stick impact position harder on the wrists for some players. One again, the key element is to find a comfortable position where you can move from your snare drum to the rack toms in an easy flowing movement. You don’t want to have to move your arms and wrists too far because you sacrifice comfort, speed, and control. Floor Tom At this point, you have found the most comfortable playing positions for your throne; your bass drum; your hi hat; your snare drum; and your rack toms. It is now time to position your floor tom. If you have your rack toms on a floor stand, you need to simply find a comfortable position for your floor tom beside your right leg (in a right-handed set-up). If you have your rack toms mounted on the bass drum, you can place your floor tom next to your right leg (in a right-handed set-up) and almost against the shell of your second rack tom. The height and head angle of the floor tom (as with everything else) depends on what is most comfortable for you. Some drummers prefer the floor tom slightly lower than their snare drum. Some drummers like it tilting toward them while others prefer it flat. It’s completely a matter of whatever position that allows you to move from your snare drum or rack toms in a smooth flowing motion. Cymbals The ride cymbal is typically played with the right hand in a right-handed set-up. Many drummers prefer it set fairly low to the side of the second rack tom and the floor tom. This allows you to comfortably play on different places on the surface and bell of the ride cymbal. Drummers who prefer this position usually do so because they find it tiring to have to raise their arm to play the ride cymbal in a higher position. If you do tire from having your arm raised when playing the ride cymbal you can loose control of both tempo and feel. Now there are many drummers that DO play the ride cymbal in a higher position. Some folks think that having the ride cymbal set up high looks very cool, but once again, you need to place it in a position and tilt angle that is most comfortable for you to play it. If that preferred position IS HIGHER and you CAN COMFORTABLY play it that way, there is no rule that states that you can’t do it that way. The crash cymbals to the left and to the right are the final components to place. In this sequence of finding the IDEAL spot for each component, these cymbals should be placed where you can play them without having to overreach. The left crash is often seen placed between the hi hat and the first rack tom; tilted so that you can easily crash the edge but also play the bell if you want to. The right crash is typically placed to the right side of the ride cymbal at a height that is easy to play off of either the ride cymbal or the floor tom. That’s it.  This systematic approaching to positioning all the components of your drum kit is based on finding the IDEAL placement for your physical characteristics. There is no reason to pretend that a placement is comfortable when it really isn’t. Your playing will suffer if you elect to go for “look” instead of playing comfort. Now that you have found YOUR personal set-up preferences, here are another blog that may help mark them. http://www.drumsoloartist.com/live/blog/view/id_170/title_beginning-drummers-setting-up-your-kit/ If you are a beginning drummer with trouble getting everything in a comfortable playing position, then maybe some of these pointers have helped. Cheers! KEN SANDERS IBJAMN in Nashville
Tags: Beginning Drummers
I have added some new cymbals to my stash and wanted to share my impressions with any of you who might find that of interest. Let’s first talk about the “vintage jazz cymbal sound” for a moment. For many acoustic jazz drummers the "ultimate find" is vintage K’s that have the sound characteristics that we’ve heard on recordings of many famous jazz drummers of the 40’s, 50’s era. However, the reality is that those old K’s had a lot of variation from one cymbal to another.....in other words, each one was a rather unique instrument. Therefore, an old 20” K with a sound that YOU like…… might not be anything like a 20” K that some other drummer might have. Listen to the sounds of a ride or crash on an Elvin Jones recording; then a Mel Lewis recording; then an Art Blakey recording, etc. You will hear that just as these Jazz Greats had THEIR own snare drum sound; they also had THEIR own CYMBAL sounds. Part of their "signature styles" were their strokes and touch. And part (with cymbals being so important in traditional jazz) were the variations in their "K" sounds. I went through the above explanation to talk about the Paiste Traditional Series cymbals that I recently picked out. I am happy to say that there are several models that should allow jazz drummers to select something they really like. This Paiste series really does credibly recreate those vintage sounds that some of us really drool about. Now, these cymbals are not focused on cut and high volume. They are made to respond to your own tone extractions and expressions........ in a smokey, moody, slightly dirty sounding way. They have that giving feel that responds instantly. You can play on the various spots of the cymbal surface and find a lot of variations. I wanted to go after that darker, shimmering sound for my acoustic jazz work….but I did not want to really zero in on mimicking the sound of any particular drummer from the sacred jazz past. It was hard to narrow it down, because I wanted them all! Well, back to reality.....I chose a 20” Medium Ride, a 16” Extra Thin Crash, an 18” Thin Crash, 13” Medium-Thin Hi Hat Top/ Heavy Bottom, and finally an 20” Medium-Light Swish. In some of the other Paiste Cymbal series, consistency in models of the same size and weight is a characteristic that Paiste markets with great pride. For some styles of music that is a great selling point. However, with the Paiste Traditionals series that is NOT the case at all. Like the old K’s you have to go through several of the same model cymbals to find the special ones for your touch. They do vary from cymbal to cymbal...... enough for each cymbal have a unique sound personality and feel. That is what they are really all about....that special combination of sound and feel. For me, that was part of the fun……actually picking out what I wanted to be my unique sound from these cymbals Well, like I said….this piece was to share my impressions of these cymbals. I do use some of the other Paiste lines in my work (Signature, New Signature, 2002) and enjoy them for the sounds they produce. However, the exploration into the Traditional Series was a fun and rewarding indulgence. I don't imagine that I'll use these cymbals for arena venue dates , but on the traditional jazz dates they have been an absolute blast.   Until next time, Cheers! Ken Sanders IBJAMN in Nashville
Tags: Paiste Traditionals
I talked to Nashville session drummer, Craig Kampf at Fork’s a few days ago. Although, like me, he is a “senior” now  , he is still rocking…..still writing…..still producing….and still playing drums. He had just played a show with the famous L. A. studio greats, the “Wrecking Crew” the week before. He was excited because Hal Blaine had asked him to join in and play percussion with them at the show. Craig considered it a very special honor! Now some of you may not recognize the name Craig Kampf, but he has played on over 200 albums, including 60 "Top 40" hits, plus many movie and TV soundtracks, with over 60 Gold & Platinum awards. He has drummed and played percussion on several Grammy winning and nominated songs and albums. He also writes. For example he co-wrote "Oh Sherrie" with Steve Perry. That kind of song can keep those royalty checks coming in!  Here is a sampling of some of the artists he has worked with: Leon Russell Steve Perry (of Journey Fame) Alice Cooper Kim Carnes Melissa Ethridge Dolly Parton Nick Glider Flo and Eddie (the Turtles) The Motels (Martha Davis) Patty Loveless Tanya Tucker Alabama I asked about his drum stash from his long-standing relationship with Camco Drums and later with Rogers Drums. He had only a few, and really regretted not keeping so many others. Some of his very favorites had also been stolen over the years, including some that had been on some very historic recordings. He commented "We all need to learn to watch our gear when we are storing it, don't we?" As far as endorsements, he laughed and said yes, if you want to shut down a successful drum company just sign me on as an endorser. He mentioned that, however, those days were like living a dream. Craig did many ads for the products he endorsed and was even on the cover of a catalog for Rogers Drums. He is quoted as saying "I used to see Gene Krupa on the covers of those old Slingerland catalogs and dream---and now, here I was on the cover of the Rogers catalog. Dreams really can come true." And speaking of dreams, Craig's pursuit of performing music is always characterized by drumming that is full of heart and passion. Robyn Flans perhaps said it best in her Modern Drummer article: "The energy Craig transmitted as an 18-year-old is no different from what you see now. More than 25 years have passed and with that has come a lot of experience, but the spirit remains the same." “Craig is known for playing with abandon. He is the perfect combination of raw and polished: perfect in his time and all the necessary recording techniques, but with the heart, guts and soul of an 18-year-old rock'n'roller." "This desire for making music that is full of passion and heart can be evidenced in all three areas of the music industry that Craig has established himself in---as a musician, a songwriter and as a producer.” Craig is a great example of not only playing for the song, but also for coming up with original ideas. He said that main goal was to make the song feel great. Craig also mentioned that he had always tried to go that extra mile for the people he worked for. You can feel the enthusiasm when to speak to Craig, and his career accomplishments certainly are proof of the impact of that enthusiasm. I must also point out that Craig has performed pop, rock, jazz, country, and the “mixture of everything” required for TV and movie scores. certainly He is certainly NOT a one-trick pony. For young and aspiring drummers, these are certainly some good things to ponder. Well, until next time……… CHEERS! Ken Sanders IBJAMN in Nashville, TN
Tags: Session Drummers
TUNING FOR “THAT” SOUND Okay….granted….this will be a “duh” statement…..but tuning drums is a personal thing. Some other drummers can graciously share how they achieve the sounds made by their drum kits. It may be exactly the tip you needed to create that very exact sound with your drums…..if that’s what you need for your performances. I have heard many drum sets that sounded amazing with music being performed, and I was certainly impressed. One drummer can have a great sounding kit that works great for his/her situation, but it may not necessarily work for YOUR situation(s). Maybe another way of expressing the concept is that: not everyone chooses the same “flavor of ice cream”….although they ALL may be really good! I really like the fact that…with drums…. there are many, many variations that they all can sound very cool within their own unique musical contexts. Plus some drummers have their very own “signature sound” and don’t want to sound like the other drummers. Just think about it a moment. A great many (if not all of us) will agree that snare drum tuning possibilities seem endless and that bass drum sounds go way beyond just whether you have a hole in your front head or not. MY PERSONAL SITUATIONS For my work, it is quite possible for a drum kit to have a killer sound in one performance situation and then be very out-of-context for another kind of performance situation. For example, I know when I use that deep pitch-bend rock-style tom sound that it takes a heavier stroke than the acoustic jazz tunings for producing a rich full sound using a lighter stroke. Those are the opposite ends of the drum sound continuum for me. It may not apply to your work, but I perform a lot of different styles, so one drum sound just doesn’t cover it all for me. My sound combinations are affected by the musical genre I will be performing. So, I use different sized drums; different kinds of heads; different pitches and relational tunings depending on the style of music I’m being paid to do. My jazz set; my big band set, my pop/rock/country set and my funk/fusion sets…..all…. have distinctively different sounds. The jazz set has to sound full and rich in low and medium volumes. The big band set has to go from soft up to powerfully kicking an 18 piece band shout chorus (with anywhere from “no sound reinforcement” to “just bass drum and overhead” microphones). The other sets are close mic’d and those weird harmonics and overtones have to be minimized. So basically for me, anyway…the different venues…..and different genres affect the way the kit is set up for sound and functionality. Now there are, indeed, some really good tips on this site, and perhaps on the web; for seating new heads, sequential tensioning, and even selecting the heads with the sound characteristics that best suit your needs…..but the drum sound you tune for always comes down your own preferences. Obviously there are so many things affect the sound of drums other than the sizes and the drum shell material. That can include the combination of batter and resonant heads (same thickness?…different thickness?…coated?….clear?…..muffling/overtone control head designs?, etc) the tension/pitch relationships of the top and bottom heads, as well as, the size sticks you use and the way you play your stokes. My point is there are many, many variables…..and although there are some “wrongs” (i.e. uneven tension that can warp the hoops and stress the drum shell….) ….there are multiple “rights”.
IT JUST ALL DEPENDS ON THE KIND OF SOUND YOU WANT! Well, until the next time…. CHEERS! KEN SANDERS IBJAMN in Nashville
Tags: Tuning
The 2008 Summer NAMM (National Association of Music Merchants) exhibition has been here in Nashville this past week. That event made way for all sorts of parties and special musical performances every night. For me the very coolest was a surprise special performance by Hammond Organ endorser/artist, Tony Monaco. The show was at a small intimate Nashville jazz venue last night (Saturday). Tony played selections from his recordings, and was accompanied by guitarist, Jack Pearson and Nashville jazz drummer, Jim White. I want to discuss Jim White and his performance last night because it bears real examples several comments I have made in some of my other blogs on this website about drummers and jazz playing. First, a little background about Jim White. He is already well on his way to being a major league jazz player. Though Nashville is now home for Jim since 1995, he is originally from Atlanta, Georgia. He holds a Bachelor of Music degree from the University of North Texas and a Master of Arts degree in Jazz Studies/Composition from Middle Tennessee State University. These are impressive credentials in my opinion. Jim has performed with many top jazz artists including Maynard Ferguson, Rufus Reid, Joey Defrancesco, Bela Fleck, Jeff Coffin, Rich Perry, George Kirk Whalum, Annie Sellick, Charlie Peacock, Kevin Mahogany, Steve Wilson, Art Lande, Bob Sheppard, Benny Golson, Jim McNeely, the North German Radio (N.D.R.) Big Band, Eric Alexander and many others. He is also an active educator, performing clinics at many universities and jazz festivals throughout the country. In 2005, he joined the faculty at the University of Northern Colorado, where he is currently Assistant Professor of Jazz Studies. I think we can all be equally impressed with these career accomplishments he has already.  Last night Jim performed on a very cool four-piece set of old 1980’s era “Series 9000” Yamaha drums……14x18, 8x12, 14x14, 5x14 sizes and his selection of Bosphorus cymbals for the gig. His technique was amazing. His time was firm but with room for Tony's emotion and mood interpretation. His solos were blazing with intensity, and his subtle brush work flowed so perfect. He used no microphones. The room was very old with hardwood floors and a high ceiling that let the sound fill the room with a very natural…unprocessed feeling. When playing the funk/blues/jazz style drums in an organ trio, the drummer must keep pulse and feel moving without a bass player. Since the organ player is doing both chord structures and playing the bass lines…the drummer must hold the time firm, yet still allow some very slight wiggle room for the organist to express himself. That’s a fine line skill that comes from experience and careful listening. Jim handled all of that so well last night. To tell you the truth, it is that slight time variance that gives the music some genuine human emotions that can be experienced by the listner. Maybe, you haven't thought about it, but you have most likely seen symphonic conductors do this in a much more obvious way. So, in an organ trio, the organist might be analogous to the conductor, as far a setting the musical moods. That's something for you to think about as you listen to some of the famous artists in their small ensemble jazz recordings. As I have written in another blog, jazz, and especially jazz organ trios, place the drummer in a unique “sound mix” situation too. Drums that are not tuned (pitched) to handle this musical genre can get lost in the organ’s complex multi-layered wall of sound. In an intimate jazz setting, you don't slam the drums into the mix with muscle. No, you tune the drums to have tones that are distinct at all dynamc levels. It's not only tempo and dynamics, it is also about tones...textures....and sound colors. Jim was hip to all of this. He had his drums tuned up higher than he would normally use for contemporary pop/rock pitches, aided by the fact that he used a smaller diameter bass drum. That works to assure his “drum voices” are not lost in the overall mix. He was therefore, able to play his drums at volumes that allowed their beautiful tones to layer into the music. On each tune, Jim displayed his amazing chops and his mastery of this style of drumming to everyone there last night. You could hear the expected historic influences in Jim’s playing, yet his own definite bluesy funk groove was right there when the music needed it. To my ear, Jim’s powerful passages had the energetic passion of drummers like Tony Williams and Elvin Jones, although in a more bluesy context (in keeping with Tony Monaco's music). But his ability to also play those delicate passages with such finesse stirred memories of Jo Jones and Max Roach. Add to that Jim’s own very cool stylings, and maybe you can start to understand just what a remarkable drummer he is. Seriously....very cool. In other blogs, I've discussed the importance of having a well-rounded knowledge of all kinds of music. Jim was well prepared to perform these styles needed last night from a combination of his objective study of music; his focused listening skills; and certainly his ability to practice and master the techniques. Then the real acid test…..using his talent and taste; as well as, his confidence to bring out the ideas stored away in his mind’s drumming arsenal….to immediately and effortlessly translate them to his hands and feet to produce “just the right” drum/cymbal sounds in “just the right” places in the music. That takes all of the skills to which you add your own impressions and reactions. Jim's performance, in my opinion, was a great example of the real beauty of this American musical art form we call jazz. The creation of improvisational music……interacting with the other musicians…….performing original variations of tunes…..and it is all created right before your eyes and ears. That to me is very magical……and I thank all the wonderful musicians who spend a lifetime preparing to make those special moments happen……and make them feel so good. Keep the name Jim White in mind. You will certainly hear his name again and again in the future. Well, until the next time.....CHEERS! Ken Sanders IBJAMN in Nashville
Tags: Jazz Drummer Jim White
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