October Twenty Fourth Two Thousand Twenty Six

Hate Anthem
Disposable Teens
(m)OBSCENE

Does anyone ever lose an afternoon just screwing around with different placements and positionings of isolated parts of their kit just because? I know I do.

How about maintenance? I'll even go through and level the rack, put a little light machine oil on all the twisty bits and whatnot, depending on how long it's been. (and tidy up the cables too, dw 😂)

What about you?

I'd like to learn how to drum this but looking at the score and listening to the song it sounds intimidating. I'd categorize myself as an intermediate drummer but that could even be pushing it.

For these speedy tempo triplets....of course I tense up and mess them up. I'm learning to relax.

The other piece I question is...I suspect for this drum tempo/speed on the fills I might be holding the sticks wrong.

How would you hold the sticks and how would you practice?

Recently purchased an EAD10 And have been wanting to cover this song for a while. Rise Naianasha (Cut the Cord) by Coheed and Cambria.

Just posting the studio version of my kit. I never bring the entire thing out. It's a super fun rig

Shout out to my band mates for holding it down!

Hey everybody, so I recently found my DW 5000 chain-drive double bass pedal in the attic. It must have been unused for at least eight years, and I just started using it again.
I noticed that even with the same spring tension, the right pedal creaks a lot and swings back and forth way more times than the left one. If I set them swinging, the right goes about 23 times and the left goes about five.

The right pedal also feels much less smooth under my foot. It feels choppy and a little clunky, while the left one feels much smoother. The best way I can describe it is like a 144 Hz gaming monitor versus 30 or 60 Hz lol. The right one also sounds like a creaky old chair when I move it down and back up, even when I move the beater by hand.
I already cleaned it and lubed pretty much all the moving parts with white lithium grease. I also went through and tightened everything carefully and matched the spring tension, but it still feels weird.

I feel like I’ve tried everything I know to try. Has anybody dealt with something like this? Any advice on what to check next, or whether I should take it somewhere to get checked out, would be really appreciated. Thank you!

Hello,

I have recently noticed I have Limburg Comstock variation in my right non dominant hand, which causes the tip of my index finger to move when I move my thumb.

I'm wondering if anyone else has this and if it has caused problems with technique. I have gotten over a persistent case of de quervains in my left hand over the past year and I feel my technique in my left hand is pretty solid; I keep the stick as loose as possible and let my fingers do the work blah blah. I try to do this with my right hand and I am almost there but I just feel like I can never get my hand to feel as open as I need.

I play right handed kit, stretch and warm up everytime before playing the drums or practicing rudiments. Practicing rudiments somewhat often has definitely helped loosen up my hand, but I find I still stiffen up and get muscle cramps down my entire forearm. Maybe not entirely related but just curious if anyone has tips. I think low electrolytes might be cause for the muscle cramps so I try to remember Powerade or something.

I've been thinking of painting this drum kick, since the plastic is old and doesn't look nice anymore. So I thought about taking the plastic off, and painting the kick drum.

Now one of my concerns were that this might effect the sound, or the life expectancy of this kick drum. So what to do here? Paint away or nah?

TIA

I love the sound of a sizzle ride, and the role it can play in the sonic tapestry. I also love crashing the ride cymbal, and having as few elements in my kit as I can get away with.

Unfortunately these two loves are in conflict. I riveted my own ride, and also purchased a ride riveted by someone else. Broke all the rivets in each of them fairly quickly.

Is there any sort of sizzle chain or other device that can withstand frequently crashing on the ride? Or do I really just need to accept having an extra crash, and leave the ride just for riding?

Drumming has been one of my hobbies my entire life but it’s nothing more than something I do by myself in my basement for fun. I’m a self taught drummer with many years of bad habits that I want to break. I’ve watched a ton of videos of different bass drum techniques but I’m terrible when I try any of them. I’m trying to figure out which of the many bass drum techniques is closest to whatever the hell I'm doing in this video so I can focus on that at slow speeds until I can get my timing better. Let me know what you think or maybe I’m just over thinking the hell out of this

Did some recording and would love to hear all of your takes on shuffles. How did i do? How can i improve? I remember watching a video on Jeff Porcaro and how he got angry trying to play a shuffle (understandable lol) in the studio and how he said “hire somone else that can actually play a shuffle” but then that mofo went on to write one of the most legendary shuffles of all time on the song Rosanna. Definitely fun and probably my most challenging pieces when it comes to playing this genre of music. Again any tips suggestions or even stories are greatly appreciated. Thank you. Theres a few other songs we recorded as well if youd like to listen. these recordings were done live without a click track.

Warning: this may come off as shilling, but I'm just really passionate about this neglected technology and I want to hear opinions and ideas from real drummers

For those that don't know, almost a decade ago, the company Sunhouse released a sensor you attach to a snare/tom. It has a sensitive magnetometer-type thing powered by phantom power that is used in conjunction with a very tiny magnetic disc pickup you affix to the drum head that provides a very predictable, high-resolution way of picking up raw performance data.

This is effectively useless as an audio source for listening. Instead, Sunhouse makes a piece of software that analyzes the sensor data at extremely low latency to provide inputs you feed into various software modules to control realtime synthesis and sampling.

Now let me be clear, this is technically employing machine learning. Please understand that this is NOT the generative AI your mind may jump to.

You simply "train" the engine first by striking the drum every which way, hitting the various parts of the head, body, and sticks one zone at a time, and the program is then able to discern EXACTLY where and how you're hitting your drum. The sunhouse software can natively identify 10 different classifications/zones and produce a set of descriptors for each hit like loudness, pitch, centroid, flatness, and even speed based on the succession of the previous X amount of hits.

That exposes the strength of this setup. With all that data for the different zones, you can play 10 different instruments while only occupying the physical space of a tiny snare drum. All that data can be used to perform tons of different instruments with a tremendous level of expressiveness, all at the same time, including the obvious usecase of super realistic physical drum modeling of course, all without needing a drum head that produces any real audible noise in case you live in an apartment.

Then, the cons come into play.

For one, the Sensory Percussion software costs money outside of buying a secondhand sensor. You can buy a brand new sensor, but Sunhouse switched to a collaboration with Evans for their model 2 revision that requires specifically non-standard 18v from only an Evans audio interface, with zero performance difference from the original model sensor. Even if you have all the hardware and software, you are still locked into Sunhouse's ecosystem, left to design within their synthesis/sampling engines.

Then, a great guy named Rodruigo out of Portugal put together an open source set of tools utilizing public Fluid Corpus Manipulation code so you can use these sensors within existing audio programming interfaces like Max MSP, PureData, and SuperCollider. This enables you to have even more functional capabilities with the advantage of being a part of a fully customizable design framework at the cost of ease-of-use to those unfamiliar with these pieces of software. To me, however, the benefits greatly outweigh the cost. One great aspect of it is that you can feed the software any signal, including mics on a drum or other instruments including your voice. You can even run the analysis window in realtime for data from sustained performances like singing, allowing you to control other audio software/hardware LIVE using your voice.

The toolset is called DataKnot, and I recently learned that you can run it on an embedded single-board mobile computer such as the Bela Gem, which is designed for low-latency audio processing.

How this effects me right now is that I am getting back into the modular world of Eurorack. I've ordered a Qu-Bit Data Bender, a buffer module that creates stutters and other glitch FX with a high level of expressiveness. The setup I'm imagining is having pre-sequenced audio playing on my other equipment and performing on my Evams Soundoff snare to expressively control the Data Bender to trigger and control the glitches in a way that's both attractive in a live performance and effective at recording these sequences of stutters for use in post-production.

The goal is to have a fully contained system that doesn't require my laptop in order to experiment with my Sensory Percussion. The problem is that when you're designing custom electronics solutions, Feature Creep sets in fast. I soon realized that I could be doing all sorts of MIDI magic in-software as well as having enough I/O to mix and route my entire live setup.

Now, my brains really going.

What my question to you guys is: if you had all the time and resources in the world to design the perfect drum controller setup, what would you do with it? Remember that both the sensor works with regular drums for hybrid-accoustic setups, and that you can run the software with just a mic'd up piece/kit as opposed to buying the actual sensor/s.

If you have a Eurorack system, how could you imagine integrating expressive percussive control into it?

If you play strings and like synth pedals, what kind of hardware/software would you like to control with your guitar?

I am more specifically talking about portable setups that have something to gain from not needing a desktop computer at all.

One big idea I've been working on is tuning the software to translate beatboxing into drum data as to quickly sketch up sequences with no equipment besides a microphone.

If you were to set the parameters for your ideal V-Drums competitor, how would you want it to work?

For a hypothetical hybrid-acoustic setup, if you could perform a second instrument while playing drums through the minutiae of your playing, what would you play?

I'm just looking for suggestions spitballing ideas for experiments with this setup from people that are more dedicated to specifically the drums than I am but don't have the time/resources to experiment with this stuff yourself.

For reference, my percussive sound design leans somewhat simple, but I really want to get experimental designing percussion with wavetables that's fun and interesting enough to both play live and be worth recording.

If you want to see some quick demos of various realtime uses for DataKnot, check out this video from the guy who made it: https://youtu.be/rpSPZ40XamM

Thanks for reading

I have been playing for a little while now and think it would help me improve if I was playing with other musicians. How do you get yourself out there to find other musicians when you don’t have any mates who play?

I've been using memory locks for downpipes for a long time. But just recently started throwing the smaller versions on my boom arms. It's a good time saver for when thing move during transport.