Hello dear Phil, I've been watching your channel for a long time and I'm thrilled. Briefly about myself, I am now 66 years old and have been playing drums for about 50 years, of which about 35 years professionally. I've already practiced some of you and it's very inspiring. Come from the Dante Agostini school. I don't know if you know them now. Is very popular in France. Just wanted to say thank you . King regards from Germany Christian.
Great video Phil, as always! And great tip on the snare tilt. Posture it’s a topic I really enjoy learning about. It’s unbelievable how just few centimeters can make a huge difference on how comfortable and loose you feel behind the kit
Great video and Exercise Phil. All these years watching all you Pros couldn't figure out how moving around the kit was fluid with not cross overs. Also, for you lefties (like me) the lead hand is reversed. When Phil indicates LH lead, for us it's RH, and RH lead will be our LH. 🙏
Hi Ron! Good points! Left handed players have to go through a lot of possible misunderstandings and I am glad you pointed that out! Thank you for the great post!
I've recently altered my tuning, for years I went for a slack type thud on toms but I've always known live at distance or with mics the frequencies get lost and the volume is also lacking. Known it for years, but was too stuck in my ways . Got sick of feeling I had a very loud snare and the toms vanished on band gigs. I took the pitch up and cranked the bottom heads up quite a bit especially on the floor tom and floor tom came alive . Resonat head way up on 16 floor tom is a winner that I never expected. I stuck a moon gell to take a bit of ring off . But the volume of the kits toms doubled and on gigs they finally cut through the mix . But just taking the bottom heads up the batter heads rebound way more if players still like a slack ish batter. With 2 toms up front it can feel like I'm playing a snare on a stand too far away , Very uncomfortable, it uses different arm positions , to help with those 2 toms I'm using a slight upper body lean in , Thomas Lang gave that tip and it helps . But I don't like the way it shifts my core balance. Terry bozzio has a million toms and uses a windscreen wiper motion that sits between 2 toms. I dipped my snare forward as you demo and played it for about 3 hours for 3 days and then put it back to flat . I can definitely feel its more alive with the tilt for rebound. When trying something new I always give it a valid testing time then compare . A bizarre thing I see and really don't get is people setting up a floor tom way lower than the snare. I totally agree with rebound being the center of hand technique and a bit of everything on top of it, It needs that initial getting off the surface. Your videos have transformed the way I'm playing everything. Thanks . I have 2 toms up front and 1 floor . Movement wise at speed getting on and off tom 1 is my hardest move as my limbs have to be thrown more distance it's a lot of inertia of moving mass of limbs to over come . That tom just feels too far away and it's close up .
Man what a great post bro! I really appreciate you sharing your thoughts about this and I hope many people will read this. You are not alone on the journey. Many of us have gone through all the things we drummers experience and understand you big time! Big greetings to you from Bali!
I came to the same conclusion about why toms are awkward and its " not having spent much time doing that move on that drum " in 1998 i met mike mangini and he said he would spend a full evening just going between 2 toms and do only that move for hours. Mike had way more natural flow in his playing back then ,hes so focused on perfection now that hes ended up sounding digital. I wish more people could have heard him then. Im spend a lot of time on things i have trouble with using his method. Its basically reps of it and counting out loud , the counting is more difficult than you expect and its meant to be an added layer of distraction. Counting is like limb glue. The counting is to 100 but if the phrase is just LKR triplet ,played as 16ths thats 8 of them per bar x 100 =800 reps . The counting method is actually hard as it's full counting out loud, seventy-five and 2 and 3 and 4 , seventy-six and 2 and 3 and 4 seventy-seven..... Hard to think where the hell you are with the phrasing of long words. It adds a layer of complexity that forces you to put something on auto pilot to pull it off . I do it to add a layer of chaos to practice that is like the distraction that's happening on stage . In practice doing 800 of anything isnt going to happen normally. Practice tends to be very small amounts of time spent drifting across a lot of topics. So the amount of time id normally spend doing that 1 move is probably in the seconds and even a years practice would cover around 10 mins on that move . Then wonder why it sucks. He recommended doing a fixed move phrase like that for 90 mins 4 times a week for 6 weeks and it's "burnt in" to the point that it will appear in playing and stay in , rather than forcing it in . With a learning method that says" 90 mins" that's a long time but if the move is LKR it's OK to sub learn the phrase as KRL RLK . Or double it as LKRLKR or a version with different accents . It's all covering the same movement. I play hi hat foot 4s though everything I do to give context. Without it it's hard to hear where phrases are starting or going from down beat to up beat . But i see a few Instagram drummers only playing 8ths with left foot and that's fine at slow tempo but they don't get that playing the same thing with left foot 4s is a drastically different feeling of the phrase. It's not as simple as " I'll play 4s later when I've got it " Phrases that are 3 suddenly have a feel of 6. Whole new feel with 50% less time markers to guide it. Playing 8th foot also puts a speed cap on the phrase, as playing 16ths with hi hat foot is crazy . Playing quarters let's a phrase become 32nds when the tempo moves up. I also try to respect playing new phrases at the lower tempos till its smooth. Practising slow often is left behind as soon as a phrase can be sped up but those lower tempos of 80 to 100 are very common and if my phrases suck at lower tempo I'm going to suck on a lot of songs. All my fills will have horrible time . Plus at the other extreme a lot of linear stuff can become useless at high speeds as it sounds like a car crash in a drum shop. Sorry for the rambling text . I ramble. @@philmaturanodrums
Codes for unlocking the drum set. Thanks, Phil, as always, you are the doctor that fixes what ails us! Two rounds of the magic sticking on the kit and call me in the morning. :)
Hello dear Phil, I've been watching your channel for a long time and I'm thrilled. Briefly about myself, I am now 66 years old and have been playing drums for about 50 years, of which about 35 years professionally. I've already practiced some of you and it's very inspiring. Come from the Dante Agostini school. I don't know if you know them now. Is very popular in France. Just wanted to say thank you . King regards from Germany Christian.
Excellent video Phil, you should do one about rebound using rudiments and rudiment variations around the set. Keep it up with the great content!!!!
Hi bro! We have one here on the channel. th-cam.com/video/Xk2lnYlfkws/w-d-xo.html
Enjoy :-)
@philmaturanodrums Awesome, I will check it out, it could be an extensive topic though. Great lessons, congrats!
Great video Phil, as always! And great tip on the snare tilt. Posture it’s a topic I really enjoy learning about. It’s unbelievable how just few centimeters can make a huge difference on how comfortable and loose you feel behind the kit
Hi Ale! Yes its amazing right? When i discovered this it also changed my life on the kit! Thanks for writing in buddy! All the best
Great video and Exercise Phil. All these years watching all you Pros couldn't figure out how moving around the kit was fluid with not cross overs. Also, for you lefties (like me) the lead hand is reversed. When Phil indicates LH lead, for us it's RH, and RH lead will be our LH. 🙏
Hi Ron! Good points! Left handed players have to go through a lot of possible misunderstandings and I am glad you pointed that out! Thank you for the great post!
I've recently altered my tuning, for years I went for a slack type thud on toms but I've always known live at distance or with mics the frequencies get lost and the volume is also lacking.
Known it for years, but was too stuck in my ways .
Got sick of feeling I had a very loud snare and the toms vanished on band gigs.
I took the pitch up and cranked the bottom heads up quite a bit especially on the floor tom and floor tom came alive .
Resonat head way up on 16 floor tom is a winner that I never expected.
I stuck a moon gell to take a bit of ring off .
But the volume of the kits toms doubled and on gigs they finally cut through the mix .
But just taking the bottom heads up the batter heads rebound way more if players still like a slack ish batter.
With 2 toms up front it can feel like I'm playing a snare on a stand too far away ,
Very uncomfortable,
it uses different arm positions , to help with those 2 toms I'm using a slight upper body lean in , Thomas Lang gave that tip and it helps .
But I don't like the way it shifts my core balance.
Terry bozzio has a million toms and uses a windscreen wiper motion that sits between 2 toms.
I dipped my snare forward as you demo and played it for about 3 hours for 3 days and then put it back to flat .
I can definitely feel its more alive with the tilt for rebound.
When trying something new I always give it a valid testing time then compare .
A bizarre thing I see and really don't get is people setting up a floor tom way lower than the snare.
I totally agree with rebound being the center of hand technique and a bit of everything on top of it,
It needs that initial getting off the surface.
Your videos have transformed the way I'm playing everything. Thanks .
I have 2 toms up front and 1 floor .
Movement wise at speed getting on and off tom 1 is my hardest move as my limbs have to be thrown more distance it's a lot of inertia of moving mass of limbs to over come .
That tom just feels too far away and it's close up .
Man what a great post bro! I really appreciate you sharing your thoughts about this and I hope many people will read this. You are not alone on the journey. Many of us have gone through all the things we drummers experience and understand you big time! Big greetings to you from Bali!
I came to the same conclusion about why toms are awkward and its
" not having spent much time doing that move on that drum "
in 1998 i met mike mangini and he said he would spend a full evening just going between 2 toms and do only that move for hours.
Mike had way more natural flow in his playing back then ,hes so focused on perfection now that hes ended up sounding digital.
I wish more people could have heard him then.
Im spend a lot of time on things i have trouble with using his method.
Its basically reps of it and counting out loud , the counting is more difficult than you expect and its meant to be an added layer of distraction. Counting is like limb glue.
The counting is to 100 but if the phrase is just LKR triplet ,played as 16ths thats 8 of them per bar x 100 =800 reps .
The counting method is actually hard as it's full counting out loud, seventy-five and 2 and 3 and 4 , seventy-six and 2 and 3 and 4 seventy-seven.....
Hard to think where the hell you are with the phrasing of long words.
It adds a layer of complexity that forces you to put something on auto pilot to pull it off .
I do it to add a layer of chaos to practice that is like the distraction that's happening on stage .
In practice doing 800 of anything isnt going to happen normally.
Practice tends to be very small amounts of time spent drifting across a lot of topics.
So the amount of time id normally spend doing that 1 move is probably in the seconds and even a years practice would cover around 10 mins on that move .
Then wonder why it sucks.
He recommended doing a fixed move phrase like that for 90 mins 4 times a week for 6 weeks and it's "burnt in" to the point that it will appear in playing and stay in , rather than forcing it in .
With a learning method that says" 90 mins" that's a long time
but if the move is LKR it's OK to sub learn the phrase as KRL RLK . Or double it as LKRLKR or a version with different accents .
It's all covering the same movement.
I play hi hat foot 4s though everything I do to give context.
Without it it's hard to hear where phrases are starting or going from down beat to up beat .
But i see a few Instagram drummers only playing 8ths with left foot and that's fine at slow tempo
but they don't get that playing the same thing with left foot 4s is a drastically different feeling of the phrase.
It's not as simple as
" I'll play 4s later when I've got it "
Phrases that are 3 suddenly have a feel of 6.
Whole new feel with 50% less time markers to guide it.
Playing 8th foot also puts a speed cap on the phrase, as playing 16ths with hi hat foot is crazy .
Playing quarters let's a phrase become 32nds when the tempo moves up.
I also try to respect playing new phrases at the lower tempos till its smooth.
Practising slow often is left behind as soon as a phrase can be sped up but those lower tempos of 80 to 100 are very common and if my phrases suck at lower tempo I'm going to suck on a lot of songs.
All my fills will have horrible time .
Plus at the other extreme a lot of linear stuff can become useless at high speeds as it sounds like a car crash in a drum shop.
Sorry for the rambling text .
I ramble.
@@philmaturanodrums
Codes for unlocking the drum set. Thanks, Phil, as always, you are the doctor that fixes what ails us! Two rounds of the magic sticking on the kit and call me in the morning. :)
Hahahaha. Thats a good one!
Thanks!
You are da man broooooo!!! I wanna see that practice pad stuff!! Stay on top! Many greetings from Balliiiiiii :-)