Coming from a country where buying drum gear is quite expensive (sometimes twice the price as in the US), a bunch of drummers got toghether to make something like a backline sharing group. We've made a list of the gear each one is willing to share, all members know each other, and the integrity of the instruments is always assured. This is a MUST. Anytime you got a recording session or an important gig, you can reach out and check what is available for the dates you need. If you borrow drums, you're expected to give it back with a fresh head (might be the one you used for the session, as long as it hasn't been trashed...). If you borrow cymbals, a couple of pairs of sticks it's stipulated reward. Thus you can have a wide array of choices, make it affordable and strenghen both your knowledge of various instruments and your relantionship with your drumming community. Everybody wins!
My favorite episodes are the ones where you all talk about "Sometimes you have to put the group ahead of yourself and your preferences" and we kind of forget we're talking about drums.
So glad to hear it !Ego is the enemy! This stuff is just as important as knowing when not to do a big drum fill or play that awesome complicated polyrhythmic groove you've been working out. Bonham drum sounds are great but they're not gonna work for most musical scenarios. Cheers!
I'm more a producer than a drummer, I own an acrolite, I love it and I absolutely agree with all what you're saying, more drummers should be more conscious about it.
Excellent video. I really appreciate your approach to these subjects because it’s more of a conversation with a spectrum of ideas and considerations represented, rather than a strong bias towards a particular perspective or solution. It’s thought provoking rather than purely instructional. Kudos.
My acrolite is extremely easy to tune tight. PureSound wires and an INDe throw off are worth using on it. The p85 always needed to be tightened. The INDe throw off stopped that problem.
The INDe throwoffs are the best! The Ludwig P88s were also designed by Josh, and are almost as good. But if you can give Josh the money directly, do it!
Definitely went through a similar evolution here myself! For the longest time I just had “my snare sound” and would impose it on every style of music that came my way, occasionally hitting it right but often feeling like a recording was lacking or songs just not feeling right 😬 In more recent years though, I’ve come to really REALLY enjoy the process of finding the right sound for the song in the moment, especially if I can get get to it really quickly and just getting that “YES” reaction from the client or producer. It’s just a great feeling and always a humbling moment too!
Gah! I know you're kidding but others will read this and it has to be made clear- you don't even need more than one. We used three in this video for the sake of simple demonstration and getting the most out of each tone. Any one of these drums could have easily pulled off all three tunings quite convincingly. Thanks for watching! -Ben
@@SoundsLikeADrum I agree, you don't need a lot of drums. I was just having some fun. I'll keep my 6 1/2" Black Beauty, my 5" Supra and my 6 1/2" Dnyasonic reissue. And I'll be good... all the others are just for variety.
the fast example at 5:20 reminded me of a situation where almost exactly these 2 sounds are in a situation that sounds just like that. reel big fish recorded a few versions of their cover of take on me, with the acoustic version having a super low snare. it's worth checking out to hear this sort of thing in context.
Cool I’ve heard four or five of your videos already and I love them very much you are a very genuine intelligent talented teacher looking forward to getting to know you more thank you for your services and your dedication to music making Stay healthy God bless you
I have sounds that I like, but I don't have a sound that is "me". I enjoyed this video very much because it reinforces what I've told students; think about what is right for the gig, not what you want for the gig. Pay attention to the room, pay attention to the genre, pay attention to the overall feel/sound of the musicians around you. For instrument purposes, I pick drums based upon how useful in different situations they are. I especially like a mid-tuned snare and I fiddle w/ the wire tension depending upon the song played. E.g., I'll tighten the snares for a pop (careful not to get too choked) or loosen them for a 6/8 blues to get some more "breath" in the note. Being in my 50s now, and having had a constant playing career for 30+ years, I've learned from every gig played and every band heard during that time. Sometimes the lesson learned is what to do, sometimes what not to do.
Really interesting topic... I'm fortunate enough to have gigged before this whole "backline kit" thing got so big. I was always able to use my own kit. But I have done a few of those garage band club gigs where there were so many acts that there wasn't time for me to bring up my kit. I hated those gigs and avoided them as much as possible. My instrument is my voice and having it replaced by a cheap quality, beat to crap kit that has been retuned until the heads are dead, or muffled to death (as the fad once again seems to be) is just not my way of doing things. But that doesn't mean with my kit(s) I only have "MY" one sound. I was primarily a commercial session drummer for over 30 years, so being "generic" and "versatile" was definitely the foundation of that job. As a result, I had 5 different kits, 30+ snare drums and well over 200 cymbals from various manufacturers and ranges. I had a ridiculous amount of percussion and electronic stuff too. I took at least 3 different head sets and every method to hit a drum that you could image. Sometimes, if the tune called for it, I wouldn't even play drums, and just do drum programming. Frankly, studio work was so much FUN because of the challenge of finding the right sound for the song. In a way its like being an actor and becoming someone new each time you go to a session. Gigging live and touring--Its always the same. There are so many diverse situations, there are very few absolutes. You have to be able to be professional and know when you are in a position to put in your opinion and when you are not. Cover and GB gigs? You are pretty much playing music for people who want to hear it the way it was recorded. Even with a cool bandleader, you really don't have a lot of latitude musically. But with original bands, especially if you are there from the beginning... you can do a lot! But in any situation, Its really just about how you come across when you want to put in your opinion. If it seems like ego or is just rude, argumentative or demanding, or is pushing for a sound that is really inappropriate, then yeah you can get into trouble and even lose a gig. But if its actually a good musical idea (i.e. you know WTF you are doing), and you present it in a positive way, like here is an innovative option to something that may be a bit over used, I've found that most of the time producers and band leaders are at least willing to try it. Its important to be able to read people too, and determine how open they are to your input, or if they just want you to do what they ask without protest. Also, you have to be willing to let it go if they decide against your idea in the end. You would be surprised how important that one little attitude is to producers. Honeslty, this is pretty much the same for any creative job.
My snare shell was custom made for me (6.5" x 14", staved flame birch), and it really has become "my" sound. That being said, it blends with pretty much everything I've used it for depending on how I muffle it and how loose or tight the wires are while keeping the heads at the same tuning. I swear it's magic in how well it works with everything, and every studio I've recorded in loves it.
Such a good topic! And brave of you too :-) . I totally agree though, and my live sound, as vocalist, guitarist, drummer, got such much better when i listened to the room, first, to see what was needed of me. And it’s hard to get rid of “your sound”, because the room can’t handle your echo pedal, settings, or your 3k eq push for screams, or your thick, bright cymbals that you love. But the gig gets so much better for it. I can also tell you which my favourite cymbals are: two types, one medium, bright, and one thin, dark set. :-) Which one I use depends on the room.
Fabulous presentation. Great practical articulation of context for a working drummer. Most of us IMV don't have the luxurious context of playing 'our sound" no matter what - at least I don't ! I play in a covers band and have to adapt song by song by using Big Fat Snare Drum add ons , rods , gels etc to get the sound of the song in about 3 seconds between songs.
I try to not have "my sound" as much as I can. Instead, it's important to listen to the song and bring what I can to make my sound fit within that song. Unless you're one of a few choice cats, a drummer's position is as a sideman - a supporting role. Nice cameo from the INDe strainer on the COB, btw.
I wonder what level of playing I could have reached when I first began drumming if amazing information for free available 24/7 in my jam room was at my fingertips? Good content and important info for the young drummers who are willing to listen to anyone except themselves wailing away.
Good job. This is in my opinion one of the best videos you've ever done. You are funny, relaxed and informative. Bty my sound is just like you said depends on the tune and to a big part the tempo.
Great video. . . I'm a drummer and an engineer. . . I find I'm always in a rush to get my band miced up that I need to experiment more with my band and snare choices. It's after that I'm adding more reverb to a snare for space - different eq to make it darker (gating to kill the ring). . .
Cody,very good episode.! I was fortunate when I was playing out.I either played country rock,a blues band,or top 40 rock. I found myself tunning for the style of music,and actually most modifications were with the snare,witch I owned quite a few.Now the way I hit the drums,or the sticks I used ,that's where my problems were at.I would use like 747 pro mark oak sticks,and maybe the next band or venue I had to use like Vic firth sd4 maple.That was challenging for me.!!
You are always so right and to the point it's almost annoying. Only - it isnt'! I learn a ton with every video, although 42 and 29 years of playing under my belt! I love this channel!!! About my sound: old Pearl Export 8" to 15" toms, 16" and 18" floor toms and two 20" bass drums, 6,5" 10 lug snare. Premier Olympic (modern edition) kit with the standard wooden snare and the vintage steel one - both 5". Premier concert gold wrapping (same one Keith Moon used) 12" to 16" toms, 18" floor tom, 24" bass drum, 8,5" Premier snare and a birch Signia one, 6,5". Ludwig Supersensitive 6,5", a strange polish snare (Ludwig lugs/Rogers body copy from the 70's) which I absolutely adore for jazzy sounds and brushes, Pearl Masters maple piccolo 3,5", an unknown rare German vintage steel 6,5" snare (just 1 photo on the internet) and a even less known (absolutely 0 photos or info on the internet!!!) chrome/nickel over brass PRE-INTERNATIONAL 13,something" snare which belongs in a museum. Did I mention Pearl fiberglass 15" and 16" concert toms? Two other sets, one Pearl export with deep toms 8", 10", 12", 13", two 22" bass drums, 16", 18" floor toms, another funkier: 10", 12", 13" shallower toms, 14 " and 16" floor toms and a 20" bass drum. Also, a "jazzy" 18" bass drum and shallow toms kit. 4 electronic kits, 8 drum machines. Talk about "versatility"... ;) My sound? I try to compensate the lack of time to practice and proper technique by getting drums that sound totally different and then use mixing techniques to accentuate that even further for different styles of music. Not my finest trait, but life did not allow me to become Kenny Aronoff, some of us have to work for a living and do this out of love. Or stupidity. :) I tried to be brutally honest so someone could learn from my mistakes: it is better to buy a pretty versatile drum kit and learn how to play and tune it well enough to suit every style, then to become a collector like me and play drums every three or four years. If you are 15 and reading this - be smart about it!
Amen! 👏👏.... I think once you grow as a player, you start to develop other distinctive qualities that make you sound like you - mostly in the actual musical decisions you make. But you shouldn’t see your snare drum sound as one of those defining things.... You can sound like you with any type of snare sound 🙌.... preferably one that works really well with the track at the moment.
I came up as a drummer in the metal/hardcore scene in the early 2000s and at that time the trend was a 13" or smaller snare, cranked as tight as possible with an Evans HD Dry and a whole pack of Moon Gel to kill the ring! I was stuck in that trend for far too long and looking back when I'd record drums for songs with big full guitars the snare would get lost, I'd always ask the engineer to turn up the snare. I was recording my band's last EP and had my snare tuned low and for the first time the snare didn't get lost in the wall of guitar.
I just look to tune my snares so that they sound as good as they possibly can. The snare that matches my set is a Tama Starclassic Birch Bubinga which, as I seem to remember you commenting on in an episode awhile back, has some issues where tuning is concerned; at least I've found it challenging to find a place where it sounds like it's at home. I also have a NOB Starphonic that I tune all kinds of ways when I get in the mood to fool around with it. It goes deep real well but can be cranked up as well. I don't play professionally, so I don't have to worry about making anyone else happy.
in the hardcore/emo/screamo scenes we call what you referred to as "the copeland snare sound" as "conky", because a perfectly tuned high-pitched metal-shell snare sound sounds like "conk!", like a dodgeball hitting a wood gym floor in our styles of music, there can be an insane amount of versatility, bands can have emo songs with screamo breakdowns or hardcore beatdown sections that lead into mathy screamo tempo changes, and luckily that conky kickball-like snare tone fits perfectly in that niche. most of the drummers in the scene are married to that snare sound just because it works so well in a variety of the most popular styles of punk/emo/screamo etc
Great video bruh. It depends on the situation. I play a lot of rock with some crazy high end. My snare is the most important part of my sound. I was playing with an acoustic band for a while. With them I would use a muffled kick tuned tight. I high tuned snare, high hats, and a medium weight dark ride. I aslo used shock rods. For rehearsal unmicd. For live, depending on space, same setup, bass drum micd and no overhead.
Beautiful video! My drummer has a '67 Acrolite and I have a '70. The difference between what both are good at is frankly staggering. I know metal doesn't age, but something about the construction differences makes a huge difference! His is warm and fat and mine is just the loudest, rockingest thing. Though, as far as our combined snare identity, I adore his 6.5x14 Pearl free-floating maple sound, but somehow we always end up marveling at how a $100 7×13 OCP maple just slays in so many scenarios! Low end galore with a more cutting 13 inch size. I really do look forward to using more stylised snare sounds when tracking in the future, but bang-for-buck versatility has to be awarded to that silly, red sparkle OCP! Though my '70 acrolite is a close runner up. Doing this with cymbals should absolutely be next! My advice, can't go wrong with K's! Love your channel!
Audio engineers hate me for my sound. 18" Catalina Jazz, no porthole, no muffling, tuned low and open. I love it. I wouldn't dare to play a prog-rock or modern pop gig with this sound but it sounds good in my main band and of course, works great for small cafe-type of gigs. I used it in studio, also listened back to some live recordings and always found my sound nice, appropriate and non-cliche. So my advice is - don't always listen to everyone's complaining. If you're sure your sound is right and you like it - stick with it, unless somebody who actually hires you tells you to change it.
Great help. I played my 14x5.5 nickel brass for projection at classic rock patio party with small guitar amps moderate volume nice. It worked but listening back on it it did sound odd. You can teach an old dog new tricks!
This is a really good video. I really enjoyed the angle you took on this one. It took me a long time to get to this discovery on my own. The aim of sound selection needs to be to always serve the song. It needs to improve and compliment the rest of the band and the collective sound. I currently use a lower tuned Acrolite and a higher tuned Black Beauty to use in different musical situations. I find that they both have their own unique sound. Each gig or band gets its own snare and tuning approach to suit that situation as best it can. Nice work with your channel on YT. I really enjoy all your videos. Keep up the good work. Im going to check out your Patreon.
My most used gig drums are a 2000-2001 COB Supra with tube lugs and Aquarian Vintage heads, tuned medium-high (for jazz gigs), and a 1969 LM400 Supra with Ambassadors tuned medium-low most of the time (for pretty much all other gigs). A couple tension rods on the ‘69 tend to slip, so I get plenty of opportunities to adjust my sound during the set. I could find a solution to keep them from moving, but I actually make use of them to adjust throughout the set. I make lots of tone changes anyway. I’ll preemptively tighten those two pesky rods before a louder song, which works sonically as well as keeping the drum closer to pitch as it detunes. I’ll leave them a little looser and throw an o-ring, a wallet, or just a business card on the head to mimic a lower, throatier tone for slower country tunes. I also use snare wire tension changes quite a bit. I’ll take all muffling off, tighten the snare wires and those two tension rods when I want a “Mitch Mitchell” vibe (and who wouldn’t want that?). It’s amazing how thoroughly a business card just dropped on the head will mute the drum. Various combinations of snare tension, degrees of muffling, and tuning of those two rods can make a lot of different sounds. I wonder if it’s sometimes a nightmare for the FOH sound guy to have me keep changing the volume and overtone content of the snare sound?
As a simple pop punk /skate punk drummer i can still put this into practice even though I'm not a gigging musician, I can actually incorporate this with my own kit. I've heard massive toms paired with a super tight ska type Piccolo sounding snare and it just doesn't sound right together. Now where I had a hard time comprehending this snare concept at first was in some of the worship music we listen to, early on I remember thinking "man why doesn't he tighten his snare to make it sound beefy" but eventually I came to understand. My son is a worship guitarist so we watch a lot of videos and I've learned to appreciate different snare sounds for different music types 👍.
When I was in Drums School back in 99 I remember during tuning class something my instructor said that stuff with me. And I remember writing this down in my notes. He said the only bad drum sound is 1 that you don't like. Meaning it is a matter of preference. When it comes to snare sounds I have a tendency to crank up my snare for a real high pop. With hopes that it will cut right through everything. A t balance level of course. I never really thought of going for my own signature sound. The snare sounded different in the mix anyway when it was played back so I felt I had little control of that anyway. There were times I had to get our bass player who is also our soundman to turn the back beat up higher because it was barely hearable. I guess that's the difference between a drummers ear and a non drummers ear. And I don't have the luxury of owning more than one snare drum at this time to be able to switch off according to the genre of music we're playing.
Getting svelte up in there. Good topic, man! Was wondering if I should go off topic for my first part of my comment, but then got hit with a car commercial and realized going off topic isn’t a thing youtube cares about, why should I? Ha! Thanks for the video!!
I have a starphonic 14×6 tama that i tune a particular way...then i have a new style tube lug,pearl sensitone 14× 6.5 that i tune lower fatter to swap between the 2...sometimes ill throw a differant batter head,.? that i dont normally use on the pearl for contrast as a secondary side snare next to floor tom...its a tight fit sometimes with the xtra drum ..makes some restriction on personal space..but it sounds pretty dam cool incorperated in some instances...& if i dont use it, i have the secondary onhand to swap out..with a differant tone & tunning..as you suggested in video.having a 2nd snare onhand tuned to other end of spectrum.. Great video man..as always..thanks👍👍
For jazz, I generally tune my snare as a fourth voice in the kit--kind of like Max Roach on Saxophone Colossus. Doesn't work everywhere, but it's how I want to sound if I can. I don't want to sound like that in a 70s rock band, though: it's like ordering wine at a hamburger joint.
my "sound" is a nice big fat sound, and it's pretty much what i always have because i generally play ccm. there are times when i'll use my church's snare depending on the setlist, it's a shallow yamaha oak snare that has dry overtones. i like to be versatile and hopefully i'll manage a gig that's more different
My main snare sound involves a Gretsch Renown maple 14x6.5 or 13x6.5 steel Tama Metalworks with a cranked reso, but not quite table top tight, with a mid-high batter. Maybe a third to half way between your mid and high tuning. For wires, I tighten them until its a tight snap, then back off a hair for a light rattle. Muffle as required, but usually open. Just enough overtones at this tuning for cut. For most purposes these fit, if I need a fat sound, I have cut up an old head and use it as a Big Fat Snare Drum. It takes the nice crack down to a thwump with some sustain in the wires. If I need higher, I bust out the Pearl steel 13x3.
I go for something pretty unusual considering the settings I’m often in, I have a pretty tight high tuned rack Tom, and a more medium high floor Tom, which sound alright from the kit but the “archaic” cutting through the mix philosophy is important to me cause my drums don’t get the PA and we’re pretty loud. My snare is pretty high, some days as high as the one in this video, most days around where Ian Paice has his. Then my kick is just the batter head and it’s pretty high but a blanket gives it a great thud in front. My guitarist described standing in front of it as “having skin pulled from your face by air” so that’s fun. We mostly play stoner, sludge, and doom metal with occasional thrash, so it’s an odd tuning but sounds good from the audience
i have a sonor full maple kit, a tama birch kit, but i use different heads on both, evans clear g2 sound great on my tama toms, and i use coated remo emperors on my sonor toms, i tuen the rack toms and 14" floor toms to a medium tension but really like tuning my 16 on both kits to a low with a moon gel. i play single pedal and really like using a 16" tom as a bass sound as well. my snare drums i can go on about but i've ranted enough
i tend to play my snare in a medium-high range but still keeping as much warmth as possible (think danny carey circa 10000 days) while the rest of the kit is tuned pretty much at the lowest point at which it can actually stay in tune, which is pretty low in the case of my kit. it works for the music i make with my band, but lately though i've been looking for some different sounds. i know i'm going off topic now but how could i go about playing more drums? i mean in a literal way, all the knowledge i've gathered about drums and their sound was through youtube (you guys mostly!) and other info read online, while in reality i haven't really played many other kits outside my own, which is also the first kit i've ever had. i would really like to get to play and check out other drums in person, because i'm pretty sure that there will be cases when i've made up my mind about a piece of gear by hearing it on youtube and once i have it in front of me i get a totally different experience.
I have been playing for 48 years and have used my standard gear for every gig I have ever done. Rock bands, dinner theater, jazz combos, big band jazz all on the same kit, snare and with the same heads. The only thing I do is change tunings..and most importantly..I change how I play. My gear must sound good to me or what's the point? I have worked for decades to work on a sound that works for my ear..and my technique...but is useful in a wide variety of styles.
Toms detuned down to the floor , bass drum fingertight and snare cranked to pierce through eardrums.You may not like it,but this is the ideal drumset sound,deal with it :)
"this is my sound, deal with it." but if I don't follow this, how else will I recieve social media validation that I so desperately seek? in all seriousness the second you play with anyone else, its not just "your sound" anymore. it's just a generation of look at me's
This is a very real thing that people are being convinced of by both companies and their peers. Validation in the form of likes and views may translate to successful entertainment but is it musical? The even deeper question is, does it NEED to be musical if it's just you playing drums in a video for Instagram? Would anyone ever expect for a practice pad routine to be musical? So much food for thought on this one! -Ben
@@SoundsLikeADrum it was another fantastic video by you guys and you addressed a question I thought about bringing up which was do you guys think the music industry cares more about who has more followers over the guy thats a well rounded musical drummer? keep it up guys I learn so much here
@@jermss_ I think it's kind of both. Or at least not just one or the other. If you're a well-rounded drummer who doesn't have an online presence and a following, your chances of being discovered in the endless sea of talented video-making and gimmicky personality is incredibly slim. A lot of people are trying to be the next Luke Holland instead of starting the next Nirvana and I think we have yet to see what impact that will have on popular music and what it means to be a musician by trade.
In 45 years of drumming, I have never thought of "my sound". I was taught to play what's appropriate to the music, or what is called for. To my generation it was obvious from listening to a diverse mix of "music".
Touch is definitely a big part of personal identity with an instrument as is feel. With this video we were focusing specifically on tuning choices and the impact your drum tone has within a performance.
so, here is my question: If I have money enough to buy JUST ONE SNARE DRUM and I will work as a session guy (so, I will need lots of different sounds), which snare-drum/skin is the most versatile choice?
Super personal decision kind of thing, but a plain Ludwig Supraphonic (or similar style of drum) gets me the most variety for sure. That’s my desert island drum :) -Cody
This is an important lesson for everyone no matter their skillset. Other good examples are Dave Grohl and Taylor Hawkins - Dave's drumming has an underlying signature sound to it but it is different from Scream > Nirvana > Queens of the Stone Age > TCV or even drumming with Cat Power and RDGLDGRN. If you were to tell me that he drummed on those last two artists' albums, I would say that it doesn't sound like him. Taylor Hawkins doesn't sound the same from his Alanis Morrisette era to now. He's even changed over his time with Foo Fighters.
Cymbals are super important. Learning how to hit them correctly and treat them with care. A lot of kids buy the shitty b8pro. And/or those zbt things. Hard all the time every day they bash the cymbals until the break. And throw em away and buy another set. What ever happened to sizzle rides and swish knockers.??
I think the Supraphonic doing Copeland, might’ve been a stretch 😂 That snare might be good for anything but that. Not really sure what he used though...Tama something, I think. Thanks guys! Take care :)
Recording, or live? Choice... Politically correct and generic sound for a song? Conforming to playing what is expected? Or? Being able to add zest and flavor to a song that makes people want to ask for seconds? Sandy Nelson comes to mind how he kept his sound and improved a song's feel,. His sound made you want to dance, not simply listen like a child sitting in a high chair been spoon fed what you are told is good for you. If a drummer has the creativity (not just ego) it will be understood. Yet? Brushes and sticks ... and a little muffling will be what's needed for a certain style of a song. After all, one does not add oregano to a Chinese dish. Generic thinking drummers are fast food artists. Sorry. I say that in the name of creativity, not conformity. After all, how many different sounds did John Bonham get for each of his songs? Slight difference does not count. Especially if recorded in different rooms, or with an engineer's whim on a different day.
Coming from a country where buying drum gear is quite expensive (sometimes twice the price as in the US), a bunch of drummers got toghether to make something like a backline sharing group.
We've made a list of the gear each one is willing to share, all members know each other, and the integrity of the instruments is always assured. This is a MUST.
Anytime you got a recording session or an important gig, you can reach out and check what is available for the dates you need.
If you borrow drums, you're expected to give it back with a fresh head (might be the one you used for the session, as long as it hasn't been trashed...).
If you borrow cymbals, a couple of pairs of sticks it's stipulated reward.
Thus you can have a wide array of choices, make it affordable and strenghen both your knowledge of various instruments and your relantionship with your drumming community.
Everybody wins!
That's excellent! Gracious and clever!
That all sounds like a great idea!
That’s a great idea!
Love this, i wish i had a group like that around my area
I know, right? Even most DrumTuber recommended Acolyte is still expensive in my country.
"Black Dog and Levee, not the same sound."
Is an ultimate "dude hanging around the counter at a drum shop" sentence.
You are my favourite drum channel right now! No unimportant talking. Thank you!
Thanks so much! So glad to hear that you're finding value in the narrative. Cheers!
My favorite episodes are the ones where you all talk about "Sometimes you have to put the group ahead of yourself and your preferences" and we kind of forget we're talking about drums.
So glad to hear it !Ego is the enemy! This stuff is just as important as knowing when not to do a big drum fill or play that awesome complicated polyrhythmic groove you've been working out. Bonham drum sounds are great but they're not gonna work for most musical scenarios. Cheers!
I'm more a producer than a drummer, I own an acrolite, I love it and I absolutely agree with all what you're saying, more drummers should be more conscious about it.
Excellent video. I really appreciate your approach to these subjects because it’s more of a conversation with a spectrum of ideas and considerations represented, rather than a strong bias towards a particular perspective or solution. It’s thought provoking rather than purely instructional. Kudos.
Great lesson and Awakening for me !
My acrolite is extremely easy to tune tight. PureSound wires and an INDe throw off are worth using on it. The p85 always needed to be tightened. The INDe throw off stopped that problem.
The INDe throwoffs are the best! The Ludwig P88s were also designed by Josh, and are almost as good. But if you can give Josh the money directly, do it!
Definitely went through a similar evolution here myself! For the longest time I just had “my snare sound” and would impose it on every style of music that came my way, occasionally hitting it right but often feeling like a recording was lacking or songs just not feeling right 😬 In more recent years though, I’ve come to really REALLY enjoy the process of finding the right sound for the song in the moment, especially if I can get get to it really quickly and just getting that “YES” reaction from the client or producer. It’s just a great feeling and always a humbling moment too!
Great video. Thank you.
My take away is that I need MANY snare drums :-) :-) Seriously your comments about have the drums match the gig is very important and valuable.
Gah! I know you're kidding but others will read this and it has to be made clear- you don't even need more than one. We used three in this video for the sake of simple demonstration and getting the most out of each tone. Any one of these drums could have easily pulled off all three tunings quite convincingly. Thanks for watching! -Ben
@@SoundsLikeADrum I agree, you don't need a lot of drums. I was just having some fun. I'll keep my 6 1/2" Black Beauty, my 5" Supra and my 6 1/2" Dnyasonic reissue. And I'll be good... all the others are just for variety.
the fast example at 5:20 reminded me of a situation where almost exactly these 2 sounds are in a situation that sounds just like that. reel big fish recorded a few versions of their cover of take on me, with the acoustic version having a super low snare. it's worth checking out to hear this sort of thing in context.
Great demonstration! Enlightening.
Cool
I’ve heard four or five of your videos already and I love them very much you are a very genuine intelligent talented teacher looking forward to getting to know you more thank you for your services and your dedication to music making
Stay healthy God bless you
You guys always pick the coolest topics
Brilliant advice! Thanks again 👏🏼
I have sounds that I like, but I don't have a sound that is "me". I enjoyed this video very much because it reinforces what I've told students; think about what is right for the gig, not what you want for the gig. Pay attention to the room, pay attention to the genre, pay attention to the overall feel/sound of the musicians around you. For instrument purposes, I pick drums based upon how useful in different situations they are. I especially like a mid-tuned snare and I fiddle w/ the wire tension depending upon the song played. E.g., I'll tighten the snares for a pop (careful not to get too choked) or loosen them for a 6/8 blues to get some more "breath" in the note.
Being in my 50s now, and having had a constant playing career for 30+ years, I've learned from every gig played and every band heard during that time. Sometimes the lesson learned is what to do, sometimes what not to do.
Thank you! It is rare and quite useful information
Really interesting topic...
I'm fortunate enough to have gigged before this whole "backline kit" thing got so big. I was always able to use my own kit. But I have done a few of those garage band club gigs where there were so many acts that there wasn't time for me to bring up my kit. I hated those gigs and avoided them as much as possible.
My instrument is my voice and having it replaced by a cheap quality, beat to crap kit that has been retuned until the heads are dead, or muffled to death (as the fad once again seems to be) is just not my way of doing things. But that doesn't mean with my kit(s) I only have "MY" one sound.
I was primarily a commercial session drummer for over 30 years, so being "generic" and "versatile" was definitely the foundation of that job. As a result, I had 5 different kits, 30+ snare drums and well over 200 cymbals from various manufacturers and ranges. I had a ridiculous amount of percussion and electronic stuff too. I took at least 3 different head sets and every method to hit a drum that you could image. Sometimes, if the tune called for it, I wouldn't even play drums, and just do drum programming. Frankly, studio work was so much FUN because of the challenge of finding the right sound for the song.
In a way its like being an actor and becoming someone new each time you go to a session.
Gigging live and touring--Its always the same.
There are so many diverse situations, there are very few absolutes. You have to be able to be professional and know when you are in a position to put in your opinion and when you are not.
Cover and GB gigs? You are pretty much playing music for people who want to hear it the way it was recorded. Even with a cool bandleader, you really don't have a lot of latitude musically.
But with original bands, especially if you are there from the beginning... you can do a lot!
But in any situation, Its really just about how you come across when you want to put in your opinion. If it seems like ego or is just rude, argumentative or demanding, or is pushing for a sound that is really inappropriate, then yeah you can get into trouble and even lose a gig. But if its actually a good musical idea (i.e. you know WTF you are doing), and you present it in a positive way, like here is an innovative option to something that may be a bit over used, I've found that most of the time producers and band leaders are at least willing to try it. Its important to be able to read people too, and determine how open they are to your input, or if they just want you to do what they ask without protest. Also, you have to be willing to let it go if they decide against your idea in the end. You would be surprised how important that one little attitude is to producers.
Honeslty, this is pretty much the same for any creative job.
My snare shell was custom made for me (6.5" x 14", staved flame birch), and it really has become "my" sound. That being said, it blends with pretty much everything I've used it for depending on how I muffle it and how loose or tight the wires are while keeping the heads at the same tuning. I swear it's magic in how well it works with everything, and every studio I've recorded in loves it.
Such a good topic! And brave of you too :-) . I totally agree though, and my live sound, as vocalist, guitarist, drummer, got such much better when i listened to the room, first, to see what was needed of me. And it’s hard to get rid of “your sound”, because the room can’t handle your echo pedal, settings, or your 3k eq push for screams, or your thick, bright cymbals that you love. But the gig gets so much better for it.
I can also tell you which my favourite cymbals are: two types, one medium, bright, and one thin, dark set. :-) Which one I use depends on the room.
Fabulous presentation. Great practical articulation of context for a working drummer. Most of us IMV don't have the luxurious context of playing 'our sound" no matter what - at least I don't ! I play in a covers band and have to adapt song by song by using Big Fat Snare Drum add ons , rods , gels etc to get the sound of the song in about 3 seconds between songs.
I try to not have "my sound" as much as I can. Instead, it's important to listen to the song and bring what I can to make my sound fit within that song. Unless you're one of a few choice cats, a drummer's position is as a sideman - a supporting role.
Nice cameo from the INDe strainer on the COB, btw.
Very nice! BTW- we did an episode all about snare mechanism upgrades here: th-cam.com/video/9gNwnwFssXw/w-d-xo.html
I wonder what level of playing I could have reached when I first began drumming if amazing information for free available 24/7 in my jam room was at my fingertips? Good content and important info for the young drummers who are willing to listen to anyone except themselves wailing away.
Great video! Very astute comments all the way through!
I love y'alls humor
I'd like a video about discussing the intervals between the top and bottom heads on toms. In a jazz context, one ply heads etc.
Good job. This is in my opinion one of the best videos you've ever done. You are funny, relaxed and informative. Bty my sound is just like you said depends on the tune and to a big part the tempo.
Great video. . . I'm a drummer and an engineer. . . I find I'm always in a rush to get my band miced up that I need to experiment more with my band and snare choices. It's after that I'm adding more reverb to a snare for space - different eq to make it darker (gating to kill the ring). . .
Cody,very good episode.! I was fortunate when I was playing out.I either played country rock,a blues band,or top 40 rock. I found myself tunning for the style of music,and actually most modifications were with the snare,witch I owned quite a few.Now the way I hit the drums,or the sticks I used ,that's where my problems were at.I would use like 747 pro mark oak sticks,and maybe the next band or venue I had to use like Vic firth sd4 maple.That was challenging for me.!!
It is all about "my" sound. Individual approach. Personalisation. Expressing myself. Maverick. developing. This is my musical voyage...
You can't really get away with a cranked steel snare in a piano trio, unless you are sensitive as heck.
You are always so right and to the point it's almost annoying. Only - it isnt'! I learn a ton with every video, although 42 and 29 years of playing under my belt! I love this channel!!!
About my sound: old Pearl Export 8" to 15" toms, 16" and 18" floor toms and two 20" bass drums, 6,5" 10 lug snare. Premier Olympic (modern edition) kit with the standard wooden snare and the vintage steel one - both 5". Premier concert gold wrapping (same one Keith Moon used) 12" to 16" toms, 18" floor tom, 24" bass drum, 8,5" Premier snare and a birch Signia one, 6,5". Ludwig Supersensitive 6,5", a strange polish snare (Ludwig lugs/Rogers body copy from the 70's) which I absolutely adore for jazzy sounds and brushes, Pearl Masters maple piccolo 3,5", an unknown rare German vintage steel 6,5" snare (just 1 photo on the internet) and a even less known (absolutely 0 photos or info on the internet!!!) chrome/nickel over brass PRE-INTERNATIONAL 13,something" snare which belongs in a museum. Did I mention Pearl fiberglass 15" and 16" concert toms? Two other sets, one Pearl export with deep toms 8", 10", 12", 13", two 22" bass drums, 16", 18" floor toms, another funkier: 10", 12", 13" shallower toms, 14 " and 16" floor toms and a 20" bass drum. Also, a "jazzy" 18" bass drum and shallow toms kit. 4 electronic kits, 8 drum machines. Talk about "versatility"... ;)
My sound? I try to compensate the lack of time to practice and proper technique by getting drums that sound totally different and then use mixing techniques to accentuate that even further for different styles of music. Not my finest trait, but life did not allow me to become Kenny Aronoff, some of us have to work for a living and do this out of love. Or stupidity. :)
I tried to be brutally honest so someone could learn from my mistakes: it is better to buy a pretty versatile drum kit and learn how to play and tune it well enough to suit every style, then to become a collector like me and play drums every three or four years. If you are 15 and reading this - be smart about it!
This is very important
Amen! 👏👏.... I think once you grow as a player, you start to develop other distinctive qualities that make you sound like you - mostly in the actual musical decisions you make. But you shouldn’t see your snare drum sound as one of those defining things.... You can sound like you with any type of snare sound 🙌.... preferably one that works really well with the track at the moment.
Thanks for the video
You're welcome!
I came up as a drummer in the metal/hardcore scene in the early 2000s and at that time the trend was a 13" or smaller snare, cranked as tight as possible with an Evans HD Dry and a whole pack of Moon Gel to kill the ring! I was stuck in that trend for far too long and looking back when I'd record drums for songs with big full guitars the snare would get lost, I'd always ask the engineer to turn up the snare. I was recording my band's last EP and had my snare tuned low and for the first time the snare didn't get lost in the wall of guitar.
I just look to tune my snares so that they sound as good as they possibly can. The snare that matches my set is a Tama Starclassic Birch Bubinga which, as I seem to remember you commenting on in an episode awhile back, has some issues where tuning is concerned; at least I've found it challenging to find a place where it sounds like it's at home. I also have a NOB Starphonic that I tune all kinds of ways when I get in the mood to fool around with it. It goes deep real well but can be cranked up as well. I don't play professionally, so I don't have to worry about making anyone else happy.
in the hardcore/emo/screamo scenes we call what you referred to as "the copeland snare sound" as "conky", because a perfectly tuned high-pitched metal-shell snare sound sounds like "conk!", like a dodgeball hitting a wood gym floor
in our styles of music, there can be an insane amount of versatility, bands can have emo songs with screamo breakdowns or hardcore beatdown sections that lead into mathy screamo tempo changes, and luckily that conky kickball-like snare tone fits perfectly in that niche. most of the drummers in the scene are married to that snare sound just because it works so well in a variety of the most popular styles of punk/emo/screamo etc
Great video bruh. It depends on the situation. I play a lot of rock with some crazy high end. My snare is the most important part of my sound. I was playing with an acoustic band for a while. With them I would use a muffled kick tuned tight. I high tuned snare, high hats, and a medium weight dark ride. I aslo used shock rods. For rehearsal unmicd. For live, depending on space, same setup, bass drum micd and no overhead.
Beautiful video! My drummer has a '67 Acrolite and I have a '70. The difference between what both are good at is frankly staggering. I know metal doesn't age, but something about the construction differences makes a huge difference! His is warm and fat and mine is just the loudest, rockingest thing. Though, as far as our combined snare identity, I adore his 6.5x14 Pearl free-floating maple sound, but somehow we always end up marveling at how a $100 7×13 OCP maple just slays in so many scenarios! Low end galore with a more cutting 13 inch size. I really do look forward to using more stylised snare sounds when tracking in the future, but bang-for-buck versatility has to be awarded to that silly, red sparkle OCP! Though my '70 acrolite is a close runner up. Doing this with cymbals should absolutely be next! My advice, can't go wrong with K's! Love your channel!
Audio engineers hate me for my sound. 18" Catalina Jazz, no porthole, no muffling, tuned low and open. I love it. I wouldn't dare to play a prog-rock or modern pop gig with this sound but it sounds good in my main band and of course, works great for small cafe-type of gigs. I used it in studio, also listened back to some live recordings and always found my sound nice, appropriate and non-cliche. So my advice is - don't always listen to everyone's complaining. If you're sure your sound is right and you like it - stick with it, unless somebody who actually hires you tells you to change it.
Great help. I played my 14x5.5 nickel brass for projection at classic rock patio party with small guitar amps moderate volume nice. It worked but listening back on it it did sound odd. You can teach an old dog new tricks!
This was a good one. Cody always killin it with the info. ❤️
Thanks! We had a fun time putting this together. I've wanted to cover this topic for quite some time now. -Ben
This is a really good video. I really enjoyed the angle you took on this one. It took me a long time to get to this discovery on my own. The aim of sound selection needs to be to always serve the song. It needs to improve and compliment the rest of the band and the collective sound.
I currently use a lower tuned Acrolite and a higher tuned Black Beauty to use in different musical situations. I find that they both have their own unique sound. Each gig or band gets its own snare and tuning approach to suit that situation as best it can.
Nice work with your channel on YT. I really enjoy all your videos. Keep up the good work. Im going to check out your Patreon.
This is exactly the same as the big kit vs small kit argument. You need to know how to do both.
But that medium tuning did sound really nice.
Good information. Would have liked to hear your thoughts on tuning snare to a note for recording.
they've done that episode before
My most used gig drums are a 2000-2001 COB Supra with tube lugs and Aquarian Vintage heads, tuned medium-high (for jazz gigs), and a 1969 LM400 Supra with Ambassadors tuned medium-low most of the time (for pretty much all other gigs). A couple tension rods on the ‘69 tend to slip, so I get plenty of opportunities to adjust my sound during the set. I could find a solution to keep them from moving, but I actually make use of them to adjust throughout the set. I make lots of tone changes anyway. I’ll preemptively tighten those two pesky rods before a louder song, which works sonically as well as keeping the drum closer to pitch as it detunes. I’ll leave them a little looser and throw an o-ring, a wallet, or just a business card on the head to mimic a lower, throatier tone for slower country tunes. I also use snare wire tension changes quite a bit. I’ll take all muffling off, tighten the snare wires and those two tension rods when I want a “Mitch Mitchell” vibe (and who wouldn’t want that?). It’s amazing how thoroughly a business card just dropped on the head will mute the drum. Various combinations of snare tension, degrees of muffling, and tuning of those two rods can make a lot of different sounds.
I wonder if it’s sometimes a nightmare for the FOH sound guy to have me keep changing the volume and overtone content of the snare sound?
As a simple pop punk /skate punk drummer i can still put this into practice even though I'm not a gigging musician, I can actually incorporate this with my own kit. I've heard massive toms paired with a super tight ska type Piccolo sounding snare and it just doesn't sound right together. Now where I had a hard time comprehending this snare concept at first was in some of the worship music we listen to, early on I remember thinking "man why doesn't he tighten his snare to make it sound beefy" but eventually I came to understand. My son is a worship guitarist so we watch a lot of videos and I've learned to appreciate different snare sounds for different music types 👍.
When I was in Drums School back in 99 I remember during tuning class something my instructor said that stuff with me. And I remember writing this down in my notes. He said the only bad drum sound is 1 that you don't like. Meaning it is a matter of preference. When it comes to snare sounds I have a tendency to crank up my snare for a real high pop. With hopes that it will cut right through everything. A t balance level of course. I never really thought of going for my own signature sound. The snare sounded different in the mix anyway when it was played back so I felt I had little control of that anyway. There were times I had to get our bass player who is also our soundman to turn the back beat up higher because it was barely hearable. I guess that's the difference between a drummers ear and a non drummers ear. And I don't have the luxury of owning more than one snare drum at this time to be able to switch off according to the genre of music we're playing.
Getting svelte up in there. Good topic, man!
Was wondering if I should go off topic for my first part of my comment, but then got hit with a car commercial and realized going off topic isn’t a thing youtube cares about, why should I?
Ha!
Thanks for the video!!
I have a starphonic 14×6 tama that i tune a particular way...then i have a new style tube lug,pearl sensitone 14× 6.5 that i tune lower fatter to swap between the 2...sometimes ill throw a differant batter head,.? that i dont normally use on the pearl for contrast as a secondary side snare next to floor tom...its a tight fit sometimes with the xtra drum ..makes some restriction on personal space..but it sounds pretty dam cool incorperated in some instances...& if i dont use it, i have the secondary onhand to swap out..with a differant tone & tunning..as you suggested in video.having a 2nd snare onhand tuned to other end of spectrum.. Great video man..as always..thanks👍👍
For jazz, I generally tune my snare as a fourth voice in the kit--kind of like Max Roach on Saxophone Colossus. Doesn't work everywhere, but it's how I want to sound if I can. I don't want to sound like that in a 70s rock band, though: it's like ordering wine at a hamburger joint.
my "sound" is a nice big fat sound, and it's pretty much what i always have because i generally play ccm. there are times when i'll use my church's snare depending on the setlist, it's a shallow yamaha oak snare that has dry overtones. i like to be versatile and hopefully i'll manage a gig that's more different
AGREE👏🏼
My main snare sound involves a Gretsch Renown maple 14x6.5 or 13x6.5 steel Tama Metalworks with a cranked reso, but not quite table top tight, with a mid-high batter. Maybe a third to half way between your mid and high tuning. For wires, I tighten them until its a tight snap, then back off a hair for a light rattle. Muffle as required, but usually open. Just enough overtones at this tuning for cut.
For most purposes these fit, if I need a fat sound, I have cut up an old head and use it as a Big Fat Snare Drum. It takes the nice crack down to a thwump with some sustain in the wires. If I need higher, I bust out the Pearl steel 13x3.
I go for something pretty unusual considering the settings I’m often in, I have a pretty tight high tuned rack Tom, and a more medium high floor Tom, which sound alright from the kit but the “archaic” cutting through the mix philosophy is important to me cause my drums don’t get the PA and we’re pretty loud. My snare is pretty high, some days as high as the one in this video, most days around where Ian Paice has his. Then my kick is just the batter head and it’s pretty high but a blanket gives it a great thud in front. My guitarist described standing in front of it as “having skin pulled from your face by air” so that’s fun. We mostly play stoner, sludge, and doom metal with occasional thrash, so it’s an odd tuning but sounds good from the audience
i have a sonor full maple kit, a tama birch kit, but i use different heads on both, evans clear g2 sound great on my tama toms, and i use coated remo emperors on my sonor toms, i tuen the rack toms and 14" floor toms to a medium tension but really like tuning my 16 on both kits to a low with a moon gel. i play single pedal and really like using a 16" tom as a bass sound as well. my snare drums i can go on about but i've ranted enough
wow really love that funky snare sound at 3 mins. Thats a supraphonic right? high tuning?
i tend to play my snare in a medium-high range but still keeping as much warmth as possible (think danny carey circa 10000 days) while the rest of the kit is tuned pretty much at the lowest point at which it can actually stay in tune, which is pretty low in the case of my kit. it works for the music i make with my band, but lately though i've been looking for some different sounds.
i know i'm going off topic now but how could i go about playing more drums? i mean in a literal way, all the knowledge i've gathered about drums and their sound was through youtube (you guys mostly!) and other info read online, while in reality i haven't really played many other kits outside my own, which is also the first kit i've ever had. i would really like to get to play and check out other drums in person, because i'm pretty sure that there will be cases when i've made up my mind about a piece of gear by hearing it on youtube and once i have it in front of me i get a totally different experience.
I have been playing for 48 years and have used my standard gear for every gig I have ever done. Rock bands, dinner theater, jazz combos, big band jazz all on the same kit, snare and with the same heads. The only thing I do is change tunings..and most importantly..I change how I play. My gear must sound good to me or what's the point? I have worked for decades to work on a sound that works for my ear..and my technique...but is useful in a wide variety of styles.
can you guys show how to make Larnells second tom/ snare drum sound?
Toms detuned down to the floor , bass drum fingertight and snare cranked to pierce through eardrums.You may not like it,but this is the ideal drumset sound,deal with it :)
"this is my sound, deal with it." but if I don't follow this, how else will I recieve social media validation that I so desperately seek?
in all seriousness the second you play with anyone else, its not just "your sound" anymore. it's just a generation of look at me's
This is a very real thing that people are being convinced of by both companies and their peers. Validation in the form of likes and views may translate to successful entertainment but is it musical? The even deeper question is, does it NEED to be musical if it's just you playing drums in a video for Instagram? Would anyone ever expect for a practice pad routine to be musical? So much food for thought on this one! -Ben
@@SoundsLikeADrum it was another fantastic video by you guys and you addressed a question I thought about bringing up which was do you guys think the music industry cares more about who has more followers over the guy thats a well rounded musical drummer? keep it up guys I learn so much here
@@jermss_ I think it's kind of both. Or at least not just one or the other. If you're a well-rounded drummer who doesn't have an online presence and a following, your chances of being discovered in the endless sea of talented video-making and gimmicky personality is incredibly slim. A lot of people are trying to be the next Luke Holland instead of starting the next Nirvana and I think we have yet to see what impact that will have on popular music and what it means to be a musician by trade.
@@DopeboySpoon appreciate the feedback, great perspective and you're right video production gimmicks definitely play a role.
In 45 years of drumming, I have never thought of "my sound". I was taught to play what's appropriate to the music, or what is called for. To my generation it was obvious from listening to a diverse mix of "music".
Q: is there a good reason with traditional grip to hit the snare with the base of the stick, rather than the tip?
More weight on that end of the stick for a bit more impact.
More surface area striking the head for fat tuned backbeats to transfer more energy to the head as it takes more to "excite" the air.
Great thanks for the info....! 😎👍
"...and some snare no one uses", classic
Your sound is in your hands and feet. Once you realize this, it will make it less painful (or even exciting) to make tuning adjustments.
Touch is definitely a big part of personal identity with an instrument as is feel. With this video we were focusing specifically on tuning choices and the impact your drum tone has within a performance.
@@SoundsLikeADrum agreed. Great video!
so, here is my question: If I have money enough to buy JUST ONE SNARE DRUM and I will work as a session guy (so, I will need lots of different sounds), which snare-drum/skin is the most versatile choice?
Super personal decision kind of thing, but a plain Ludwig Supraphonic (or similar style of drum) gets me the most variety for sure. That’s my desert island drum :) -Cody
Is that first drum in the video a 70's Supraphonic?
It is! All information included in the video description.
12:15
This is an important lesson for everyone no matter their skillset. Other good examples are Dave Grohl and Taylor Hawkins - Dave's drumming has an underlying signature sound to it but it is different from Scream > Nirvana > Queens of the Stone Age > TCV or even drumming with Cat Power and RDGLDGRN. If you were to tell me that he drummed on those last two artists' albums, I would say that it doesn't sound like him. Taylor Hawkins doesn't sound the same from his Alanis Morrisette era to now. He's even changed over his time with Foo Fighters.
Can you go guys do a 14×10 Banda snare?
We don’t have access to such a drum so this would need to be sponsored by the builder.
@@SoundsLikeADrum I believe "LP" made an affordable version.
"Banda" is a style of mexican music.
I like finding the drum sound and don’t have one sound. But my cymbals are my sound, I would not buy a cymbal if I don’t love it
Cymbals are super important. Learning how to hit them correctly and treat them with care. A lot of kids buy the shitty b8pro. And/or those zbt things. Hard all the time every day they bash the cymbals until the break. And throw em away and buy another set. What ever happened to sizzle rides and swish knockers.??
I aim for that "Wanna Be Starting Somethin'" sound where it's so phat it's almost dead
THE DOORS.LA WOMAN LOW TUNEING & AL GREEN TIERED OF BEING ALONE
I never knew Copeland a supra was it a 400 or 402?
I'm pretty sure he used a 14x5" Pearl COB 10-lug snare for the majority of his recordings and live performances with The Police. -Ben
I think the Supraphonic doing Copeland, might’ve been a stretch 😂 That snare might be good for anything but that. Not really sure what he used though...Tama something, I think. Thanks guys! Take care :)
You could get quite close if that's what you're aiming for! From what we've found, he was using a 10-lug chrome-over-brass 14x5" Pearl snare.
Recording, or live? Choice... Politically correct and generic sound for a song? Conforming to playing what is expected? Or? Being able to add zest and flavor to a song that makes people want to ask for seconds? Sandy Nelson comes to mind how he kept his sound and improved a song's feel,. His sound made you want to dance, not simply listen like a child sitting in a high chair been spoon fed what you are told is good for you. If a drummer has the creativity (not just ego) it will be understood. Yet? Brushes and sticks ... and a little muffling will be what's needed for a certain style of a song. After all, one does not add oregano to a Chinese dish. Generic thinking drummers are fast food artists. Sorry. I say that in the name of creativity, not conformity. After all, how many different sounds did John Bonham get for each of his songs? Slight difference does not count. Especially if recorded in different rooms, or with an engineer's whim on a different day.