Question:
Is it better to sub-mix the drums down to 2 tracks, then run it in to the main board, or just run a snake? and how do you get the kick micsto stay inside the drums? TOM MORONEY BOSTON
Simon:
Hi Tom - depending on the situation it is always better to run separate mic lines so each drum appears on a channel. The sound engineer can then have total control to balance the kit. However if you playing a small club which only has a few channels available then by all means sub mix the toms. If you have to then sub mix the whole kit but try to keep the kick and snare separate.
Question:
Hey Simon! I have been a fan since I heard you on the Judas Priest, SINAFTER SIN album 1977 and bought the Michael Schanker album the day it
came out! 1980 as well as most of the albums you recorded around that time, can you talk a little bit about the Schanker album and
specifically the 3rd track Victim of Illusion, you do a Double Bass sort of slow half-time shuffle, with the DB? there is alot of DB on that
album, as well as the Priest album, can you talk about the use of your left foot, when playing these sort of shuffles, or is your right foot
doing more work than one would think? greatly appriciated!
Simon:
That is funny you should mention that track. I am going to be playing a short tour in Japan with Michael in January and I have to re-learn all those songs. I was listening to that track and remembered that I played it using both kick drums. It was a pattern that went back and forth from left foot to right foot lead. Quite tricky - but then I was only 23 years old so that stuff was easier to implement. Not quite so now so I have to figure it out and practise. But I heard a live version of that track and the drummer didn't play it that way. It really doesn't have the same groove or lope that it should have - so i'd better get practising - ha ha ha!!!!
All I can tell you about double bass playing is that, unlike most people, I lead with my left foot. That just came naturally to me. I always look for the easiest way to play something - no matter how tricky it sounds. That way the groove will be good. It should never sound tricky and only musicians or drummers should be able to tell if it is tricky or not. It should not affect the music to any detriment.
Question:
Dear Simon,
I've been having a bit of trouble with foot technique recently, where my lower leg tenses up if I try and play fast doubles or triples, stiffening up the ankle and preventing any speed or control at all. I naturally play heels-down, but I've been trying to add a little bit of heels-up into my playing occasionally to add some more power to accents whenever necessary (I play mainly jazz, so this is quite rare). Do you have any advice on foot technique with regards to heels-up against heels-down, and are there any exercises you know which might help me?
Many thanks,
Ed
Simon:
Hi Ed,
I think it is a good idea to try playing both ways - heel up and heel down. Typically when you need more power then heel up would be the way to get that power. As for the stiffening or tensing up when trying to play quickly - this is quite normal - and I think the only way is to slow things down and practise just at the point below where things start to go wrong. Remember the most important thing is the feel and the sound. It has to sound relaxed. If you are tense it will sound tense. I would practice various patterns and rudiments at a slower tempo and make sure you don't speed up or slow down. It's about control. Practice at different tempos and you may find within a short time your speed will increase. It's good to pay along to music or to a metronome - you can also mark down your fastest speed and compare it with your speed in a weeks time.
Question:
Hi, Simon
First I'd like to thank you for answering my last question.
Now I have a few questions about Pro Tools plug-ins 'cause I've been learning how to record my drums with Pro Tools lately. What plug-ins do you use for kick, snare, toms and overhead tracks? And do you use separate tracks for reverb? When you hit your snare, how did you get constant sounds of your snare. I believe you hit snare rim and the centre at the same time. Because when I recorded my snare, I heard that I didn't hit it constantly. You know, sometimes I hit the rim too much, sometimes I hit it perfectly. Any advice? Thank you.
Sincerely, TG, San Francisco
Simon:
Well first of all I record without using any plug-ins. You have to be careful when using them as they do introduce delay to the track, albiet small, but some plug-ins use a lot of processing power and can therefore add 300-400 samples of delay. The big issue with recording drums in the DAW envirinment is phase coherency. Generally I prefer to use outboard EQ or compression and then go into the I/O and into Pro Tools. Obviously I use a load when mixing but I can then keep a real check on things to make sure there is no phase problems. As for hitting the snare consistently - practise makes perfect! What can I say - it is a common problem when recording young, inexperienced musicians. Just be conscious of it and work on it.
Question:
Hi Simon... Marshall Maxey here...
On "Dave's Gone Skiing" I was blown away by your part and couldn't figure out the time on the intro riff. Eventually I could play it in time with the melody (totally by feel) with my hands on a table top but I couldn't figure out the time subdivisions. Then it finally hit me that this part seems to be in pretty much straight time with a lot of syncopation. Am I right about this? Sorry about the long questions but I have one more. On the topic of keeping solid time/groove, I understand feeling subdivisions and the groove needing to be "in you", but I've found (for me) one of the key elements to good time is a strange combination of focus and relaxation. I personally have to really work on this. Especially when playing high energy parts. What's your opinion about this. Thanks for your time. Your one of the drummers that keep my excitement high about playing drums no matter how old I get. Keep it up!
Simon:
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To answer the question about "Dave's Gone Skiing" - the melody meter is 9/8 - the bass, guitar and keys playing the same figure with the kit accentuating in and out of the melody. The next section is in 7/8 - back to 9/8 and so on until the 4/4 section. I haven't listened to that song for years so I actually can't remember the arrangement but that should give you enough to go on.
As for the question about time - that must the hardest one to give an answer to, and the hardest to accomplish. I suppose the first issue is to recognize when the time is not steady. You should always play as relaxed as you can - the groove and even the sound of your drums will be far better. But also try to hear the whole song - not just your part. Keep those ears big!!!
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Question:
Hi Simon... Marshall Maxey here... 43 y/o professional drummer (double bass/large kit) living in Knoxville, TN. I started listening to your drumming back during the Toto-Tambu era so I'm catching up to a lot of yourfans. I recently found your web-site and I have to say that compared to other drummers FAQ posts on their sites, your fans are way more intelligent with their questions. I'm very impressed. Anyway, I had a couple of questions for you and when I went to your FAQs the first thing I noticed was the most recent posts were questions nearly the same as mine. So, let me try to hammer down farther to the nitty gritty. On "Dave's Gone Skiing" I was blown away by your part and couldn't figure out the time on the intro riff. Eventually I could play it in time with the melody (totally by feel) with my hands on a table top but I couldn't figure out the time subdivisions. Then it finally hit me that this part seems to be in pretty much straight time with a lot of syncopation. Am I right about this? Sorry about the long questions but I have one more. On the topic of keeping solid time/groove, I understand feeling subdivisions and the groove needing to be "in you", but I've found (for me) one of the key elements to good time is a strange combination of focus and relaxation. I personally have to really work on this. Especially when playing high energy parts. What's your opinion about this. Thanks for your time. Your one of the drummers that keep my excitement high about playing drums no matter how old I get. Keep it up!
Simon:
To answer the question about "Dave's Gone Skiing" - the melody meter is 9/8 - the bass, guitar and keys playing the same figure with the kit accentuating in and out of the melody. The next section is in 7/8 - back to 9/8 and so on until the 4/4 section. I haven't listened to that song for years so I actually can't remember the arrangement but that should give you enough to go on.
As for the question about time - that must the hardest one to give an answer to, and the hardest to accomplish. I suppose the first issue is to recognize when the time is not steady. You should always play as relaxed as you can - the groove and even the sound of your drums will be far better. But also try to hear the whole song - not just your part. Keep those ears big!!!
Question:
I know that everyone has his or her own way to postion themselves at the kit, but I just cannot seem to find that ONE COMFORTABLE position. I am starting to find myself adjusting a tom here or a cymbal there. Is there ANY basic rule of thumb as to finding that "right" setup for me?
Simon:
The only rule of thumb I know is something that Louis Bellson told me that Buddy Rich told him. If you use a 24" bass drum you should set your throne to a height of 24" - if use a 22" set your throne to 22". Now take into account the way you play - for example I play matched grip and therefore my snare drum is angled towards me - I wouldn't need to sit so high so I subtracted 2" from Buddy's formula. It is a good starting point. Also try setting your kit up starting with the throne and the kick drum - than add the snare - then the hi-hat - and make sure that is comfortable and everything sounds good. Then add each tom one by one slowly building up the kit. It is a cool way of doing it.
Question:
This may be a bit confusing, but I was wondering what your mind set is when going into the studio as oppose to playing live. I read once that you said the studio is like a blueprint for the live performance. I guess what I'm asking is: As far as keeping it simple or being more open. Are there any "rules" or "guidelines" you use in the studio or vis versa for a live performance?
Simon:
Simplicity is the key. Things just work a little differently when recording as opposed to live. There is so much you can change sound wise whereas live you are stuck with the sound you have for the whole show. So I guess the answer is to play what the song in question requires - and that maybe less than you think. It has to sound and feel good.
Question:
i am a right handet person,butt play left hand like you,on the hi-hat. butt i seem to have some trouble when i would like to play my bass drum in off beat or in the middle of my hi-hat strokes,is it true that right leg and right hand are working better than right leg and left hand. kind regards.
ksp.
Simon:
That is down to practice and it takes a long time but you have to play and play and work on your weak areas over and over again. However always remember tha you are playing music and it should feel good. The other musicians and audience do not know the technicalities that you are going through - they just want it to sound good!
Question:
Hi Simon. I'm from Peru, and my question is about the technique that you used to play the triplets, I have read that you use the French grip, but when I see you playing it seems that you use the technique Moeller. What technique you use? Is it a combination?. thanks for your reply. you are my hero.
Jeff De La Cruz
Simon:
I cannot tell you whether I use a French Grip or a Moeller technique as I never studied either. I have been told that I have a natural Moeller technique and I have also been told that I use a French technique. I call it a Matched Grip but I tend to keep my thumbs uppermost.
