Simon Phillips - Official Website

Masterclass - How to play

Last update: October 14th, 2007

Question:	Hi Simon, I'm a big TOTOfan and I really like your way to play the drums. Well, what I wanted to ask is: How many hours did you usually practise when you were a teenager? Did you first play the Rudiment to warm up (or s.th. like that), or in what a principle did you practise? Thanks a lot! Best regards!
Simon:	You have to remember when I was a teenager I was already playing professionally. My practise was done when I was 3 to 12 years old. I played along to records mostly - that was the bulk of my practise - and everyday but not more than a couple of hours at a time. At that stage I didn't even know the rudiments and wasn't that interested - just wanted to play music in a band!

Question:

Hello Mr.Phillips,

I've a question about how I should regulate my pedals. Well, I play double bass drum and I heared different opinions about it but I've difficult to understand & to feel which is the best solution to play high speed between those: regulate them with a high/medium tension to have a good/quick back or regulate them with a low tension helping the feet to push them softely without use a lot of strong and running faster? What do U recommend me? Or can U tell me please a good way o find a solution?

Simon:

I can only advise you on what works for me. I prefer low tension on my pedals - I feel it more musical. It shouldn't be an athletic exercise - just what feels comfortable. make sure the pedal is working well and smoothly and the beater is not having to travel to far back. It should be easy to play.

Question:

Hello Simon,

I've been playing drums now on and off for several years now, and i would say the level I'm at still is beginner to intermediate stage. I still have a great passion for playing the drums and listening to great drummers like yourself. My problem is quality practice time, setting myself regular quality drum practice. I'm not 100% sure what i should / need to be practicing to get the most out of my playing time. Please could you be so kind as to give me some guidelines on quality practice time. My plan for the not too distant future is to join a band, but i need to improve a lot on my playing ability and confidence. I'm 47 years old and long to get back to playing my drums regular again. This time I'm hoping very much that my practice time will be much more constructive and consistent, as i would like very much to play my drums to a high standard. Please Simon would you set me out a guide to quality drumming practice time. Many thanks for inspiring me with your GREAT playing ability and music.

Your time is highly appreciated, and i hope to see you again in the not too distant future.
Kind regards,
Peter Ashton.

Simon:

Really the most important thing is to play MUSIC. I would spend most of the time selecting and playing along to great music - all different types. Really get into the grooves - the sound - the feel of the playing with the other musicians on the CD. This will be more beneficial to you than anything else you can do in my opinion. Set some time to practise the more rudimentary stuff and then also some time for free form solos. Instead of trying to play everything in your "tool kit" at once try to limit yourself. Remember it's still music even if it's a solo. Try to only play a solo with toms. Or try just kick snare and hihat in a fixed groove. Experiment. But don't beat yourself up about it - better to practise constructively for 20 mins than flogging yourself for an hour and worrying about other things.

Question:	Dear Simon! I'm Paul from Germany and I'm 15 years old. I started drumming 1-2 years ago. I practise a lot but I don't really know, how I should play the Single Stroke Roll. How do you play it? What do you think about the "push/pull" or "open/close" technique? Thanks for answering and I hope I'll see you soon at a TOTO concert in Germany! Best regards!
Simon:	Well - I use a finger technique and that enables me to get speed with single strokes. However when I was fifteen I was just as confused as you probably are. All I can say is don't give up - it will come and in a few years will come quite naturally. However practise open double strokes - this will help the finger technique.

Question:

Hey, Sam from Oz again here. Just wanted to get your thoughts on the partial emergence of open-handed drumming in modern music and namely indie/alternative music. You see a lot of these drummers with their ridiculously stripped down kits using the style but not really harnessing it's full potential. They are doing, open-handed, basically the same as what they'd do cross-sticked except backwards, and not utilising the advantages the technique has to offer such as extra ghost noting on the snare. In this day and age of compromised musicality in the pursuit of fashion, you just have to wonder if some of these guys are just doing it to look good. Especially seeing as a hell of a lot of cross stickers are leading on the ride or floor tom whenever possible to look good in their videos. Surely you don't agree with this blatant misuse of what is undeniably the future of drumming?

Simon:

This is a hard one to answer because one is talking about the conceptuel appliance of a technique. Who am I to say what drummers should do with their "gift". It's up to the individual to use the tools at their disposal. personally I wouldn't worry about it. You know that only a percentage of those young players will be playing in 20 years - and by then they will have figured out that there is so much more to playing. Don't forget - no matter about technique - in the end it's all down to MUSIC. That's what we are here to play. Not all of us will be the next Vinnie or Billy or Dennis. There room for all styles and approaches!

=========== End of last update October 14th, 2007 ==============

Question:

Mr. Phillips as your playing is a huge influence to me (I recently put the ride cymbal on my left side so it means it all doesn't it ? ) there's one thing I can't get enough which is related to your double kick drum patterns : at the end of few songs (especially in live context) you just do a little quick double kick pattern which would actually be equivalent to 2 hits on a tom and then one on a crash like "dou-dou-ga"…(ie : caught in the balance or tale of a man on livefields). I've always wandered if you start your bass pattern with the left foot or the right one… I personnally start with the right foot essentially because I play on a single kick drum with a double bass pedal and I need to feel my stronger feet (right one) hitting the bass drum. is this correct or do you play the opposite way ?
Thanks for your adivces.

Simon:

I always lead with my left foot - I know - seems strange - but that's how I did it when I started. And I think I know the fill you mean. I hit a tom then follow that with 2 kick hits and the cymbal and snare together. Triplet form. Works a treat because it sounds big!!!

Question:

Hi !
I'm Sander Zoer from Holland, I'm in a band called "Delain" , We have a record deal with Roadrunner Records. I have the same kit as you have. Together with our live sound engineer we are still looking for the right mics, gates, compressors etc etc.
At the moment we do not gate anything and it sounds realy nice. only the gong bass, becouse it will feedback a little if we don't do that... There's a old shure 819 in the gong bass, almost like the beta 91 model. My Question is what kind of mics do you use live, ( still the beta 98's on toms ? , becouse we think of thak to.. ) And do you gate them, what kind of Compressors do you use live ?

Simon:

I used to use Beta98s on my toms but I grew tired of that sound and for the last year or so I have been using KSM137s for all toms. Snare drums are SM57s - you can use Beta57s also - they seem to have more gain but not as warm as the old 57. Beta 52s on the kicks and I used to use a Beta91 on the gong drum (which is really a 98 in a flat casing) but now I use a Beta 52 which sounds wonderful. For overheads I use KSM 27s and SM57s for the octobans. I leave all the gating and compression decisions to our FOH engineer as I trust him to do the best he needs to do. We are playing pretty big halls so there is merit in using gates although you have to be careful what it is you want to do with a gate. He uses them so when I am not playing then some of those channels are closed. Gong drum is pretty much a necessity with a PA system. Only the gong drum has a compressor on it - maybe a little on the kicks. There is an overall compressor on the band mix and of course the PA will have some sort of limiting anyway. Just make sure that the acoustic sound of the kit is being reproduced as faithfully as possible and you can't go wrong.

Question:

Hi simon,
I’m dave from belgium and my question is if there are somekind of effects on your drums to make them sound that nice(rebound or reverb or so)? Greetz and respect!!

Simon:

It depends whether you are talking about recordings or live. If you came to see us live then you are getting a very natural drum sound with only some compression and maybe some verb added. There are very light gates used on some of the drums but I could blow on the mic and it would open the gate. If you are talking about recordings - then that depends upon the guy who mixed it - but in recent years the drums are pretty natural - just the room or verb that would make the character of the sound in terms of fitting in with the music.

Question:

Hi Simon.
Firstly I have to say I'm a huge fan of your work and you blew me away with Toto in Melbourne in may. Infact seeing you play that night inspired me to switch to open-handed play myself.(I read that you switched when you were my age too) Anyway, One of the reasons I have switched is I'm intrigued by the 16th note ghost strokes you always play on the snare. It's a really cool effect and I was just wondering in which situations you would use that? (In particular would you do a ghost note and bass hit simutaneously? Thanks

Simon:

Absolutely - I always loved that way of playing and heard many players play ghost notes. I used to do it when I played right handed too so whether you are left or right handed shouldn't make any difference. It's a feel thing and I always think it glues together a groove and depending on the music I change the amount (or volume) of the ghost notes. I would say I use it in everything I play - I don't even think about it actually and I have had producers point this out to me in the past if they haven't particularly like it for whatever reason. It's harder for me to play without.

=========== End of last update April 14th, 2007 ==============

Question:

I was looking through the questions (interesting info , by the way) in Masterclass. So, my question is partially answered, but I’ll give it a shot. I’m left handed, play golf right handed (my pro never told me there are left handed clubs) and I have hcp 17! Not bad for a lefty. Now I also play drums in a left handed setting. I tried a couple of times to setup my kit for righthanded playing, but is seems that the build up coordination is not that ‘automatic ’ as when the kit is set up left handed. Can you help my out? Thanks in advance for your time and love to see you play. Go for it!

Simon:

I am sure it isn't. It would take a long time to swap comletely - and then my question is "why?"
If it works for you then don't waste time re-tracing all the steps - spend the time improving and working on other things. By all means experiment playing right handed but on your left handed kit. I once set up my kit with 2 hi-hats so I could play fully right hande and fully left handed (2 bass drums of course). But there were drawbacks and I prefered to stick with a right hand set-up and play and keep the feet right footed!

Question:

How do you record your gong bass drum? I've found it difficult to reproduced the subtleties AND the extremely low fundamental AND deal with the enormous SPLs. I cant pick the big condensor you have on it in your videos. Why the timpani head? I use just a 22" ambassador clear or brush and it seems to work well. Any comments there?

Simon:

Yep - it can be tricky. Firstly I use a Timpani head becausenot only does it sound so much better - that is the basic concept of the drum. It has a "floating head" just like a Timpani. A bass drum head just makes it sound to similar to the large toms - but it more durable - and cheaper. So it's a tough call. I have used a mic inside - underneath - over the top - and all sorts of mics too. For live I always go for a Shure Beta 91 inside on a special holder that I built. In the studio I try different mics. The latest I have had success with is a Røde NT2000.

Question:	Why did you decided to play a "left handed" style on a right handed drumkit?
Simon:	It made more sense to play that style when I started playing a large double bass, multi tom kit. I saw that both Billy Cobham and Lenny White used this method and thought I would try it - and it worked. But - it was not easy and took a while and a lot of determination.

=========== End of last update July 3rd, 2006 ==============

Question:	Hello Simon, on the SPL "Surrounded by Drums" DVD you recorded your Snare bottom with an AKG C414 Microfone. If you allow me, I have two Questions on my mind: 1.) did you use a 414 B-XLS, or a B-XL II ? I don't remember as I am not big on under snare mics. 2.) to which position do you align the mics direction? Directly onto the snares or to the side of the snare? Which Mic setting did you use?
Simon:	When I do use an under snare mic I would point it straight at the snares - towards the edge of the drum and quite close (to get good isolation). Mic would be set to Cardiod and most likely with the pad in. You must be careful when using an undersnare mic as there can be phase problems. Always check for phase with the overheads and snare. Do not use too much of the under snare mic when mixing.

Question:

Mr. Phillips,
I see that you co-produced Black Utopia with Derek Sherinian. I absolutely LOVE the drum sound you captured on that recording - it is so full and ballsy! My question for you is this: Did you add compression/effects to the drums before or after they went to "tape"? I am currently involved in a project where we attempted to record drums direct to a TASCAM 2488 and add comp./eff. after the fact, and it came out sounding "veiled" and "thin," as our guitarist puts it. My next idea is to go through our mixer using the inserts for comp. and the AUX for fx, and running the direct outs to the TASCAM 2488 - effectively tracking the drums already "made up" for the final mix. I am open to any words of wisdom to be offered by one of the best sounding drummers on tape today (that's you)! Thanks in advance for any advice you can offer. I will be eternally grateful...
Respectfully,
Michael Hicks

Simon:

Thanks for your kind words. I record a kit pretty flat - no compression and very minimal eq. However the mics and mi pres I use are extremely high quality. Not to mention the tuning and miking techniques. Very old fashioned techniques I might add. I use a mixture of API, Neve, Grace and Focusrite mic pres - some API eq, some SPL Qure eq and that's it. I use an SPL Transient Designer on the Ambience mics. I would use compression and limiting when I mix and also eq too. It alll depends on the sound of the track - other instruments and the style of the music.

Question:

Do you play left hand lead on a right hand set up, or are you crossing over on the hi-hat with your right hand, although being predominantly left handed? (I play with my left hand on the hats and my right hand on the snare). I have had to invent my own principals as there are very few who have adopted this technique. On the positive side however, I can pull things off technically that bewilders drummers from a visual perspective. When they try to replicate the motion, they are lost. On the other hand, I find it easy to follow their movements as they play "right handed". Just looking for your input and thanks for your time.

Simon:

I play left handed on a right handed set up. I used to play right handed up until 1975 and then re-learned how to play left handed so I could play a large double bass set up with 4 toms across the top and still get a hihat in there comfortably. It's a great way to play.

=========== End of last update April 23rd, 2006 ==============

Question:

Hi Simon,just a quick one.I was wondering if you have any specific leg muscle warm up techniques you may use before playing double kik work.My situation is I can handle tempo up too, maybe 145(16ths) but just not for very long. Is it just a repetition issue?.Maybe developing an practise routine of,say,3 min at 125bpm/rest/3 min 130 bpm/rest...etc,etc? I would appreciate any info you may have on any specific technique/exercise you may use,Thanks,Antz.
P.S..Thanks for the inspiration you provide me with evry time i see you play.

Simon:

I still think that it is more important to practise slowly and relaxed and with great attention to time and feel. Make sure you don't just practise hard playing and fast playing. Practise at different levels and tempos. Also practise double strokes - start off with the metronome quite slow and make sure you are accurate and not speeding up or slowing down. Make sure the beater comes off the head with every stroke - just like your sticks. I think Paradiddles are a great feet exercise. Always stretch before playing a gig but be careful not to over stretch and cause damage.

Question:

My query is a technical one. I am left handed. I play hockey, golf and baseball right handed, though. I also play drums right handed. Timing beingwhat it is, I find my ambidexterity causes a few problems from time to time with my bass drum foot. I guess it comes down to a comfort issue. It just does not feel natural. Do you think double bass would help? Should I reconfigure my standard kit set-up? Thanks for any guidance.

Simon:

Adding a second bass drum is not going to help your playing - that you have to sort out first.
If you are naturally left handed have you tried setting up the kit totally left handed - playing the kick drum with your left foot? If that is uncomfortable then stick with the kick drum on your right foot but try to play with the left hand on the hihat. That's how I play - although I started out totally right handed. Keep the kit simple until you have figure out the best way to play and set up. Get comfortable with that first and then think about expanding the kit.

Question:

hey! first off, i'm 14 years old, and i primarily play 6 string bass, and i play mostly jazz. i've also been drumming for quite a few years, (alsomostly jazz) but i never took any lessons or got any instruction on drumming, just listening to drummers (such as yourself) and reproducing the things i hear. i have a question about how/where you put your hihats when your playing with two bass drums. i used to have only one bass drum, and i put the hihats more foward and to the right, so when i would be playingon the hats i diddnt have to cross the sticks to hit the snare. now thatim upgrading the kit, im going to have two bass drums, and the hihats only fit in a very weird-feeling spot in order to have room for the left bass drum. i now have to cross the sticks to play, although i am capable ofdoing it, it feels a little strange. did you ever have this problem, and did you get used to it easily? (oh and by the way, i've only heard your playing off of the 'burning for buddy' cd, and i was absolutely amazed by your playing).

Simon:

I changed my style of playing in order to stop crossing my arms to play the Hihat - which means I had to re-learn how to play left handed whilst still playing the kick drum right footed. It works out nicely as I have the hi-hat clamped to the left bass drum (no legs on the hihat) and it is tucked in close to the snare drum and is quite low. But, pretty much unplayable if I were right handed. I think you have to experiment with the set-up - try different things. It's all about that with drums - more than any other instrument - best of luck!

Question:

Hi Simon,
I'm Elena, from Italy!
I'm 24 and i've been playing drums from 2 years, but unfortunately the lack of time does not allow me to study as i'd want. I'm writing to tell you that i really like your drumming and you're really an important musicalpoint of reference to me! I've a question for you...which are the drum methods you suggest most to develop limb independence and coordination?

Simon:

That's a tough one to answer as I am not really up to speed with what drum books or teaching methods are available these days. I had to figure out most of that stuff on my own as when I was starting out there weren't so many books available and certainly no videos. I would suggest that if there is a particular drummer you like then find out whether he or she has a book out and get a copy - or a video might be more entertaining. However please don't forget the main reason to play is to play music - not execute rudiments at blinding speed. It's a nice party trick and certainly nothing wrong with a formidable technique - but it is more important to be able to play different styles with a great feel and musicality. I learned pretty much everything I know from playing along with records!

Question:

I absolutely love your work! I have met you many times in many countries while out on the road with TOTO!!! I have always wanted to ask you this, but it never felt right, chillin' backstage and asking you a technique question, so here it goes!!! Obviously your choice of stick positioning on the high hat.i.e. you don't cross your hands will be the next evolution of the drum kit (the way that traditional grip is now dwarfed by the match grip players), because it allows you to move about and freely and orchestrate fills and such on your toms without worrying about switching back and loosing the groove on the hi-hat as well as eliminate hitting your sticks together. My question to you is being a player that has a weak left hand and hides / compensates for it with a strong right, what is the best way to make the transition smooth?

Simon:

You have to work on your left hand to make it stronger - it's really the only way - even if you stick to playing right handed, there will be other things you will want to do but can't. Really analyze what you do when you playing right handed and try to replicate it when playing left handed. Listen carefully to how it sounds. And remember you don't have to hit hard - best to be relaxed and have a feel and touch for the instrument.

Question:

Mr. Phillips,
I have been playing right handed all my life (off and on for the past 10 years). After seeing Carter Beauford live (DMB) and studying most of your videos, I feel that playing left handed high-hat is what I want to accomplish next. The obvious problem is it blows my right brain-left brain rudiment concept all out of whack!!! When attempting this, I sound like I've just set down behind the kit for the first time!!! What advice can you give to teach this "old dog" some new tricks?
Very truly yours,
John Bowyer

Simon:

Well - obviously it is a big step to take - especially later on in life. I started playing left handed in 1975 - I had been playing for 15 years. However - I was only 18 years old. You are not going to be able to give up playing right handed and rely on playing left handed - it will have to be a gradual thing. So - I would suggest taking one rhythm at a time. Analyze the rhythm and then try to replicate it playing left handed. I would work on each groove catching all the subtleties in the quest to make it sound exactly the same. The art is really not just playing one way but being able to switch without anyone noticing any change. So for example you play the verse or A section of a song left handed and then switch to right handed for the chorus or B section. You have to be patient!!

=========== End of last update March 9th, 2006 ==============

Question:	Hi, I just want to know if Simon won't write the two first bars of "I will remenber", just to have an idea how he plays this groove or if there is a link of some drums charts of him. Thank for advance, NIcolas
Simon:	I have never seen a transcription of that song. it ulilises Toms 2, 3, 4, 5 & 6 in the main pattern with ghost notes on the snare drum (no snares) and 4 on the kick drum. Every 2 bars there is an accent on the Piccolo snare (no snares) and the odd Gong Drum thrown in.

Question:	I often see drummers playing rhythms that involve both hands playing the HH with one or both hands moving to the snare for the back-beat or accents. I never noticed you do that and I wondered if your unusual HH set-up made that harder, or if it's just that your skills are so advanced as to make those double handed styles redundant.
Simon:	No - not at all. If the song requires that style of playing then I would. However I am not a big fan of that technique. It's very "disco" to me. That's how we played all those disco beats in the 70s on sessions. So I would try to find a different way around it. Sometimes it works great and if it fits the song then so be it!

Question:

Hi Simon,
I have a technical question that comes from a very old album. There is this song called "I Hope You Know" ,from an album called The Bible released by Polydor in 1977 ( I think ), that you recorded the drums for. I am quite puzzled by the beat and time signature, i was wondering if you could enlighten me, if you can still remember, in what the beat and or time signature was for that song? Thanks.

Simon:

I am really sorry but I just don't remember that one. If I had a copy I would play it just to find out but the only copy I have is in a warehouse in London - a long way from here.

Question:

I have been wondering lately: Is most of the stuff you're coming up with -- and I'm mainly talking about the "weirder" kind of drum fills or odd meters in general -- is all that just popping into your mind and you're instantly able to play it, or are there moments when you take your time to write your ideas down in notes?
In other words: Once you come up with an idea of an odd drum fill, is the writing down of notes to any extent substantial to your playing? If not, has it ever been the case that you had something on your mind, but you had to write it down to really get it and understand it and thus, let's say, first of all "construct" a groove or a fill before you bring it onto stage?
Thanx in advance and best regards,

Mischa

Simon:

I have never been good at writing stuff down. I was never good at following drum books. I was more into music itself than drum techniques. What I play and come up with is made up of the vocabulary I have after playing for so many years, and then mixing it all up and trying new things. I don't really think about it - I am always looking forward and looking after the groove, the song, the time. Sometimes these odd meter rhythms and fills are almost subconcieous.

Question:

I have a big Problem with my feet. I sometimes cramp up with double hit's and I don't get it away. That's very, very anoying, because it has an effect on all my playing. Maby you have some technical exercises for heel up and heel down technics.

Simon:

I don't have any specific exercises for heel up/down - but all I can say is being relaxed is most important. Also to practise slowly with the heel down (to promote a relaxed way of playing) will help. Concentrate more on dynamics - playing quietly, playing accents and playing in time with a groove. Think about getting the beater off the head more than on the head. You have to dance with the feet - not too heavy footed.

Question:

See if you can sort this one.
I am blind and have been playing drums since the age of 6 I get a lot of critisism from sighted players due to the fact that I never play up and around the kit but sort of down and across. this is becasue I ca not see the drums and need a way of knowing that I am hitting the drums that I want to hit when I need.

Can you suggest a way for setting up my set a yamaha 9000 birch so that aI can find things easier. by the way you are a big inpsiration to my playing and I hope that one day I can play with the grace that you have around the kit.
Kind regards

Steve burge

Simon:

Hi Steve - well this is certainly a question I have never been asked before and really I am not sure if I am qualified to answer - but I'll have a go. Ultimately it doesn't matter how you play the kit as long as it sounds good. However I think the best thing to do is have somebody who's playing you admire come and set up the kit for you and then adjust the set-up to your liking as you play. You know, I actually play with my eyes closed a lot of the time - or I look at the rest of the band. I rarely look at the kit when I play. One shouldn't need to - the kit should be an extension of yourself. I wish you the best of luck.

=========== End of last update September 17th, 2005 ==============

Question:	I am a true lefty that sets up right handed as well. I was forced to learn on a R H kit in jazz band 26 years ago in school. The only thing is, I am VERY left hand dominant. I am working on leading right handed and slowing everything down just to be more versatile; as you did to become L H lead. Q. When doing a simple tom run from left to right, do you start with your L H or RH?
Simon:	That depends - if I start on the downbeat then probably the right hand - but if I start before the down beat then the left would lead. It also depends on what you are playing. I may start one way and change in the middle. It's good to practise both ways but when I am playing a song I never think about it - I just do it.

=========== End of last update July 10th, 2004 ==============

Question:

Simon,
Hi there. My name is Shawn Preston. I live in Northern VA. I was wondering what EQ's among other things that you use to get the bass drum sound like what you hear on many of your albums as well as the Toto albums you've done and Toto DVD from Amsterdam. I would very much like to experiment with that sound. I very much enjoy it, and if you don't mind, I would like to use it. Thank you for any information you may be able to give me regarding this issue. Take care and Godbless!
Shawn Preston

Simon:

Really the sound is down to the set up of the drum. The main ingredient is using Remo Ambassador Clear heads. Secondly not using too much damping - I use a rolled up towel which I tape to the batter head and the shell - sometimes I cut the towel in half to make it smaller. For the last couple of years I have placed a paint can inside the bass drum on a towel. Something I stole from Eddie Kramer. It really does work and helps tighten up the low end of the drum and makes it more microphone friendly. Correct placement of the mic is important and I have used Shure's Beta 52 for quite a few years now. I use a front head but if I am in a small room then I may cut a hole where the mic is so some air escapes. Using a very high quality mic pre is really important. In my studio I use a Focusrite Red 1 but any Neve (1273 or 1073 will do) or Grace 801 or API. I also use a small 8" woofer placed in front of the drum and use it as a microphone recording onto a seperate track for sub bass. That works really nicely!

Question:

Hello Simon,
I have a question. When you play a standard pattern on your ride cymbal, where does your stick mostly touch the cymbal? Is it on or off the bell? And do you hit the cymbal with the tip or the shoulder from the stick? Thank you!

Simon:

Well - if I want a bell sound then I would touch the bell - if not then the bow of the cymbal. I use both the tip and the shoulder of the stick depending on what sound I want and what volume I am playing at. I use a lot of mixture of all of the above. It really is a feel thing but you should experiment and practise all approaches. For example you could play 4 quarter notes on the bell with the shoulder of the stick and then 2 sixteenth notes on the bow with the tip - 1 and a 2 and a 3 and a 4 and a .... etc etc. I play that rhythm quite often. Then try reversing the rhythm so that the bell stroke hits on the up beat - 1 a and 2 a and 3 a and 4 a and .... etc. the bell being the "and".

Question:

I ´m a musicteacher and i used a little Studio, with Yamaha Qx3, Prophet 2002, Roland Expander and other. For my own plaesure to drumming i bring in protocol, v8, streetwise and force majeure in the sequencer. My Question is: In Protocol and also in Force Majeure you have composed some very interesting arpeggiator sounds! How did you realize that and which sounds did you use? Very special thanks for answer this question! Greetings from Braunschweig, Frank

Simon:

Wow - that's going to be tought to remember. I know I incorporated the Roland D-110 quite a bit during the Force Majeure compositions and I also used delay quite a lot. A nice trick is to take the chords of a section and play them as an arpeggio with a dotted 8th note delay. You have to experiment so as not to get any discordant notes hanging over. Be careful with your voicing of the chord and remember you don't always need every note in the chord to make it work.

Question:

Hi,
my name is Guido coming from Germany. I´m a member of the Jukebox Heroes. (Cover Rock)
We played a support Job for TOTO last year in Aachen and I´m very proud to meet Simon and the Band during the whole "TOTO Show". Also see attached picture.
My Question. I´m very interested getting information about the live intro to Caught in the balance. I´d like to introduce our jobs the same way.
How is it produced (Which programm or by hardware?) and are there any possibilities to get this intro? WWW or somewhere else? I tried to sample it in Logic Audio but the audience makes so much noise, so it is impossible to take a representative product. I´m very thankful for an answer.

Simon:

You have to create your own intro. I made that one in Studio Vision (before I got into Pro Tools). I started with some samples from the Mindfields record and then added midi stuff and played around with sounds and manipulated stuff until I got what I wanted. It was very experimental but it worked out great.

Question:

Hi Simon!
Hope things are going great for you. Things are good here. I recently bought the Derek Sherinian-Black Utopia cd. And I have to say, you have THE BEST tom sound I've ever heard on a recording!! Of course the snare and kicks are also very good, but those toms!! Good Lord!!! I've got a project studio here at home and I also play drums. And I've enjoyed and have been influenced by your drumming for years. Mainly the Jeff Beck stuff and the Schenker album and even the Judas Priest one. I'm working on my second cd project with an unknown guitarist named Greg Griffin from here in Toledo Ohio. I'm currently playing the dreaded Yamaha DTXtreme electronic drums. I used to play Ludwigs and Tama Imperialstars, and I'm looking to replace the Yamahas with acoustics again. The sound you get on Black Utopia is really pushing me towards Starclassics like you play. My other choice is Noble & Cooley. My main reason for writing you is to ask you if you'll tell me how you got this wonderful, huge tom sound. The low end is so great, and they cut through so well. Did you compress the room mics to crank the decay of the toms or what? I don't know, maybe it's a big secret thing you'd like to keep to yourself. If so, dang! If not, I'd really appreciate it if you revealed your recording technique for getting that awesome tom sound! Thanks for giving me your time. Sincerely, Ron Westphal

Simon:

Hi Ron - well firstly thank you for your compliments. To start with it is important to use the right kind of head - this is where most of the sound will come from and after that it is a question of how the drum handles the head and the tuning. I use Remo Ambassador Clear - single ply with no coating. I tune top and bottom head the same and quite a bit higher than you would think. That is where the shell comes into play and I find that a Maple shell has the balls that other shells don't have. No damping is used and obviously a good mic and mic pre are essential as is proper placement. Not to mention of course the playing technique which is something I concentrated on for many years when I was younger. Otherwise no real "tricks" are used. Best of luck with your new project!

=========== End of last update March 27th, 2004 ==============

Question:

Hi Mr. Phillips
How are you? Good, i have a question for you:
When you practise a track (ie. a song) what kind of methods do you use to practise that song, so it will sound the best? How long do you practise the song? Do you often use headphones or just practise the song with the band? How would you know that the sound you are hearing is a good sound? How would you know when the song is practised up so it can be performed? Sorry about all those questions, but i really wondered.......
Thank you!
Sincerely, David Reime

Simon:

Well, I hate to disappoint you but I don't really ever practise a song. I would rehearse it with the band maybe a couple of times and then it's ready to play live or record. The more you play the song live it will develop but essentially it is ready. That's why producers and artists pay drummers like me money to record their records. Most tracks are recorded 1st or 2nd take depending on the complexity of the song. That's the real skill of what we do - not just to be able to play technically but to be able to interpret instantly any kind of song or music satisfactorily.

Question:

Dear mister Phillips,
i'm a 25 year old bassplayer from a cover-band in Holland named Flash. We also cover the song Childs anthem from TOTO and i had a technical question about the accents the song starts with and later also return.
I'm arguing with our drummer that the last accent (of theses 8) is on the 4th measure each time. So if i count 4/4 (at a speed of 144 BPM) the last accent is on the 4 .. is that correct? Our drummer is convinced that the accents are not played on the 4th measure and so he left me no other choice to ask the "simon" himselves :) Rik
Holland / Belgium

Simon:

You are correct. The last beat of each figure lands on beat 4. Beat 1 is a triplet rest with 2 triplets, beat 2 is 3 triplets, beat 3 is the first 2 triplets and a triplet rest, beat 4 is 1 beat.

Question:

I was always intrigued by your large drum sound on Mike Oldfields CRISES album way back in 1983 (I think).
Rumour has it that you tried out the new brand STACCATO drums on that album, (you know these funny looking kits with irregular shaped front rims). However, I always thought you were a Tama user on each and every album, but I don't know.
Now, how did you achieve that great drum sound, particularly on the second half of the long title track Crises? Have you ever recorded with other kits than Tama (with the assumption, that you're not really allowed to reveal this :-))

Simon:

To answer the question of Staccato drums - I used those way back in 1977 with the Jack Bruce Band and on some recordings. The Mike Oldfield records were all recorded on Tama kits - Superstar on Crises and Artstar on Discovery. As for using other kits, the only other make of drums I used were Ludwig - and that was before my Tama endorsement in 1979. Anything recorded before '79 would have been either a Ludwig Octaplus (single head toms) or Ludwig single kick or double kick sets. As for "how" - well a lot of it has to do with the recording process and the mixing process. So much can go wrong from the recording to the final mix - just depends upon the re-mix engineer and/or producer!

=========== End of last update September 16th, 2003 ==============

Question:

I have just listened to the song Forgiven not forgotten by The Corrs. The bassdrum on that track sounds great, thats exactly how I want myStarclassic maple bassdrums to sound.... Do you remember how it was recorded, where there any compressors, limiters or gates used while recording, or when it was mixed ?
Did you used a closed front-head with the mike inside as usual ? Please try to give me as many details as you can remember.. Your biggest fan Jimmie / FUELHEAD.Tim

Simon:

The session was engineered by Bob Clearmountain and he also mixed the track. The recording was the same as always - both heads, mic inside. It would have been an AKG D12 as the Beta 52 was not yet in production. There may have been a mic on the outside too. As for what Bob did when mixing, I wouldn't know as we all have our own little mixing tricks. But he is one of the best guys in the business so that's probably why it sounds so good. He rarely records these days prefering to mix only, so I was honored he came out to record me that day.

Question:

The song "Biplane To Bermuda" from Symbiosis: I heard and met you in London back in 97? - at the Shepherds Bush Empire. What a great show! On record it sounds to me that the keyboard player is playing so many parts that he would have to grow an x-tra arm or two for live-play! What did you exclude from the "record-arrangement" for your live performance?

Simon:

Well - Jeff Babko has amazing facility and can make it appear that all the parts are covered - he is so talented. The main instrument missing from the studio version is Sheila E's timbales - the cascara part - which is so important. But touring budgets mean that we have to make songs work live or not do them at all. I really enjoyed that show too - it was wonderful to be able to come to London and play with my own band after so many years.

Question:

The song "I will remember" from Tambu: How was the song conceived? How did you create the beat? Live you are playing 1/4-notes in the bass-drum- why not on record? Also - sounds to me that a shakerloop is being used on record. What loop material did you use/recommend? I´ve been searching for decent 16th-note shaker/tambourine loops for ages!

Simon:

Luke sat down in the little demo studio that Mike and I had at the time and started playing the song. I immediately heard a Peter Gabriel type approach and started playing around on the toms on the little kit I had put in the studio and eventually settled on that rhythm. However when coming to cut the track I had forgotten what I played originally and was floundering around for the part. I don't think we cut a demo! Anyway after a couple of run throughs it kind of fell into place and that what you hear on the record. The track was cut to a click - not a shaker loop. That was overdubbed by Lenny Castro. The best way to get a loop to play to is to make one yourself. Record a few bars of shaker/tambourine or whatever you want - pick the best 2 bars. Edit and loop it in whatever machinery you have at your disposal. Pro Tools is the probably easiest way to do it. Just create a 2 bar region and repeat it many times. As an aside, when we were cutting the track, Vinnie Colaiuta walked into the studio to borrow some brushes from me - he didn't realize we were recording so he had to stay still for the whole song - ha ha ha!

Question:

Simon,
The work you did on the Pretenders album 'Get Close' was very special. I've played the subject tune repeatedly, as I've glided across the Sinai Peninsula while I've been working here in Egypt over the last couple of years. I have not been able to get enough of how good the drum arrangement sounds, not to mention how fine a tune Chrissie Hynde wrote. I'm sure that working with such talent draws the best out of you and this one was fabulous. Technically speaking, it is mind boggling for me to envision how you worked out the movement from the stick click sound to the snare beat on 4, through the bridge, unless there are multiple drum tracks. The sounds of both the click and the snare beat are so clean. Maybe one snare drum for the click and one for the snare beat? Anyway, I'd appreciate an explanation of how the drum part was worked out. Are there any video demonstrations of similar techniques available or even any video record of the sessions available?

Simon:

Well the sound part is down to having a great engineer in Bob Clearmountain. There are a couple of neat tricks one can use when mixing but that is the subject of an engineering forum. As for the arrangement I guess it's the song that dictates what I play. I don't think much about it really, just how to interpret the song. If the songs are good then it comes naturally - if not then it can be more difficult. Basically it's down to experience and imagination.

=========== End of last update September 16th, 2003 ==============

Question:

I was just wondering if you find drum soloing easy or quite difficult. Dont take that the wrong way, I am not saying that they are easy by any stretch of the imagination but was curious to know do you spend alot of time planning a solo or is it pretty much freestyle each time you play one. Do you set yourself anything in particular to do in a solo such as time signatures or particular patterns or again, is it just a see what happens kind of thing.

Simon:

Well - sometimes they come easy and sometimes not so easy. I always try for something different everynight and I hate having to resort to licks or patterns from my vocabulary. I would say most of the time I don't have a clue of what I am about to do before a solo - sometimes I start playing and I still don't know but I get guided by the sound of the kit and the hall/club or wherever I am playing. However if I am running out of ideas or are getting bored with my own soloing I listen to other players and I often get inspiration from them. I would say listening to Tony Williams is the most influential. It's about composition - not drumming. And that's how I approach soloing. That goes for any instrument by the way.

Question:

What is more difficult for you: to find a drum pattern for a ballad like "Just can't get to you" or a drum pattern for fusion song like "Party in Simon's Pants" or "Dave's gone skiing"?

Simon:

It all depends upon the song. Usually it is a very natural, instinctive issue - I never think about it. However if the song is not working or the composer or artist wants to do something very different then it may take a while. When we recorded "Through The Looking Glass" we were challenged much more with this as we wanted to play the songs differently from the original. I think the song that took the longest to sort out was "House Of The Rising Sun".

=========== End of last update June 21st, 2003 ==============

Question:

My question for you would be, how do you decide what fills you're going to play? Do you ever think ahead, or do you just feel it out at the moment. There are times when I play, that I will listen to the gig tape and be pleasantly surprised as to how a particular fill was set up and executed. But it will have been something out of left field! It can also work the other way as well, and not be such a good fill. Does this happen to you?

Simon:

I would say 9 times out of 10 I never think about it. In fact I never really think too much about what I am playing - just using my instinct. However there are occassions where I do find myself thinking about what to play and that's when I start experimenting. Everynight I like to play something different - to keep it fresh. best thing is to just concentrate on the song and the groove of the song and let it flow - time is the key factor!

Question:

What kind of exercises do u do before a show to warm up? Do u think that simple exercises like paradiddles (single, double and even triple) are enough? Maybe also some single strokes and single rolls? Do u maybe warm up your finger techniques more than the rest?

Simon:

I usually start off slowly with some double stroke and triple stroke rolls - 16th notes. Then I mix in the paradiddles and some exercises of my own. The main thing is control - that's what I concentrate on and then once I am warm then I go for speed. Yes I do the finger exercises and anything else I can think of or remember. It is up to you to be creative and work out exercises that are tricky to do and to play them with accuracy.

=========== End of last update February 16th, 2003 ==============

Question:

I'm very fond of sticking exercises but the main problem is the coordination of my feet and legs while i'm playing it. It becomes worse when I add accents. I even write down my own sticking patterns but I get lost while playing with a band. How could I sharpen my concentration on what I'm playing?

Simon:

I think you are spending way too much time in the technique of playing rather than the music. Remember, the whole reason to play is to accompany other musicians in order to create music. It is wonderful to have all these tools (I call rudiments tools) at your disposal but at the end of the day what makes you a great drummer is how you play a song, how you support and accompany the rest of the band, your time keeping and the groove you are supplying. My advice to you is - concentrate on the music!

=========== End of last update December 22nd, 2002 ==============

Question:

Hello Simon,

Here maybe an interesting one for techheads.

With your way of tuning letting the drum give all its frequencies,the SM98a condenser mikes giving complete frequency reproduction, I have always wondered how you get this bassy, compressed tom sound without any disturbing overtones?
One could say many overtones get masked by the music, but I hear this sound even when the drums are alone, as in the intro of "Out of the Blue", especially the live track from your latest CD.
Is it only powerful frequency cutting with compression, or maybe a predominant part of the ambience microphones?
The only time I come near this sound is when I listen to the drums through the ambience mikes only, as if I was listening to the acoustic drum sound from some distance. Is this the right way?
Not to say I experienced this on the same drumset, same heads, tuning and mikes as you, as close as I could get.

Simon:

Obviously the sound of the kit is made up of a fine balance between all the channels. One could go into so many technical aspects in order to find the solution but at the end of the day it is the player that really makes the difference. When I was young I paid a lot of attention to the sound of tom toms - they were such an important part of the drumkit for me. I really tried to change the sound of them by experimenting with the way I hit them. I'll give you one clue - I rarely hit rimshots on the toms. I try to hit them dead center. Maybe it's what I do when I record and mix them - but really there are no tricks - it's just how I hear them!

Question:

I am using a TAMA Rockstar set and a Masterworks (14"x4") snare drum together with nearly the same mic setup as yours (except the overheads). My questions is: I have always trouble with the snare 'ringing' by hitting a tom or the kick..i found a tuning that really fits perfect for the snare but i cant cope with that ringing..do you have a solution? Do you have tips for a good overhead mic position?

Simon:

Now that's a strange one. I could understand the toms ringing when you hit the snare but not the other way round. There would be a little top head ring but you wouldn't be able to hear it if the kit is balanced properly (mix wise in the studio) and you should definately not be able to hear it acoustically. My advice is to first listen carefully acoustically and see what is going on. Then solo each mic input so you can listen carefully to the individual instruments. Then listen to what happens when you add more than one channel. Check for phase correlation. It may be some weird phase problem so try putting the snare channel out of phase. I do that 99% of the time.

Question:

Dear Simon, what do you think about the pros and cons of using a one-piece solid footboard with no hinge on a single or double pedal set up for power or other applications. I have tried almost every pedal since the 60's and still not happy, I also prefer a strap cam, DW has one out know that I might try, It seems the best foot position for me is the ball of my feet right at the hinge of other pedals and as such I feel I am losing some control. Your thoughts on this is greatly appreciated.

Simon:

Placing your foot so far back doesn't sound like a good thing to me. Everybody has their way of playing and sometimes they have strange ways of approaching, but I would try to get your foot up the pedal board a bit. I only know the Tama pedals now and they seem fine. (Iron Cobra - Rolling Glide). Give it a try. I used to use straps on my old pedals but since Tama came out with the Iron Cobra line, it is such a different action that even thoughn they made one model with me in mind with a strap, I prefered the chain. Just depends on how the pedals works. All I would say is don't use too much tension on the spring.

=========== End of last update September 10th, 2002 ==============

Question:

I'm a 34 year old drummer who has been playing for 10 years now (the last 6 professionally). I'm naturally left handed for most things but I play right hand lead on a right hand drum kit. Lately I've been going back to basics and really concentrating on groove/time and being able to play with a great pocket. I was just wondering if you feel that one's natural, stronger hand (left in my case) will always be better more natural than the other (what I mean by better is by having better time feel, grooves ... I don't care much for speed ???) Of course, the thought of relearning everything the other way would be a huge set back but if it helps, than maybe it'll be worth the effort. I wonder how much our leading hand is connected to the way we "feel" the groove. Thanks a lot for your time.

Simon:

Well - in my experience I would say that the naturally stronger hand will always be the stronger hand, both in terms of technique and feel. However it depends how long you play with leading with your left or visa versa. For example - I started playing right handed, traditional grip. I changed to matched grip and then I swapped from right hand lead to left hand lead. When I played right hand lead I was playing straight ahead, dixieland and swing music so that way of playing was very natural. When I changed to left hand lead I was not interested in playing straight ahead swing grooves at all - in fact I sweared never to play that style ever again - ha ha ha - so when I swapped the style I was playing was 16th note or 8th note based music - rock and fusion. Hence I am not so comfortable playing swing leading with my left hand and that is purely due to lack of years playing that way. In fact there are certain grooves which sound better leading with the left, and other grooves which sound better leading with the right. Like anything, you have to persevere, and you can train yourself. All I can say is the older you are the harder it is to learn things!

Question:

How would you approach drums recording in an exiguous space like a closed drum booth (LxWxH:6mx6mx2m) which is very dry (absorbing foam on nearly all the walls and very thick carpet)? Would you use the ambient sound in such a place?
In this situation, I found for example that bassdrums sound better with a little hole in the frontheads.
Do you have some advices?

Simon:

Well, your booth is not the best place to record an acoustic instrument like a drum kit. However these tips might help you. First, and probably most important, is to set the kit up on a wooden plinth. 2 sheets of 8' x 4' 3/4" thick plywood should work fine. Lay the wood on top of the carpet. You are correct about the bass drums - you would need to have a small hole in the front head. If the mic is mounted inside the kick drum then make sure the hole is directly in line with the mic. Close mic everything - but if you can leave the door open and throw up a pair of ambience mics outside the booth a fair way from it to gain some time delay. You should come up with some cool sounds!

=========== End of last update August 21st, 2002 ==============

Question:

You mentioned having "developed a way of playing that is not so strenuous on the body." Can you elaborate on that a bit?

Simon:

Well, I guess it's to do with using less movement around the kit. Playing a large kit like mine involves more general body movement than playing a smaller set-up so by careful positioning of all the components, sitting at the right height, as well as really getting a sound out of the drums without wasting energy by striking too hard, all helps to conserve energy. I think also just playing the kit for many years one naturally develops a more effortless style.

Question:	Toto - CD - Tambu - Dave gone skiing ..... how do you play this song ...... I can't hear the ghost notes on this track.
Simon:	I am sorry but I can't answer that - impossible to explain in words. Just listen to it over and over again!

Question:	Which sub-division is correct for "party in simon's pants. Is it 2/2/3/2/2/3/3 OR 4/3/4/6. Or is neither correct?
Simon:	Neither is correct for me anyway - I feel it as a bar of 4/4, a bar of 3/4 and then a bar of 3/8.

Question:	Could you please explain the drum fill in the song "Kumi Na Moja" on the live version on the "Out of the Blue" CD. It starts with 2 bass drum hits with cymbals (starting with the left hand, I presume?) and snare in between. The pattern starts at 05.50 and ends at 05.58 on the "Out of the Blue" CD. Could you please explain this pattern in note values and the sticking?
Simon:	I think the one you are talking about is the group of five 16th notes across the bar line. The sticking is Left, Right, Left, Right, Right - Left, Right, Left, Right, Right with kick drums on the first 2 beats which are also cymbals crashes and then the rest on the snare drum.

Question:

Hey, Simon. I'm a huge fan and also a drummer, and your playing has had a huge influence on my own. One thing you've done that I've never been able to at least figure out how to do is that drum part you used on the Los Lobotomys tune "Dismemberment". I know you didn't record the tune on the album, but I have a tape of you playing a club gig on German TV with Luke, Pena, and Garfield. You also use the same groove during your "Free Form Solo" section on your first video. I'm interested in the snare and hihat interplay that goes on, but on your video, the camera's looking at your feet! I was just curious as to what's going on because I've never heard any other player use that groove, and it rocks! Thanks, Simon!

Simon:

This is hard to explain in words. Basically it involves lots of grace notes. If you can imagine playing a single paradiddle between the hihat and the snare and then adding bass drum beats then it's kind of close - but not quite. I would say try playing that to start with and go from there.

Question:	I have always marvelled at how, even as a young man, you have kept such perfect time, particularly in slow tempos. Can you give me any tips on developing and being confident with time [by that I mean sticking to your tempo when the guitarist is off on one of his own!!]
Simon:	That is probably the toughest part of playing any instrument - time! I had a very strict apprenticeship with my father who was a perfectionist when it came to playing time. It has to become part of you but a good tip is to subdivide - especially when playing a slow tempo. Think in 16th notes - but play 1/4 notes or 1/8 notes - whatever the tune requires.

=========== End of last update March 31st, 2002 ==============

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:	Hi, can you please tell me what it is about the drum sound on Pete Townshend's "live at the Deep End" album. The toms sound like canons! Was it just more overheads in the mix and more ambient sound? Were the drums/tuning different in some way? You get a great sound always but this is a little unusual and it slays me every time I put it on! Any insight you could give would be appreciated. Thanks.
Simon:	Well that concert was recorded and mixed by Bill Price (Sex Pistols records) and he is gets a great sound - one of the finest engineers in the world actually. I just did what I normally do and he recorded it. Just how things turn out I guess.

Question:	I love the sound of the Tama Artstar drums, what made you change to Starclassic drums ? What is it you like more about Starclassic than Artstar.
Simon:	I was ready for a change and actually I much prefer the sound of the StarClassic drums. They are quite different. Very thin shells and Die Cast hoops.

Question:	Could you please explain how do you play the Jeff-Porcaro-(Rosanna)-Shuffel. Is it true that you play some more ghostnotes than Jeff did? How many? More than one? Is it the same subdivision like "Freudian Slip"?
Simon:	Very hard to explain, if not impossible. I don't know whether I play more or less ghost notes - I just play what I feel. I am sure it is different - but that's how it is. Yes, Freudian has the same kind of groove - as do many songs - but different kick beats.

Question:

I like very much the Out of the Blue song. The second chorus in the song that leads into a kind of 16 bars bridge (or chorus version II) which you split into several odd time phrases, is very challenging. How did you come along with a part like that? Do you have a melody first which you then follow or do you define a structure you fill after?

Simon:

What's interesting about that song is I had written most of the material for "Symbiosis" but I needed one more up tempo song. Somehow that song came in one day. From my recollection of writing it the verse chord sequence came first - then the melody. Next was the chorus melody which is structured with the harmony. Then I needed a bridge and I just thought a challenging and busy section would work with the smooth half time feel of the verse. Musical infuences for that song were Nik Kershaw and Chick Corea - go figure!!!

Question:

Your solo album's songs in odd time signatures are among the ones I prefer(Kumi Na Moja, Indian summer, Biplane for Bermuda). After seeing one of your gigs in Belgium in 1998,I thought that playing rhythms in odd times was one thing, but your soloing all over the bar lines was very challenging!

Since you told in one of your videos you weren't counting, so what is your approach when soloing? Do you have sub-grouping patterns already in mind, do you count in half time (for example "1,2,3,4,and" if playing 9/8) or is it really pure feel?

Simon:

Remember I don't count. I listen to what the band is playing. I think of the riff or form of the song. I don't just play a solo over what's going on - I am extemporising upon the melody or riff and then playing off it. It takes some practise of course - years of it - but the more you play in odd meters the better you will get at it.

Question:

First of all I'm very impressed that you find the time and patience to answer all these questions, not so obvious I think...

I'm left handed but play the way you do, means I have a " normal " right kit setup so I don't have to play cross sticked, so my main foot to play Grooves etc. is the right foot, ok, now my problem is that when I practice/play Double Bass Drums I lead w/my left foot and then I have the problem that my right foot switches to the right edge of the pedal and I have no control over it anymore. Do you think this comes because I play a right setup, or is only a temporary thing that goes away if I practice regularly? Thanks a lot

Simon:

Sounds to me like you are too tense when you playing. You must relax. Also make sure you are sitting correctly - not too high, not too low. Are you centred on the drum throne? Maybe just set up your bass drums and throne and play a for a while. Really make sure you are relaxed when you play. This can be the cause of most problems.

Question:	hi simon What kind of snare did u use on your DCI 'simon phillips' vid? I really like that sound. With which of today's tama's snare can i get that sound? I have AYOTTE 8x14 snare. is it the same?
Simon:	Without looking at the video I am not sure but I think it was an 8" deep wooden snare with die cast hoops. That was the same kind of snare drum I was using with The Who. I could have got that sound, or very close, with any of the drums Tama make that I use. I have no idea what your Ayotte snare drum sounds like - but they make reat looking drums.

Question:

Hi Simon. Huge fan for 19 years now - chatted with you briefly twice, and always appreciated your patience with me . Here's one we never got to:

I am a natural lefty who sets up righthanded. Playing like you with left hand lead comes easy and naturally for me. But I find when playing a real groove oriented tune that - to the most discerning ear - some groove gets lost if I transfer my downbeat from, let's say a left hand hi hat lead to a right hand lead tom fill. If I don't transfer the downbeat, I'm stuck leading down the toms lefthanded (I've got a few bruises over the years doing that!). The gap between the left-lead hi hat and the right lead tom fill is small, but in a strong groove tune (like "Gift of Faith" for instance), invariably some groove is lost. Often, I either lead the fill left handed or I "double up" a beat somewhere so I am straightened out heading down the toms.

I find this also is difficult doing double bass work. For instance, I will usually play the downbeats of a 16th note bass roll with my left foot, as I've noticed you doing as well. But if I want to play a fill down the toms, which leads right handed, I'm stuck playing right handed tom notes while playing left foot bass notes. Though I can pull that off and handle it for just about anything, there are times when the cross-handed-footed thing can get a little loose.

How do you handle this type of thing? And speaking of "Gift of Faith", what exactly is that groove? Live, it seems like your playing 16th notes on the high hat with some ghost notes mixed in on the snare. But on the record, it almost sounds like straight eighth's on the hat - and even possibly just the upbeat hi hat quarter not accents with the rest being all snare ghosts. I could go on and on, but I'll stop here. HELP!!!

Simon:

Phew - long question! Groove of "Gift" is the same on record as live - just sounds different due to recording process verses live sound. As for the main part of your question - it's just something you have to get used too. What I would suggest is change what you are playing - instead of playing fills you would normally do - try something different. Obviously it makes sense to start with your right hand. The fill also has to be in the same groove as what you are playing. Try a fill without leaving the hi-hat pattern - in other words a simple right handed fill. Then follow up with your left hand at the end of the fill. Most important thing is to never break the groove!!!

Question:

I'm playing with a TAMA STARCLASSIC PERFORMER using a 22" bass drum and right now i'd like to add the second one...do you think it could be a good idea to add a 24" (putting this one as my main bass drum) instead of another 22" so to have two different sounds?

Simon:

It depends what kind of effect you want to achieve. I have used a kit with 24" right kick (Main) and 22" left kick and it was fine. I have also used two 18"s and one 22". That was cool too. But my preference is to use two identical sizes and tune them as close as I can for effect I personally want. In your case though if you are playing single kick fairly often I think it is good to have a choice of bass drum depending what kind of music you are playing.

Question:	I just wondered how many sticks you generally go through in, say, a year?????? I have pretty thick sticks and I don't hit my drums particularly hard, but I seem to break a fair few.
Simon:	I have no idea how many I go through a year. Depends upon how much playing/touring I am doing. On a normal Toto show I could use one pair for the whole show and then again I could go through three. Probably not as many as you would think!

============== End of update October 14th 2001 ===============

Question:	How did you subdivide 33/8 on your 2nd dci instructional video tape?
Simon:	2/2/2/2/3/2/2/2/2/2/3/2/3/2/2 from memory is the basic subdivision. Taken straight from a Don Ellis recording of a song called "Bulgarian Bulge" from the album "Tears Of Joy" which I am patiently waiting for Sony to release on CD.

Question:

Your drum performance on Jeff Beck's "Space Boogie" I feel is one of the most intense and definitive displays of fusion drumming that exists, extremely influencial and a landmark piece of drum work. In the studio, about how many takes did you need to do before getting the keeper take for that song? How much "comping" and punching-in was done on those drum tracks?

Simon:

Thanks for the kind words. From my recollection that take was the second one we played. No fixes or drop ins. I think Mo (Bass) may have had a repair or two - it was the first time he had played that song and was reading a chart. Tony of course overdubbed the Acoustic Piano and synths. Jeff didn't play on the take as he wasn't happy with his sound at the time. We had previously recorded that song on another session with Ric Laird on bass but didn't use it - it was a slower take!

Question:

Hi Mr Phillips!! I am a very big fan of ToTo and you, ......and I would like some advice... you see, I have been playing the drums since I was five but I'm 16 now, but the problem is, I live in an apartment, so I can't have drums at home, because if I do, we'll get kicked out!! But I want a set, but mom and dad think that I will make far too much noise!!! I had a set when I was younger, but I was forced to sell it, or we would have got kicked out!! Isn't there any way to make the drums sound, very quiet? like putting something on the snare and toms ..? .....please help me!!!

Simon:

Always a tough instrument to play/learn because of the volume. The best solution is for you to rent a practise room with a couple of other people so you can have a kit set-up and go and play for a certain time each day. At home you could use a practise kit or electronic - but I wouldn't spend too much on that. Much better to use the real thing.

Question:	Just have a question about the song "Kings of the day" from the "Aura"-CD by Asia! Could you explain the break before the second verse? It ROCKS!!! Sounds very simple, but it fits so damn well.
Simon:	I just had to have a listen. Hard to explain but fairly simple. All 16th notes - alternating single notes on Toms and Kick around the kit finishing on the Gong Drum then 2 beats on the Kick and 2 beats on the Snare. Voila!!!

=================== End of last update Sep 28th, 2001 ====================

Question:

Can you please tell me which tools you use for composing? And how you catch an idea and make it come to life (the process)? I`ve tried a computerprogramme which is named Musicator. That was ok, but.. now I really wonder how you do it..

Simon:

Well I now use the Pro Tools sequencer. I was a Vision user but now I record everything with Pro Tools it was a drag having to run an application in the background. Very slow. Also support for Vision ceased so it made sense to go to a new sequencer. I tried Logic but couldn't get to grips with it so I dived into PTs new sequencer which although is a little limited compared to other programmes it is very good and will have more features with each update.

Question:	I was just wondering how it feels to record tunes by other drummers,- I bought the "inertia" cd, (and I love it!!) and being the #1 Virg fan in the world I am curious about what it was like to record/play "Rhapsody in black", which he co-wrote!? Have You ever recorded other tunes by other drummers?
Simon:	Well Virgil's writing is quite unique and very challenging to play. Really as long as the music you are asked to play makes sense compositionally then it really doesn't matter. By the way that song is one of my favourites on that album. Other tunes by drummers - Quite a few Jan Hammer songs, Stevie Wonder's "Supersticious" with Jeff Beck, Billy Cobham songs with "Doves Of Fire".

Question:

Can you explain me the breakdown of your cymbals/snare combination ?
I know its Two hits on cymbals and 3 hits on snare, when the first hit on the snare is emphasised. I don´t know which hand do what (the order of the hand´s beat).

Simon:

I am racking my brain to try to fathom out exactly what you are asking. The only thing I can think of is a lick I play when I am soloing and it is a figure of 16th notes grouped in 5 where I play 2 crashes with bass drum and then 3 notes on the snare or toms - depending. The sticking is probably Left, Right, Left, Right, Right - the first Left Right being the cymbal crashes. I hope I got the right one - phew!!!

Question:	I love the sound of the midi instruments on your Protocol cd! They are the best midi sounds that I have ever heard. I was wondering if you could list the sound modules and misc. equipment that you used to attain such a great "real band" sound from your sequencer.
Simon:	Well those instruments are really old compared to what is available today. If I recall correctly I used a Yamaha DX5, Prophet 2002 sampler, Roland JX-10 and a Yamaha DX9 through a Tom Schultz Rockman and/or Ibanez combo guitar amp. The sequencer was a Yamaha QX1. I treated the sounds just as though they were real instruments - the realness comes in the playing and the parts that are played.

Question:	After listening to the 'Vantage Point' i was curious to see if you played matched or traditional grip? Secondly, Your kit has remained pretty consistent over the years (as far as sizes and number of drums), have you ever considered adding anything else to it; percussion, tymp toms, etc....
Simon:	I play matched grip. As for adding anything else to the kit I really think there is enough there. I change the set-up occassionally when recording depending on what I am doing. And of course the kit I used for "Vantage Point" is totally different from my regular kit - I even use different sticks!

Question:

You have become such a huge influence on me as both a drummer and composer. I would very much like to write, record and release solo albums in the fusion and progressive rock vein, but I would also like to get session gigs backing other artists. With the state of the ever changing music industry, where do you feel is a good location for an aspiring professional drummer to get started with their career?

Simon:

That's a tough one. The music business has changed so much I just don't know how musicians get started nowadays. To play sessions you have to have experience and therefore it is unlikely that you would start off by being a session guy. You first need to establish yourself as a player, hopefully get a gig on the road and meet other musicians and hopefully that will lead to your next gig and so on - gathering experience in playing different types of music and working with different kinds of approaches. As for writing and making your own records - well you still have to have a reputation before any record label is going to think about giving you a deal. The hard part is not the making of the record it is in the marketing and distribution. That is where it always falls apart. I have had so many people who tell me they can't find so and so album - then I bitch at the record co and they tell me another story etc etc. very frustrating. I would try to run a parrallel plan. One where you can get your name out or audition for a live gig but also in your spare time write as much as you can. It takes a while before you hit on a particular style that works for you. If you can afford to make demos and gain asmuch experience of making your own music as you can. You can learn so much form the artists you play with too.

Question:	Did, or do, you use electronic drums aswell? I have a Pearl electronic drumkit with a Alesis Soundmodule. Of course, it doesn't sound like an acoustic drumkit, but I think a great advantage is that there are many sounds in it. Example: about 90 different snaredrum sounds.
Simon:	Nope - I never use electronic drums. Just doesn't excite me.

Question:

I am a right-handed drummer who has started playing the hi-hat with the left hand for two main reasons - firstly because it makes more sense physically (not crossing the arms) and secondly because I feel my arms are a bit short and playing the hi-hat with my right meant that I had to bend my body sideways slightly to reach over to the hi-hat. I am experiencing some difficulties with the speed in my left hand and wondered whether, even through rigorous practice, it is physiologically possible for my left hand to ever feel as strong, comfortable and confident as my right. At present I experience quite a bit of pain and soreness in the muscles of the hand when playing for long periods.

Simon:

Your left hand will always be weaker than your right and you will have to keep it in form - however the important aspect is the big picture - how you sound as a drummer and not how fast your left hand is. Very important to be comfortable and relaxed when playing so I would say you have made the right decision. As for pain and soreness do not over stress you hand. Try playing quite slowly and really look at what is happening - compare it to your right hand - the way you hold your stick etc. Maybe you are really tense. Try to carefully stretch your hand and fingers before you play - but carefully. Don't hold the sticks too tightly and don't hit to hard - let the stick and the drum work for you. Hope this helps.

Question:	Please, can you explain the Jungleyes' hi hat pattern ?
Simon:	Hard to do in writing but actually it is the simplest part - basically just 4's and opened on the beat and closed on the eighth note.

Question:	I've seen in the Starclassic promotional video you where using a kind of oscilloscope when making the sound of the bassdrum. How and why do you use this?
Simon:	I'm sorry I can't remember using that - must be something used for the video - no idea why though!

Question:

Many Tama players including Neil Peart and Joey Kramer have changed over to DW Drums in the past several years. Why is it that you stick with Tama as opposed to crossing over to DW?

Simon:

Quite honestly I don't like DW drums. I had to tune a kit up in Mexico when our gear didn't arrive for our Guadalajara show and I could not get a sound out of them so I used a Pearl kit instead - sounded like Dennis Chambers' kit ha ha ha!!! Also they supply kits to me wherever I need them in the world and that is worth so much to have a company so dedicated and so professional. The drums sound great too!!!

============ End of last update ==================

Question:	Have you played solid wood drums and if so, how do they perform as opposed to the laminate style of manufacture? If you have, are there special considerations regarding sound?
Simon:	The only solid shell drums I have played are the occassional snare drum. A couple of my Tama drums are solid. It just depends upon the sound you are looking for. They tend to sound dryer but maybe a thicker or warmer sound. Again the type of hoop and head combination will make a big difference

Question:	How do you protect your ears?
Simon:	I don't - I just use common sense. I am in control of my own monitoring so that helps a great deal.

Question:	Do you use "In-ear-monitoring"? I `ve never saw it, that you use it. Do you not like it? Why?
Simon:	I love the concept but for myself it doesn't work. I can't hear the finer tuning of the kit with them - how much snare rattle for instance. I have control of the level of my monitors and I also use Meyer UPA monitors which are very high quality units - and I don't run them very loud either - just loud enough to hear over the level of the kit itself. For singers it is wonderful though!

Question:	Just yesterday I purchase your Pageant Signature Snare Drum that has very low serial number of 15. I also have the Gladiator model whose number is 60. Since they are both tagged with your signature and numbered I was wondering if Tama is keeping these as a limited edition so to speak? If so, do you have any idea how many are being made?
Simon:	Well I think that depends upon how they are selling. It seems that they are quite popular. There is no plan to keep them limited but any signature drum has a limited appeal so I guess there won't be too many of them around.

Question:	What do you prefer between wood and bronze snares?
Simon:	Really depends upon the sound I am after. Typically a metal shell drum will spread more - a wood drum will be more focused and dryer. However a lot depends upon the type of hoops you are using, the snares, the heads and of course tuning and the acoustics of the room you are playing in.

Question:

I'm a 15-year old drummer who also play Zildjian A Custom cymbals. I think they sound great but they're pretty easy to break. I played my first for about 1 year and then it broke, and I don't hit extremely hard - you hit harder than me. How often do you break a cymbal? Is it my technique that is bad or do I just hit them too hard? Do you have any tips on how to fix cracked cymbals?

Simon:

Well I guess you are probably hitting them wrongly and/or using way too heavy sticks. It is natural to break cymbals when you are younger, I used to break many more than I do now, but as you develop more technique you will be able to make them last. I haven't broken a cymbal for years - and if I do it is usually one of the crash cymbals - but rarely though. A couple of tips: Don't use a felt on top of the cymbal. Make sure the cymbal can move freely. Don't tilt crash cymbals too much - again so they can move freely. Always use a glancing blow as opposed to a straight on hit. Use less brute force and more finesse - they will sound better too! The only way to stop a crack getting larger is to drill a small hole at the end of the crack. However the cymbal will have lost a lot of it's sound and will only get worse.

Question:	You have performed with so many amazing artists. Could there possibly be any band or person with whom you'd like to work but haven't as yet?
Simon:	Yes there are many people I would like to work with. One of the bands I would have loved to have played in was Weather Report. I love Joe Zawinul's composition and am a big fan of Wayne Shorter too. I would love to play straight ahead with Herbie Hancock. Would love to do more with Peter Gabriel - I played on 1 record a few years ago.

============ End of last update ==================

Question:

Hello Simon! Thank you for answering all these questions so precise! What a great service that is...! My question: How do you think about the 5.1 surround recording systems and will you use it on your next recordings? If yes, how?

Simon:

I have mixed 2 songs from my original Protocol CD in 5.1 for Pioneer's DVDA system. I loved the experience and love the concept of 5.1. However we have a long way to go. It's almost like when stereo first happened. I am planning to record my next solo album as a 5.1 project but that is still in it's infancy. I have used the Atmos 5.1 microphone made by SPL and I love it. Early days yet for hi-fi surround sound - but lots of fun!!!

Question:	What snare drum do you use for your album "Symbiosis"? Is it a wood snare?
Simon:	I used various snare drum on that album. I can't find my notes for that album but I know I used a Tama wooden piccolo for some songs and probably a Starclassic 6-1/2" wood snare. I was more into wood snares in those days.

Question:

Well here is my problem - Stage Fright- when im at home im fine I can play every thing I planned for my bands music but when I get up on stage, I tense up and cant complete fast fills, 32nds sixtuplets etc.. As well known as you are I was just curious if you've ever had the same problem and how you have dealt with it? Every performance i've ever seen of you is flawless.

Simon:

OK - you are approaching this the wrong way. First and foremost is to play the music - not all the fast fills you practised at home. So what if you play some fills differently - I do that all the time. The most important thing you should be concentrating on is tempo, time-keeping and groove. Give yourself and the band time to settle into the show and warm up gently. This is all down to experience - but a few pointers along the way will help. I had such a good disciplined apprenticeship with my father's band that I never thought much about being in front of an audience - I just had to get on with reading the charts and playing to the best of my ability - and that does not mean playing fast fills - almost the opposite. Hope that helps!

Question:	You mentioned already in FAQ the Zildjian snare drum. I saw it mentioned in your setups listed around 9 years ago, but do you remember any sessions you definitely played it on? I read that it was a wonderful instrument, but never had the pleasure of hearing one.
Simon:	Actually the only sessions I can definately remember using it for the whole album was Big Country, Buffolo Skinners. It was not the easiest drum to record - it looked great and was very loud, but didn't really work that well for recording.

Question:	I've decided, after seeing you rip it up at the montreal drum fest and loving billy cobham's music and approach, that i'm going to switch to playing lefty on the righty setup....like yourself! Anyways, I was hoping you could point out some books that you either used or think would help me on my quest to become totally 4 way independent.
Simon:	I did not use any books to achieve an ambidextrous playing technique - there were none written at the time. You have to start with very simple rhythms and really dissect what is going on between right and left hand and then reverse it. It will take a while - but slow constant progress is best.

Question:	Clavia will release the Simon Phillips signature ddrum sounds any day now. Since I am a Tama and ddrum player now and I think your drum sound is the best in the world I'm very interested in your opinion about this electronic stuff.
Simon:	What do you think about how real the sounds are you recorded and maybe you can say something about the feel of the ddrums. Did you like to play on ddrums or didn't they try to let you play on them ;-). I mean, even ddrums are not like the real thing but they are pretty close and a lot of fun to toy with...

Question:

Clavia will release the Simon Phillips signature ddrum sounds any day now. Since I am a Tama and ddrum player now and I think your drum sound is the best in the world I'm very interested in your opinion about this electronic stuff.
What do you think about how real the sounds are you recorded and maybe you can say something about the feel of the ddrums. Did you like to play on ddrums or didn't they try to let you play on them ;-). I mean, even ddrums are not like the real thing but they are pretty close and a lot of fun to toy with...

Simon:

Working with Clavia is a very interesting project. The sounds we got in the studio in Belgium were fantastic and I am looking forward to hearing them triggered from ddrums. I haven't played them yet however I do remember the first time that ddrum were introduced at the Frankfurt trade show back in 80 something and I though then that they were probably the best electronic drum available!

Question:

What is it like to play with a bass player like Mike Porcaro in perspective of time and groove? To my ears he's rock-steady. It seems you two are enjoying playing together. Except for time, what should a bass player focus on playing in a band situation?

Simon:

Mike and I have a great playing relationship due to the fact that not only is he a groove master but also due to the fact we have played so much together these last 9 years. I have always been pretty tought on bass players and I expect a lot from them. The bass is truly the link between a harmony/melody instrument and a percussion instrument - they have to be accurate timewise but also be accomplished harmonically to be able to link the drums and the "music" properly. It is almost as if the bass is the glue of the band. It certainly is sonically. It is the responsibility of every player in a band to have good time and to listen to each other - not just the drummer and the bass player. I am so lucky in the fact that where I live (LA) there are so many great bass players - Mike, Jimmy Johnson, John Peña, Melvin Lee Davis, Tom Kennedy, Tony Franklin, Neil Stubenhaus - and there are great Acoustic Bass Players too - Dave Carpenter, Dean Taba - and they all live close to me - unbelievable. I would have to say my all time favourite player is Anthony Jackson and I am sure all of the above players would agree - he lives in NYC though!!!!

Question:

You are able to lead with both hands and I often wondered why you didn`t choose a symmetrical setup for your drums like I do.

Simon:

Well as I don't know how you set your kit up I am not quite sure what you mean. To me the drum kit is still first and foremost a musical instrument and each instrument has it peculiarities - if a piano was truly symmetrical it would be heartshaped - but it wouldn't be a piano then - would it? Even though I play ambidextrously there are still subtle differences when I play left handed to when I play right handed. I think I went as far as I wanted to go with the ambidextrous thing - I tried putting a hi-hat on the right of the kit and tried playing it with my right foot - left foot on the kick - and it just didn't make it for me. I'll leave that for other people.

Question:	I am very interested to know how you compose your music. It's hard for me to imagine because you are a drummer. Do you play another instrument, maybe the piano, or do you write down your music in notes?
Simon:	It is incredible how many people think that because one is a drummer one cannot write music. I compose using keyboards - however I am not a player - I have no technique but I do have ears and also you get used to certain shapes. If I had studied music theory it would be a much quicker process but it seems to work - and most of all I really enjoy it!

Question:	I have a five year old god son who came over the other day, and for the first time I let him play on my kit. I want to give him my old practise kit now that I have a nice set of Pearls. When is a good age to get him started, and is there something I could do for him in the meantime if this is too soon.
Simon:	It is never too soon - I started when I was 3 - although I didn't have a kit to play on. Don't wait another millisecond - get him started!!!!

Question:	What do You think about PAISTE cymbals, I know that Jeff Porcaro played on these cymbals and SABIAN (for example Deen Castranovo - Bad English)
Simon:	I am afraid I don't care for Paiste of Sabian cymbals - I have played Zildjians for so long it's hard for me to hear anything else. However I am sure there are great Paiste and Sabian cymbals around - it's a matter of personal taste!

Question:	I'm left-hand, in Warsaw I saw that You play the same way ( like Phil Collins ). What are benefit in your opinion to play in that way.
Simon:	Actually Phil is totally left handed - I play left handed on a right handed set-up. I was originally a right handed player though.

Question:

Every time I hear the wonderful track Out Of The Blue it reminds me of something from the band Focus. The structure, time changes, feel, pace all bring me back to that band. Am I far off the mark in detecting maybe a slight influence in the composition of that piece? I listened to Moving Waves by Focus quite a bit when it came out way back when and still enjoy it.

Simon:

Actually there is no influence from Focus at all - probably the furthest away I could imagine. If there were any influence it would have been from Nik Kershaw - the chord changes in the verse but thereafter that's about it! It's funny where influences come from when writing - I think my influences come as a surprise ot most people. For example "The Pump" which I wrote with Tony Hymas back in 1980 for Jeff Beck was influenced by the Beatles' song "I Am The Walrus"!!!

Question:

I was wondering how you keep your playing fresh? Have there ever been times when you feel as though you've played it all before and nothing new comes to you? If so, how did you work through that and come up with new ideas? Also, do you have any plans for a new instructional video? The other two were great and I've learned quite a bit from them.

Simon:

Sure that happens - that is probably the biggest challenge of all is to stay fresh and play new ideas - especially when on tour. There is the trap of falling into the same routine every night - it almost becomes automatic. So I concentrate wholly on playing a little different every night. The problem for me is that I don't have time to practise much so when I have been producing or engineering an album and then it is time to play - believe me it is fresh - I am often playing catch-up - a crash course in getting my chops back together!!!
No plans as yet to make another video - those 2 exhausted me. It actually took DCI 10 years of asking me to make those!

Question:

Thank you for answering my last question regarding Starclassic birch vs maple shells. I assume you have tried the Starclassic birch set in Paris now, was it nice to play birch drums?
The reason Im making lot of noise about this issue are: I want to buy drumset number 2, and I love Starclassic drums, but if maple and birch by Tama are too close in sound I may try another brand. (Anyway, your sound on playing Starclassic was the main reason for me to choose Tama!)

Simon:

No I didn't like the Birch drums - same as before - I found them weak in sound compared to the maple drums.

Question:	Speaking of sticks you're using, will there be also a Simon Phillips Signature stick like the ones you're using of Will Kennedy?
Simon:	No - I already have my signature stick - it would be confusing to have another one. Anyway I like using Will's for the jazz kit.

Question:	Which snare did you use for 'Out Of The Blue'? I really like it. And did you use The Starclassic Maple drums for that concert?
Simon:	For the "Out Of The Blue" live CD I used my original Red Starclassic Maple kit with a bronze PB-355 snare drum.

Question:	I'm curious, what album, or track, is closest to your own ideal drum sound? Also, did you perhaps use some K cymbals on the ballads on Tambu?
Simon:	There are so many tracks to choose from and really it is not about THE ideal drum sound but more the ideal sound for that track. I change the sound (mainly the snare drum) depending on the kind of song I am recording. Also a lot has to do with how the track is mixed - how much reverb - how much room - a dry sound - a big sound - a small sound. I don't remember using any Ks on Tambu.

Question:	Did you have a teacher or you learned to play drums by yourself? Are you also a teacher now?
Simon:	I am basically self taught but I went to Max Abrams in London to learn how to read music. Phil Collins also studied with Max. No I do not teach. I think teaching is very specialized and needs special people to be able to do it properly.

Question:	I really like the sound of your snare drums. I know you used the Gladiator for TOTO latest album, Mindfields. Which snare did you use for TAMBU and Another Lifetime?
Simon:	I used various snare drums for Tambu. I had to look at the notes I kept from those sessions and I was surprised to see I had used my old Leady for most tracks. I also used a Tama prototype 6.5" wood, a 5.5" and a 6.5" Starclassic, a Starclassic wooden piccolo and a brass piccolo. I think I used a PB355 Bronze 5.5" snare for most of Another Lifetime.

Question:

I was curious as to what your methods of writing and recording in your home studio are. Also curious as to what gear do you use (keyboards, sequencers, recorders...).

Simon:

II compose with the aid of a midi sequencer as I am not a very good piano player. Every song is different. Sometimes I have the composition in my head and then I have to figure out what the notes are and pop them into the sequence or sometimes I just write as I go. I tend to jump from melody to bass to harmony in a few bars at a time - almost like writing a score but using midi.
I used to be an Opcode Vision user but due to the problems of Gibson distribution I have been weaning myself off Vision and am using the Pro Tools sequencer fairly successfully. It is a fairly simple s/q but it works and it does mean I can stay within one application to record realtime audio. I have tried Logic but I found it quite tricky. I haven't tried Performer yet. The problem is time and so I just went with Pro Tools. I use a Roland A-70 controller into Opcode Studio 5LX (midi/serial port interface). Modules are Korg O1R/W, Roland JV-2080, Roland JV-1080, Roland D-110, Alesis DM5, Emu E4XT Ultra sampler and a Nord Modular.

Question:

I really enjoy the dazzling tom fills that you perform (especially on TOTO albums). How do you achieve the speed necessary for this? Do you use the traditional down-up technique - where you pull the stick up with your hand just after it hits the drumhead - or the so-called "Gladstone technique" - where you let the stick bounce off the drumhead due to natural "recoil", resulting in less muscle tension (as in, "staying loose")?

Simon:

I never know which or what is traditional or not - I just do what I do. It's a question of utilizing what help you get from the drum/stick and getting the most out of it for the least amount of energy. I use a mixture of finger control mixed with wrist motion and of course arm motion to get around the kit.

Question:	Why do you like the Tama Drums so much? (I also like them: I have got a Starclassic, too.
Simon:	I have been playing them so long and I know so little about other makes of drum I guess I am just at home with them. When I have had the chance to play other kits I have been disappointed in the sound of the Tom Toms primarily - they seem to sound weaker - even if I have a chance to tune them. Otherwise Kick drums and Snare drums sound fine.

Question:	How long did you practice behind your drums in former days and now?
Simon:	I practiced everyday for at least an hour when I was a kid - sometimes more. When I "left" home to live in an apartment in London that was really the end of my practice days. As long as I am busy and playing everyday it is usually fine. Difficult however when I am in production/engineering mode - I may not touch a drum kit for 2 or 3 weeks.

Question:	How do you developed your right foot technique? Did you practice with a cushion? How did you get your right foot so damn fast?
Simon:	No I did not practice with a cushion. In fact I had heard that Buddy Rich (and Dennis Chambers) used to practice with the spring off the pedal. I tried that once - really difficult. I don't think of myself having such a fast foot compared to other players like Virgil Donati, Joel Taylor, Lenny White and of course Buddy! I just try my best!

Question:	I have started to learn your song "Indian Summer" from the Out of the Blue-record. The groove is really cool, but what kind of beat is it?
Simon:	I have no idea what you would call it - I don't have a