< PreviousModern Drummer February 2022 48 Kits & Cymbals on Camera at the MD Festival By Michael Molenda S o many amazing drummers contributed to our 21st Modern Drummer Festival. But they were not alone. The co-stars of the big show were the kits and cymbals used by the performers to film their Festival spots. Snares, sticks, pedals, heads, and hardware are obviously important parts of the package, as well. But considering that these tools were a bit more in the background of the presentations, we opted to put the spotlight on the elements in the foreground that were easily distinguishable. (You can always visit your favorite drummer’s website to find out about all of their gear or click to one of their interviews at moderndrummer.com.) Here are the number of guest appearances for the drum kits and cymbals making the scene during the MD Festival. This is not a popularity contest or a reflection of quality—it’s simply a list of credits for the “actors” onscreen. Cue the applause... DRUM KITS Yahama (9 appearances) DW and Tama (6 each) Ludwig (4 each) Canopus, Pearl, and Sonor (3 each) Gretsch and Mapex (2 each) ddrum, Roland, and Sawtooth (1 each) CYMBALS Zildjian (17 appearances) Sabian (14) Paiste (7) Meinl (3) Istanbul (2) Roland (1) Steve Smith playing his Zildjian cymbals. Nikki Glaspie rocking her Yamaha kit.BUY FROM YOUR FAVORITE MUSIC RETAILER CHECK OUT MORE AT MODERNDRUMMER.COM Available In Print and Digital Format DIGITAL DOWNLOAD CODE INSIDE Presents: 80 pages of extensive and new in-depth interviews Exclusive Erskine Recordings Pictorials of Weather Report, Peter And Friends, The Early Years Peter’s analysis and insights on 40 + pages of drum transcriptions Digital Download Component EXCLUSIVE PHOTO SECTIONS! Legends DIGITAL DOWNLOAD CODE INSIDEModern Drummer February 2022 50 On the Road Roundtable How Collective Soul’s Johnny Rabb, Better Than Ezra’s Michael Jerome, and Rich Scannella Approached Touring in the COVID Era By Rich Scannella T his past summer, I played drums with Tonic, who were special guests on the Just Looking Around Tour with Collective Soul and Better Than Ezra. We trekked across the United States for 18 dates that began in the Pacific Northwest and finished up in Minneapolis. The camaraderie among the musicians was readily apparent and heartfelt, especially with the drummers—Collective Soul’s Johnny Rabb and Better Than Ezra’s Michael Jerome. We all supported each another while performing for enthusiastic fans who were eager for entertainment. I thought the tour provided a great opportunity for the three of us to sit down and share insights and perspectives on playing live amidst the backdrop of a global pandemic, getting your gear together, prepping for being on the road, and other important touring issues. The following tour roundtable encapsulates our experiences, strategies, and physical and mental tactics for not just surviving the road, but enjoying every moment while on it. Road Warriors — (from left) Rich Scannella, Johnny Rabb, and Michael Jerome. Robert RuddFebruary 2022 Modern Drummer 51 What gear did you use on the tour? I used a DW Collector’s kit series in a Black Galaxy finish—a 14x24 kick drum, a 9x13 rack tom, and a 16x16 floor tom, as well as a 5.5x14 Collectors stainless-steel snare and a 7x14 Performance snare. I had Paiste 2002 15" Sound Edge hi-hats, a 2002 20" Crash, a 20" Giant Beat Multi-Functional, and a 2002 22" Ride. My sticks are Ahead 5Bs. For playing amphitheaters, this gear really helped me project. Rabb: The band decided to do a white-themed stage including amps and the drums. So, I bought a vintage-white Rogers kit that consists of a 22x14 bass drum, a 13" rack tom, and 16" and 18" floor toms. The toms all utilize the Gauger RIMS mount system. My main snare is a 6.5x14 Vibe Drum, and I have two side snares—a 10" single-headed UFO mounted to my hi-hat stand, and to the left of that is a 13" Vibe piccolo. My cymbals are all Meinl—15" Pure Alloy Custom hi-hats, 18" and 19" Pure Alloy Crashes, and a 20" Byzance Extra Dry Medium Ride. I also have a stack that I made with a HCS 16" Trash Crash on top of a HCS 18" China. Finally, I put a Kenny Aronoff signature cowbell to my right. Jerome: I play a mix of everything these days, but the kit I played throughout the tour was a Ludwig Classic Maple, indigo-blue- sparkle kit with a 18x24 kick, a 9x13 rack tom, and 14x14 and 14x16 floor toms. The main snare was a 6x14 Yamaha custom maple model with wooden hoops. I had a Ludwig side snare, as well. My cymbals were Zildjian A Customs—15" hi-hats, two 19" crashes, and a 22" ride. The hardware was Tama and Yamaha. My sticks were Vic Firth 5B. When I joined Tonic, we had one quick rehearsal in Nashville, where we ran the entire set. For soundchecks, we usually ran through each instrument individually, then played a song or two to get everything dialed into our monitors. As long as everyone heard what they needed, we were good. The techs were all on point making sure everything was consistent from night to night, and that I had what I needed. What challenges and solutions did you encounter with managing rehearsals, equipment issues, and soundcheck scenarios? Rabb: We simply did not have rehearsals or soundchecks. We are able to harness the energy live, and we seem to keep our musical bond—even with months off the road. Vince Fraumeni and Bobby Tims shared the drum-tech position, but I sometimes went out for five minutes to fine-tune the drum setup before a show. Vince was also our Assistant Tour Manager and Bobby was our Lighting Director. They both did an amazing job getting my gear set up, and I am absolutely grateful for all they did for me and the band. I am basically able to fix any small problem quickly or between songs. I had a backup snare on the riser behind me, so if I blew out the bottom of a snare drum—which has only ever happened to me twice—I could simply switch to my piccolo for the rest of a song and change to the backup snare in-between the next song. My only fear was if I went through a bass-drum head as that would have been a showstopper. If I did break one, the plan would have been to tell Ed [Roland, lead singer] to do an acoustic song while I quickly changed the bass-drum head. Jerome: There’s always room for self-improvement regarding time management for rehearsals, soundchecks, and shows. The bottom line is to be on time, which minimizes stress by allowing you to settle into ever-changing environments and focus on the tasks at hand, your drums, and the show. Sometimes, the only opportunity we have to rehearse or try out new material is at soundcheck, and with three bands on the bill, it was important to utilize as much of that time as possible. I liked to show up early to the stage and adjust my set up, fine-tune audio with our monitor and front-of-house engineers, and fix things on my kit that need repair or maintenance from previous shows. The road can wear you out, so I’m always at my best when I give myself plenty of time to sort things out with my kit before the boys show up to rock and roll. Also, we shared a great crew with Tonic. We were really lucky and spoiled to have them. These days, I’m much more cognizant of hurting something by jumping in cold, so I try to avoid that at all costs. I warm up my muscles, and do rudiments to loosen up my wrists. My girlfriend—who’s also my personal trainer—likes to say, “Warming up tells your muscles what they’re about to do.” Mentally, I do lots of preparation to make sure I’m always prepared musically—which keeps nerves and anxiety to a minimum. What physical or mental adjustments are needed for you to do your job more effectively while on tour? Rabb: Lower back pain is real, and my left thumb gets blisters for the first few shows of a tour. I use 3M waterproof tape to sort of pillow the stick from killing me. The mental mindset is a constant Rabb performing with Collective Soul. Jerome on the kit for Better Than Ezra. Joe PapeoModern Drummer February 2022 52 battle. There are some nights where I don’t get in my own head, and others where I am surprised I don’t train wreck. I tell myself to be in the song and the moment. I usually get a small tinge of anxiety right before each show, but once we hit the first downbeat, I am focused. The funny thing that can happen is getting too comfortable—which is when the small mistakes can happen, like missing a backbeat or a stick flying off. Jerome: I’ve been touring for most of my life, and getting older is beginning to mean something as it pertains to recovery time after long travel and high-energy shows. My sleep, diet, core strength, stretching, and deep-breathing habits have all become much more important over the past decade. I definitely notice the difference when I take just one of those practices out of the equation. When counting off a song, I believe drummers have a dual responsibility—getting the tempo of the count right, and watching to know when to count everyone in. If someone is talking, you can’t step on his or her toes. Emerson [Hart, Tonic lead singer] has an excellent rapport with audiences, so that makes my job with count offs much easier. How do you work within the psychology and pacing of your band’s set list? Rabb: The set list is made up by Ed, but I am in charge of about 80 percent of the intros and count offs. I must also read the flow of who might need a second to switch guitars or grab a pick. I am constantly scanning the stage. I do not close my eyes or wander off in my head. I truly try to be sure I engage the entire show. Will Turpin [bassist/bandleader] and I are always locked in. We have a chemistry, as well as the ability to bump tempos slightly if needed without being obvious. Once the tour is about three or four shows in, we are on our way to a consistency for each show. There are some physically demanding songs in the set. I am hitting hard and trying to create energy every minute of the show. We play five songs back- to-back, and then I get a water break. Jerome: Drummers must know the songs. The better a drummer understands the music, the tempos, and lyrics to a song—and the band he or she is communicating with on stage—the better your contribution to the flow and dynamics of a show. Spending time with a set list prior to showtime helps me get my head in the game. A mental run down of the set from song to song lets me work out transitions, timing with banter or cues between myself and the rest of the band, and sometimes temper a bit of anxiety. As things don’t always go according to plan on stage, drummers can help steer things back on course if need be, so you need to be ready for anything. Whether you’re playing hits or deep cuts, songs have specific parts. Drummers have to respect the arrangements, but it’s not a paint-by-numbers job. Artists don’t necessarily want you to play every note and fill identically to the original recording, because that’s not being in the present moment. How do you maintain your own identity on the instrument without disrupting the established history of a group’s material? Rabb: I was primarily a drum clinician in the industry for years before joining Collective Soul, and it was always my choice to play chops, solos, and even overplay. With the band, however, I am paying respect to the recorded songs, and I want to give them the best representation I can in a live format. There were three drummers before me that played amazing parts—original drummer Shane Evans, Ryan Hoyle, and Cheney Brannon. I do my best to emulate what they all did on the records before me. I have made some slight changes for my own comfort, but for the most part, I want to represent each song and part when I play live. Jerome: There are countless drummers who put their voice first and foremost. A total disregard for the artist you are working with might be interesting musically—or even compelling on occasion—but most of the time, a band appreciates a sense of collective sensitivity and cohesiveness for the music as written. The song always comes first. But while my livelihood has been built by realizing the visions of songwriters, composers, and bands first and foremost, I am using my own voice—my drum kit and percussion—to do this. I express myself through my instrument, but the balance lies somewhere in-between the awareness and understanding of the artist’s vision and a sprinkle of trust and confidence in yourself. The tour started in the summer of 2021, when the industry was still grappling with how to get back to some sense of normalcy. Being that our jobs depend largely on people assembling, how did COVID affect interactions on the tour? Rabb: It has been a tough couple of years for sure. We love to tour and we live to tour. As an organization, we followed all guidelines to keep the safety of our fans, band, and crew as a top priority. Our backstage area was kept to band and crew only—even band guests were not permitted backstage—and meet and greets were on hold. Jerome: I thought my interactions would change dramatically. But I discovered that despite the obvious changes to our world and our behavior due to protocols, policies, and rules for our safety, it didn’t affect my desire to visit and entertain. I’m inherently friendly and I love visiting with people. The pandemic put a serious kibosh on all of that while we tried to figure out what was going on and what was safe to do. After 17-plus months of not being able to earn any income to cover the bills, I was happy to spin the wheel again while I could. I chose wearing a mask and getting vaccinated because I wanted to work. For any drummers who may be about to embark on their own tours, what tips can you offer that would help ensure them a successful experience? Rabb: For any tour big or small, there are some rules that should Rich’s Tour Tips First and foremost, do your homework on the songs, so you are thoroughly prepared, and the performance becomes muscle memory. Depending on the gig, this may involve writing out parts and reading them, memorizing songs entirely, or some combination of both. Either way, when you’re up there, you want to be in the moment and not over-thinking things. Second, have your gear together. Have the right gear for the right gig and be sure to maintain it. If you’re lucky enough to have a crew, having a professional and friendly rapport with them can be key to how smoothly things will run. Always be professional and kind to others. You don’t know what someone else may be going through, so exercise compassion and empathy at all times. Also, be sure to have essential items such as a backup snare, pedal, and kick-drum head nearby and ready to go if anything breaks. Other things can fail, but if any of those go down, it can quite possibly bring the show to a grinding halt. You don’t want to be the catalyst for that! A toolbox with spare parts is also extremely important. Vital things such as pedal springs and beaters, washers, felts, snare tape and wire, gaffer’s tape, medical tape, bandaids, Sharpies, nuts, bolts, chargers, batteries, etc. Other things that help ensure a successful tour are proper clothes for the climate you’ll be in. Always check the weather ahead of travel. You’ll need a well-stocked toilette bag and some healthy snacks. Be sure to get a good night’s sleep, take care of yourself mentally and physically, and put the show first. Lastly, don’t forget to have fun! It’s the reason we started doing this in the first place. February 2022 Modern Drummer 53 be adhered to. I don’t care if it is a van and trailer or local bar gig. You need to be on time, you need to be kind, and you need to be professional. When it comes to being on time, the saying is: “If you are on time, you are late. If you are early, you are on time. If you are late, you are gone.” The lobby call and any other travel-related times are serious. Trust me. I was accidentally two minutes late on day one of this tour, and I quickly learned how serious it was. I was never late again. We have an entire entourage of people all needing to get to the show or home. You have to respect everyone. Be early! The other big one for me is kindness. Leave the ego at the door. Be kind to everyone you meet and interact with. Grow some thick skin, as well. This is professional—not personal—so be a pro. You have anywhere from 30 to 90 minutes of stage time. The rest is of the time is interacting with bandmates and other people. We had a blast touring with Tonic and Better Than Ezra. You and Michael are such talented musicians and amazing people. We always had such a great time on and off stage. I am very grateful to do what I do, and I am so happy to have gotten to work with them. Jerome: I have a list. 1. Do your homework. Know the music. 2. Practice alone—and with other musicians—playing covers and improvising. 3. Listen to various styles of music, because this will strengthen your own style. 4. Listen to the musicians with whom you share the stage and create music. If you can’t hear the singer, you’re too loud. If you can’t hear each other, you’re too loud. 5. Find your routine—walks, the gym, practice pad, museums, laundry, bars, meditation, sleep, movies, and working on your own music on your favorite DAW. 6. Know your tour—management, promoters, reps, station DJs, maps, route, towns, cities, people, and venues. 7. Know your audience. Find your people and interact. Engagement is number one. 8. Promote and network—socials, PR campaigns, YouTube, etc. 9. Be respectful. 10. Be confident. The drums are your voice, so mean what you say. 11. Be yourself. 12. Learn from your mistakes. 13. Keep your head up. 14. Don’t give up. Do what you do and someone will take notice. 15. Love what you do. Have fun above all else. This will keep you going when the fires of discouragement, rage, and waning inspiration appear. Special thanks to Ed Roland, Cheney Brannon, Robert Rudd, Collective Soul, Better Than Ezra, Tonic, and all their respective crews. Rich Scannella is the drummer with Tonic and Jon Bon Jovi & the Kings of Suburbia. He teaches privately and at Rider University and can be reached at richscannella.com. Scannella on drums with Tonic. Katharine BoyleModern Drummer February 2022 54 BONE Custom Drums 8.5x14 Carbcutter Snare By Michael Dawson B ONE Custom Drums was founded by drummer Nejc Boskovic in 2005 after earning a degree in Composite Drum Shell Analysis from the Faculty of Mechanical Engineering University in Ljubljana, Slovenia. Boskovic’s primary focus for research and development has been to create lightweight, hybrid, and composite drum shells for the most discerning professional players and recording engineers. New from BONE for 2022 is the innovative Carbcutter snare-drum series. This unique line of hybrid instruments features a thin, three-ply maple shell with an inner layer of carbon fiber. The goal of this new drum shell is to capitalize on the warm, full tone of maple with the added punch and power of carbon fiber, all while minimizing the overall weight for easier transport. Carbcutter drums are available in a range of sizes. I checked out a beefy 8.5x14 version that featured an incredible ocean-blueburst high-gloss finish. The drum had a Remo single-ply coated batter and Hazy Ambassador bottom. Ten black-nickel full-length tube lugs, black-nickel 2.3mm triple-flange hoops, black-nickel tension rods with black nylon washers, and a Trick GS007 black powder- coated three-point throw-off gave the drum a fresh, modern aesthetic. Puresound 30-strand wires provide a more expansive, fuller snare response. The wide snare beds are cut shallow to ensure that the wires contact the drumhead evenly. Double 45-degree bearing edges allow maximum sensitivity and projection. BONE includes two chunky, custom vent-hole grommets positioned near the batter and resonant edges. A large, embossed skull and crossbones badge completes the look. In addition to being incredibly lightweight, this massive 8.5x14 Carbcutter snare produces an amazingly versatile sound with a big, balanced tone and lightning- fast articulation. When under medium tension, the drum provides a satisfying smack from the initial attack, followed by a smooth, singing overtone that can be easily tuned to sit perfectly in the mix. Higher tunings bring out a more aggressive and explosive attack with tons of body and slightly metallic overtones. Lower tunings sound punchier and have a longer sustain that remains balanced and smooth. Even though this drum sounds excellent right out of the box, it also handles muffling very well when a less broad and open tone is required. If you’re looking for a lightweight and versatile snare with a full, warm sound and a tight, focused punch for both live and studio applications, check out the Carbcutter by BONE. They’re really onto something. $TBD. bonedrum.com. February 2022 Modern Drummer 55Modern Drummer February 2022 56 I n 1980, the Romantics were riding a wave of success following the release of their smash hit, “What I Like About You.” The band was formed in 1977 in Detroit, and built a national following slugging it out in bars and clubs across the United States, building their fan base one sweaty show at a time. By the early ‘80s, they were in heavy rotation on MTV and playing arenas with the top artists of the era. The band was particularly popular with musicians—probably because most could relate to their stripped-down style and gritty bar-band vibe. Drummers were drawn to Romantics drummer, Jimmy Marinos, who sang lead on the band’s biggest hit, “What I Like About You.” His oversized drums were set up near the front of the stage, where his energetic and animated persona could be fully appreciated. Drummers could also relate to his super-solid style, and they appreciated the fact a top band could be fronted by a drummer. It’s always great when they “give the drummer some!” The Romantics Go Pink! By Donn Bennett Jimmy Marinos’ 1981 Ludwig Maple Classic drum set in custom pink finish. What started it all—the Romantics’ pink suits on the cover of Strictly Personal.February 2022 Modern Drummer 57 In 1981, Bill Ludwig III was the Ludwig artist relation’s manager. At the time, Ludwig was the top American drum company and their endorsing artists were the “who’s who” of the drum industry. Among Ludwig III’s duties was fielding special gear requests from their artists. Around 1980, he received a piece of mail from Marinos, who was preparing for an upcoming tour supporting the Romantics’ soon to-be-released Strictly Personal album. The cover featured the band in matching pink-leather suits, and Marinos wanted his new drum set painted pink to match his suit. Ludwig III tried to discourage artists from choosing custom colors, as they would ultimately lead to requests from customers for a color Ludwig would not be able to fulfill. Apparently, Ludwig III was feeling agreeable that day, so he gave the special request his approval. “So, Jimmy sends me a small piece of leather—smaller than a matchbook—cut from the hem of his pink-leather pants,” remembers Ludwig III. “A scribbled note said, ‘This is what my pants are made of, and I want a set to match.’” Fortunately, Ludwig III was already working with the Hamer guitar company in Chicago on some custom paint projects. They had already painted some test shells, so when he sent them the tiny leather sample, they were able to produce the set pretty quickly. Marinos used the set from 1981, until he departed the band in 1984. It’s a 1981 Ludwig Classic Maple set with a 14x26 bass drum, a 18x20 floor tom, and a 12x15 rack tom mounted on a snare-drum stand. The snare is the ever-popular Ludwig 6.5x14 Supraphonic LM402. The shells are made of five plies of maple and poplar wood, and the set includes a set of top-of-the-line Ludwig Tubular Atlas hardware. By today’s standards, it would be considered pretty archaic, but at the time, it was the best you could get. The set is still in great shape, but it shows minor signs of wear from three years of touring the world. For example, the pink finish has now faded to sort of peach color, and you can see several spots where chips were repaired with what looks like pink nail polish. The set changed hands a few times before it finally found its way to me in late 2021. It was a pure coincidence that the kit was set up in my studio for a photo shoot when Chad Smith of the Red Hot Chili Peppers visited in November 2021. The Romantics are from his hometown of Detroit, Michigan, and were “local boys done good” while Smith was still in high school. He even had the opportunity to join the band in 1988, shortly after moving to Los Angeles to join the Red Hot Chili Peppers. As tempting as it was to join an already established band, he had faith in his new band and stuck it out in Los Angeles. Smith was really excited to see the set, and he insisted on getting his picture with it. The set is currently on display at West Coast Drum Shop in Bellevue, Washington, at the location of my old drum shop. It’s a special “vault,” where I display some of my coolest items. It’s definitely worth a visit. Many thanks to Bill Ludwig III for confirming the set’s history. Chad Smith (at left) and I taking a photo op with the kit of one of his hometown heroes. Ludwig Tubular Atlas Hardware. A close up of the custom pink shell.Next >