< PreviousModern Drummer June 2022 18 Canopus Jonathan Pinson Signature Snare Drum By Nic Kubes A s an in-demand player, Jonathan Pinson needed a snare that suited his approach to jazz, while also being versatile enough to adapt to any musical situation. The result from his collaboration with Canopus drums is a practical, versatile, and vintage sounding snare for drummers to use in a concert or studio setting. The Jonathan Pinson Signature Snare Drum is a 7x14 maple/ poplar hybrid shell, which gives the snare the unique ability to sit comfortably in both an extreme high and low tuning range. The 45° internal angle of the bearing edge also facilitates the extreme tuning range. The resulting sound is vintage and warm. With a few quick key turns between songs, or by making use of the internal muffler, you can explore many possible combinations and create several distinct snare sound options to have at your disposal, available in one drum. The maple part of the shell provides warmth and richness to the tone and supports the low frequencies, while the poplar gives the drum a dry contrast. The choice to use both Maple and Poplar delivers crispness and sensitivity not often found in a drum with a 7” depth. On top of that, the 2.3mm triple flanged power hoop was a great choice to accentuate the low tuning and compliment the high end, while also supplying a punctual and full cross-stick sound. The gold hardware doesn’t affect the sound, but it really compliments the beautiful sandstorm oil finish. The internal muffler provides versatility and a ton of options when dialing in your desired sound. It takes away unpleasant overtones, limits harmonics and decay, and just simply alters the different qualities of the tone, timbre, and attack that can help keep things fresh and spark creativity. I got to spend some time playing and discussing the snare with Jonathan, and it was clear how the drum really reflects and represents his style, charisma, and dynamics behind the drum kit. Both Jonathan and his signature snare stay true to their own sound by integrating aspects of finesse found in jazz and applying them to any style, session, or gig that comes along. I hope more people get the chance to check out this drum. If you’re in the market for a quality snare with a unique, superb sound, this is an excellent option. canopusdrums.comZildjian Reflexx Pad By Nic Kubes S ince its initial release, the Reflexx practice pad has made waves in the drumming community. It is helping more drummers integrate conditioning into daily practice than ever before. With such high demand, a relationship with Zildjian seems like a natural step in the development and manufacturing of this product. “Availability has been a major obstacle for drummers who want to develop their muscle control and technique with a Reflexx Conditioning Pad. This partnership with Zildjian enables us to deliver this product to a broad, global market. We are excited to have this outstanding product as part of the Zildjian portfolio of practice accessories.” Reflexx founder and CEO Guy Licata continues,“We are absolutely thrilled to be collaborating with Zildjian. When we launched the Reflexx brand and flagship product five years ago, never did we expect to see the overwhelming interest we’ve experienced to date. We soon realized that we would need a partner to help us meet the demand that was growing exponentially, and Zildjian was a perfect fit for us. The team at Zildjian immediately understood the features and benefits of our product and had the ability to seamlessly integrate our existing design specifications. Our mission has always been to help drummers meet their full expressive potential while also addressing long-standing issues they meet every day. Partnering with Zildjian will allow us to further realize these goals with drummers across the globe.” Personally, this pad quickly became one of my favorite and most frequently used practice tools. With a simple yet highly effective design and feel, I find myself coming back to this pad on a daily basis. It offers an excellent alternative to the classic gum- rubber practice pad, which results in longer, more interesting, and beneficial practice. The pad is available in both 10-inch and 6-inch sizes, the Zildjian Reflexx pad offers two playing surfaces designed to manipulate rebound. The specific density, thickness, and hardness of each material creates an ideal low-volume practice experience. The FLEXX surface offers medium resistance, while the WORKK surface has a higher resistance and less rebound. These two sides of the pad are designed to complement and supplement each other. They are specifically used to enhance muscle conditioning and help strengthen arm, wrist, and finger muscles. Importantly, the surfaces transmit much less shock to the stick, hand, wrist, and arm, thus lessening vibration-based fatigue. Zildjian has done an excellent job matching the same quality associated with the existing Reflexx product. zildjian.comModern Drummer June 2022 20 Sabian Anthology Cymbals By Nic Kubes T he new Sabian HHX Anthology series was designed to deliver the full spectrum of both ride and crash in each cymbal, without compromising sound or feel. Sabian and Jojo Mayer’s goal behind Anthology was to allow the individual to designate the purpose of each cymbal, removing labels for genre categorization and even cymbal type. Anthology cymbals reflect the touch and energy put into them with such clear and accurate response, it feels like the cymbals really listen to and become an extension of the player. Anthology cymbals produce the full range of crash and ride sounds, providing control and versatility not found in most cymbals. June 2022 Modern Drummer 21 Only using your fingertips, you can still get a vibrant and precise crash sound, even on the 22”. That just goes to show how the cymbal’s tone, timbre, and responsiveness stays consistent, allowing you to go from the highest high to the lowest low on the musical spectrum in an instant. Anthology cymbals return to their baseline quickly, not letting wash overtake definition regardless of dynamics, so the player can stay in total control of their sound. Their crashing properties range from sensitive rolls to explosive crashes that will punch through the loudest musical passages and are accented by balanced bell tones that are clear at all dynamic levels. There are two versions of each cymbal, a high bell and low bell. The low bell adds more control to the cymbal, which leans towards a traditional, sensitive sound. On the other side, the high bell boosts amplitude and provides a contemporary and bold sound that projects very well. The feel and looseness that is traditionally only found in thinner cymbals is combined with the projection that a heavier weight cymbal often brings to the table. This creates a warm and vintage tone in a modern package. While the high and low bell versions of the 18” and 22” cymbals certainly have their distinct differences, the low and high bell 14” hi-hats are drastically different, and very unique. The high bell hats combine a vintage yet experimental sound, which seems like an odd description, but then again that’s how I would describe Jojo Mayer’s sound overall. You can really hear Jojo’s influence in these particular hats, and they happen to be the only Anthology cymbals that feature a raw, unfinished underside. The low bell hats are a crispy, light, and smooth counterpoint to the high bell version, and will most likely be the best sounding part of any groove that is played with them. The fact that each cymbal’s weight is measured and inscribed on the inside of the bell by the cymbal-smith is also a nice touch. After receiving these cymbals to review they quickly made their way onto both my larger contemporary kit, and traditional jazz set. Soon after that, I realized I used them for every single rehearsal, gig, or session I had since getting them. Across different genres and with different artists, I found that the cymbals easily adapted and fit right into any musical context. The 22” low bell became my personal favorite, and is now my go-to left side ride. In fact, I keep it in that same spot for both a jazz trio and indie-rock band, and it sounds like two completely different cymbals! In the trio context it provided a light tough and glorious shimmer. Then when I needed to put my earplugs in with the rock band, I relied on the 22’s inner crash and driving bell, cutting through the band cleanly without any overpowering wash and overtones. The new Sabian HHX Anthology cymbals really proved themselves to be above and beyond in terms of versatility. To put it simply, they are some of the most beautiful sounding cymbals I’ve had the pleasure of playing. sabian.comModern Drummer June 2022 22 Vic Firth Introduces new stick and Rute Models By Nic Kubes Nate Smith Signature Stick Nate Smith is renowned globally by drummers for his unique pocket, versatility, musicality, and infectious energy he brings to the drum set wherever he goes. His new signature series drumstick from Vic Firth feels like an extension of himself in that way, bringing the same qualities found in his playing and incorporating them into the design and purpose of the drumstick, leaving you with a feel that will have you trapped in a groove for days. Vic Firth Global Brand Manager Mike Weber says, “We are so thrilled to welcome the immensely talented and always influential Nate Smith as the newest Vic Firth Signature Series artist. Nate is such a versatile and energetic player, and that versatility and effortless flow really comes to life in his new signature stick. Developing a new creative tool with an artist is always inspiring. Working with Nate was certainly no exception. We genuinely think drummers all over the world are going to love Nate’s signature stick design.” There are several design variables that work together to achieve the smooth response, balance, and definition that are immediately felt when I picked up these sticks. Hickory was the perfect choice of wood, especially since they are constructed with added length and a medium taper. Being slightly heavier and more durable than Maple allows the stick to be slightly thinner than a 7A, while retaining their integrity. Being topped off with a rounded barrel tip puts emphasis on stick definition, and gives the player a high level of control over articulation, allowing the player to pull sound out of their drums and cymbals with finesse at all dynamic levels. Mike Johnston Signature Stick With his experience as a world- renowned online educator, Mike Johnston is in tune with the constant journey of the student drummer. Mike’s goal was to create a stick that could get out of the way and leave no excuses for progressing. Partnering with Vic Firth, they designed a pair of sticks optimized with a longer taper for balance, a modified barrel tip for response, and a diameter that is between a 5A and 5B for comfort, resulting in the new American classic NE-1. Mike considered a plethora of factors to find a tip shape, taper, length, diameter, material, and overall performance that would create the best possible stick for growth. Crafted with made-in-the-USA hickory wood, the American Classic NE-1 offers a strong tried and true composition. June 2022 Modern Drummer 23 “If you know Mike Johnston, you know he is all about the little details,” says Vic Firth Global Brand Manager Mike Weber. “Of course, at Vic Firth we share that appreciation for detail, so when we got together to design a new stick with Mike it really took things to a whole new level. As an educator, Mike wanted to create a stick that could get out of your way and let you focus on developing your skill behind the kit, something that wasn’t going to hold you back in making progress on your drumming journey. As soon as you get a pair of NE-1’s in your hands, you’ll feel the difference immediately. Mike really dialed in all the specs to make this something that is uniquely Mike but truly designed for players everywhere. This really is something special.” I believe they represent a solid foundation and could serve well as a control subject when comparing different sticks and the many variables that factor into the exact feel and specific qualities each player has their own unique preferences for. In my personal experience, the stick felt a bit on the short side, more so due to the diameter to length ratio than the actual length of the stick. For example, even though the Nate Smith signature stick is actually slightly shorter than the NE-1, they don’t feel short because they run a bit thinner than a 7A, while the NE-1 is between a 5A and 5B. That being said, the length factor is just my personal preference, and the stick offers an excellent natural rebound and sturdy feel regardless. My favorite aspect these sticks have to offer is their natural finish and resulting drag. Drag refers to the amount of friction created when loosely pinching and dragging your pointer finger and thumb down the stick, from front to back. The natural finish of the NE-1 provides a balanced amount of drag to avoid having to grip tightly, without the fear of it flying out of your hand. This perfect combination of smoothness and texture results in a simple, straight- up great feeling drumstick that cuts right to the chase. Vic Firth RUTE-X Rods Vic Firth’s new RUTE-X rods offer the comfort, response, and balance of standard drumsticks while maintaining the volume control, versatility, and alternative sounds players look for in rod style sticks. Optimized rimshot and cross sticking capabilities offer a greater dynamic range and sonic control. RUTE-X rods come in four models: light, medium, and heavy gauge, as well as a durable poly synthetic. The RUTE-X rods get their name because they’re a cross between rods and sticks, and the “X” in the RUTE-X artwork design marks the spot where you get the perfect cross stick strike every time. Made of premium birch, The RUTE-X light gauge rods feature 23 dowels that offer a softer touch and less volume and attack on drums and cymbals. The medium gauge rods have 11 dowels for a mid-range volume and attack. For more volume and clearer definition the heavy gauge rods sport 7 dowels, while the poly synthetic rods have 10 plastic dowels, bringing a warmer, more mellow sound. The stick starts thinner at the base and tapers outward, widening the diameter closer to the dowels. This provides a sturdy grip and feel when the stick is flipped around for cross-sticking purposes. I felt that having the dowels only on the end as apposed to making up the whole stick provided clarity to double strokes and the tip- shaft Moeller motion. This lead to feeling comfortable and playing more naturally than I had experienced with rod style drumsticks before. All in all, any version of Vic Firth’s new RUTE-X rods will make a great addition to any drummers stick bag arsenal. For more information see www.vicfirth.zildjian.comModern Drummer June 2022 24 JD Sumner Karen Carpenter: Close To Her Drums By Scott Gudell K aren Carpenter’s intuitive choice of instruments was drums, but she had to break down a few invisible walls, crack a few glass ceilings, and crash a few cymbals along the way. However, by the height of her career with her brother Richard in the mid-1970s, millions of people loved drummer/ singer Karen Carpenter. Just about everyone, except one person: Led Zeppelin’s John Bonham. For all the people who said they subscribed to Playboy Magazine mostly for the articles, it really was true for the dedicated music lovers who helped make the Playboy Music Poll one of the benchmarks and most respected polls of its time. We’ll pass on repeating Bonham’s exact quote once he heard that she beat him out in Playboy’s 1975 Music Poll as Best Drummer but, suffice to say, he wasn’t one of the readers who voted for her. Beyond that, there’s no official word on what other drummers, including Ginger Baker (Cream) and Keith Moon (Who), were thinking once they found out readers placed them a few notches below Karen as well. However, many other world class drummers proudly endorsed her skills, including Wrecking Crew member Hal Blaine (who worked with the Carpenter’s for many years) and drumming legend Buddy Rich. Generally regarded as one of the quintessential female pop vocalists of all time, Karen Carpenter’s first love was the drums. She’d been drawn to the instrument from the start, but she took detours playing the flute and the glockenspiel before she could start crashing cymbals in earnest.Modern Drummer June 2022 26 At the height of her career in the mid-1970s, (along with her brother Richard, who played piano, sang, wrote, arranged, and produced their series of adult contemporary megahits), millions of people loved Karen Carpenter for her talent and her girl-next-door beauty. The duo’s story, including all the ups-and-downs, is documented in detail in a new book, Carpenters: The Musical Legacy co-written by Mike Cidoni-Lennox, Chris May, and Richard Carpenter. Cidoni- Lennox, an accomplished journalist for over four decades, is the senior entertainment reporter for the Associated Press. He is a self-avowed major fan of the group, and also had unprecedented access to Richard Carpenter. The book took years to craft and is amazingly detailed. It is the first book told from the perspective of Richard Carpenter through more than 100 hours of exclusive interviews and nearly 300 photographs and images from Richard’s personal archives. In addition to conversations with Richard, the authors also reached out to key collaborators including A&M Records founder Herb Alpert (who proudly proclaimed the music of the Carpenters as “authentic” and “real,”) and lyricist John Bettis (co- author of Carpenter’s songs such as “Top of the World” and “Yesterday Once More.”) Throughout the book the authors pay homage to Karen’s often under-appreciated skill as a totally professional drummer and percussionist. The authors escort us on a coast- to-coast journey, which eventually took the duo around the world. The soft rock and pop of that era was, in many ways, defined by the west coast and, in particular, Los Angeles. However, the Carpenters (one of the architects of the sound,) had their origins in a different coastal town founded by the English Puritans about 3000 miles to the east – New Haven, Connecticut. After a dozen years in New Haven, their family moved to LA. It was then that the siblings began to take music lessons. Karen chose drums while brother Richard chose piano, and both used the other to embrace their respective musical interests. By college Karen had become a passionate music major who was soon encouraged by the school’s choir director to embrace singing as well as the drums. Eventually, after school, the duo had access to a myriad of major record labels in Los Angeles. Everyone passed on them, except one: A&M Records. Carpenters: The Musical Legacy offers countless behind-the-scenes stories about the duo’s progress, roadblocks, regression, and triumphs. Richard Carpenter spoke at length for this story on the eve of the book’s publication. When the conversation moves to Karen and her passion for drumming, he shared a memory from their time together in elementary school. The music teacher and band director almost changed the course of music history - for the worse. “They needed flute players and the director…figuring that only females play flute…handed out a few of them to the girls,” said Richard, breaking into a chuckle. “Karen came home with a flute, but she didn’t take to it. She was interested in drums.” By high school, Richard got to know the band director and he learned that students could get out of phys-ed if they joined the marching band. The director offered Karen a glockenspiel and, as Richard confirmed, that was it. “The Glockenspiel marches with the drum section. She heard all the different cadences that the drummers were doing, and she took right to them. I could tell that she was just a natural at playing all the exotic time signatures. Dave Brubeck and his quartet were an especially big deal at this time. The recordings Time Out and Time Further Out and their odd time signatures appealed to her; 5/4, 7/4, 11/4. She picked all that up - and she could do a press roll.” The flute quickly fell by the wayside. “She asked my parents for a set of drums which was a bit unorthodox,” said Carpenter. “With the drums - she had a passion and the talent for them, so my parents – who didn’t have a lot of money, but were very generous - bought her a set of Ludwig’s. And, that choice wasn’t because of Ringo but rather because of Joe Morello, the drummer in the Dave Brubeck Quartet.” Ironically, even Morello started out linked to a totally different instrument. In his case, it was a violin. As for Karen, although it was an entry level drum set, Richard remembers, “She took to them in nothing flat.” Soon, Karen advanced to a more sophisticated set. “Hal Blaine had a set of special ‘tunable toms.’ There were only three or four sets of them in the world… they were made out of fiberglass – and not pretty at all – but they had a sound to them. Ludwig learned about them and offered a consumer version of them to Karen. Plus, she got the custom-made ones as well. I think there are only four sets in the world that survived. There are two of Morello’s, Ringo wanted a set, and Karen wanted a set.” Although not fully versed in the specifics of mid-1970s Ludwig drum sets, Richard offered what he remembered about the drums Karen often recorded and toured with. “She had the kick drum and the Super Sensitive Ludwig snare. That was Ludwig’s top of the line. It was chrome with special bands underneath it. Then, there were two side (mounted) toms and two floor toms. That was her standard kit.” Reaching stardom as a female drummer was virtually unheard of in the 1970s, although a few other brave female percussionists preceded her by decades. Both Mary McClanahan and Viola Smith were among the first female drummers dating back to the 1930s. One of the first recognized female rock drummers, Honey Lantree, wouldn’t debut until 1964 in the British Invasion hitmakers, The 27 June 2022 Modern Drummer Honeycombs. When the Carpenters’ first album appeared in late 1969, Karen was the sole drummer, she shared lead and background vocals with Richard, and even played bass on a couple of songs. “She was 5’4” – and a half – and she sat behind this big set of drums. It wasn’t just a tom-tom or a floor tom, she wanted the tunable drums too. So, here is this rack of tom-tom’s, and here’s little Karen behind them, people couldn’t even see her!” When she did step forward and grabbed the microphone, Richard remembers that she taught their drummer because “she wanted him to learn her fills.” As Richard and Karen decided, it was time to present more of a show than a concert, so her time behind the drums began to diminish (even if she occasionally glanced back longingly at their drummer.) Record sales were fairly strong in the UK but all they were able to accomplish in the States was a relatively low chart position of #150. However, it was a start, and A&M had faith. By the time the duo’s next album, Close to You was released in 1970, the songwriting team of Burt Bacharach and Hal David had been brought in to contribute the stunning title cut which went to the top of the charts. The Carpenters hit platinum a second time with the follow up single: “We’ve Only Just Begun.” Richard’s meticulous production skills and ability to arrange the material around Karen’s obvious talent, helped the album secure several Grammy nominations and awards. Today, the album has earned a coveted spot in Rolling Stone Magazine’s list of Greatest Albums Of All Time. As for the drumming on their albums, studio legend Hal Blaine often tag-teamed with Karen. She was slowly ‘coming out’ from behind the protective wall of her drums to stand center stage and sing. The absolute best drummers are intuitive, and that was the case with Karen Carpenter, “She had great time. That’s the most important ingredient that a drummer can have. She didn’t rush; she didn’t drag; she had great time.” As the group worked through much of the 1970s, a variety of drummers worked with Karen, supportively nudging her into the spotlight more as a singer than as a drummer. She returned to her drum stool exclusively for 1973’s landmark Now and Then album shining on several key Carpenter hits such “Yesterday Once More.” “She wanted to drum,” Richard said succinctly. “She may not always have had the strength of a male drummer, but she was perfect for many of our songs, which included a standout performance on “This Masquerade.” “All of the little fills, not the big, brassy fills (that was Karen);” added her brother. “All the little things that she does (on our records) are brilliant.” On other songs Carpenter said Karen’s fills could be so complex that “when we tried to transcribe them and re-record them in stereo, it couldn’t be done.” For the duo’s first US television special, which aired in December of 1976, Richard fondly recalled that they played several fan favorites and added a very clever, unique ‘only in the world of television’ number where Karen was shown playing drums opposite herself. “They kind of overdubbed her,” Richard said of the popular segment on the TV special. Author, Cidoni-Lennox believes that many professional drummers never took the time to see what Karen was capable of; hence her presence as the band’s drummer was never really seriously accepted. In addition, their management and the record label felt she needed to be out front as the singer more and more. “As Karen very quickly became so beloved as a singer,” said Cidoni-Lennox, (Richard) and she never let her drumming talent fade away from the Carpenters. It always was part of it…” The story, as everyone now knows, ended sadly. The Carpenters career lasted over a dozen years and produced over ten albums - which sold over 100 million copies - before complications from anorexia claimed Karen in 1983. She was thirty-two years old. (Coincidentally, John Bonham had passed just a few years earlier – at the exact same age.) Richard has carried on, keeping the Carpenter’s legacy alive with a myriad of re-issues, orchestrated re-workings of their catalog, solo recordings, and archival projects such as this new book. In the end, Richard Carpenter just wants to make sure that Karen is remembered for her talent, musical innovativeness, showmanship, and stunning voice… and not just a pretty female singer who died from an eating disorder. This book, Carpenters: The Musical Legacy and an afternoon of listening to their brilliant recordings, is sure to do just that. She had great time. That’s the most important ingredient that a drummer can have. She didn’t rush; she didn’t drag; she had great time.Next >