< PreviousModern Drummer June 2022 8 “Where Am I Going?” By Peter Erskine M ore often than not, I preach precision while espousing specificity when it comes to expressing our ideas on the drum- set. In simple terms, that adds up to, “saying what we mean and meaning what we say.” That approach, however, runs the risk of making a drummer’s fills predictable, copyable, and ultimately, boring. Going to the other extreme — complete freedom as wrought by aimless thrashing or noodling — can also be boring if not nonsensical. So: where is the happy creative medium? First, it will be helpful to explain what in the world I’m talking about. For starters, let’s look at a popular and common drumming device that’s used for both fills and solos: the six-stroke roll (or, as I like to call it, “my fake Buddy Rich chops thing”). This always works, it almost always sounds good, and when the drummer moves it around the kit (while employing cymbal crashes doubled by the bass drum on the downbeat of the lick), it’s as effective as an APPLAUSE sign lighting up during a television broadcast in terms of generating positive audience response (otherwise known as the “Wooo!” factor). As handy as it can be, it is a downbeat-dependent idea that boxes the drummer in, ultimately. It is what it is, and a lot of drummers play it. Fine. But what about the jazz heroes such as Elvin Jones or Jack DeJohnette? A lot of drummers cannot play or recall exactly what they play on recordings, because they are improvised and the delineation of stickings and notes are not so precise or copyable … hence, their appeal. But let’s not throw the baby out with the bathwater just yet! By adding some rhythmic destination points that are not all on the beat, we can utilize the 6-stroke roll as an entry drug, or drum, of sorts Now, let’s slow up the execution of that first set of double triplets so as to equal a 5-stroke gesture, followed by a 7-stroke or slightly faster iteration of the lick. This creates some sleight of hand that creates a bit of musical magic. RLLRRLRLLRRLRLLRRLRLLRRLR 4 4/ >>>>>>>>> 6666 œœœœœœœœœœœœœœœœœœœœœœœœœ ŒÓ Dr. RLLRLRRLLRLRRLLRLRRLLRLRR / or >>>>>>>>> 6666 œœœœœœœœœœœœœœœœœœœœœœœœœ ŒÓ A 3 33 B RLL RRLRLL RRLL(R) 3 6 6 33 C RLL RRLRL LRRLL(R) 3 5 7 33June 2022 Modern Drummer 9 And vice-versa With yet more variations Here are some more “fills to the downbeat” exercises. When played with enough relaxation, these can be both precise or as loose as musically-desired. To quote from my book Essential Drum Fills (Alfred Publishing) on page 45, “Play(ing) on the outline (is) the type of fill where there are multiple destination points (that is, accents). These frameworks give shape to a drummer’s fills while allowing him or her to utilize “long tones” in the form of rolls or indeterminate stickings (á la Jack DeJohnette). Such fills do not depend so much on set or predetermined stickings as they do on the drummer creating musical phrases and “filling” the spaces between the multiple accent points.” D RLL RRLRLLR RLL(R) 3 7 5 33 E RLL RRLRLLR RLL(R) 3 7 3 33 F RLL RRLRLL RRLL(R) 3 6 5 333 ° ¢ ™ ™ 1 ü † ™ ™ ° ¢ ™ ™ 2 ü † ™ ™ 4 4 / 3 3 3333 œ j 7 œ > œ 7 œ > œ œ > œ > œ ‰ œ > œ O œ > ¿ ¿ ‰ ¿¿ ¿ ¿ ‰ ¿ 7 œ œ 7 œ œ 7 œ œ 7 œ œ O œ > ¿ ¿ ‰ ¿¿ ¿ ¿ ‰ ¿ ã4 4 œ œ 3 ‰‰ j œ Œ Outline ’’’ œ ã4 4 œ æ R œ æ L 3 œœ œ @ R œ @ œ @ > L > R œ > Long Tones on Outline ’’’ y œ R > ° ¢ ™ ™ 3 ü † ™ ™ / 3 3 3 3 33 3 3 33 33 œ > J ‰‰‰ œ > J ‰‰‰ œ > j ‰ œ œ O œ > ¿ ¿ ‰ ¿¿ ¿ ¿ ‰ ¿ 7 œ > æ æ œ æ æ œ æ æ œ 7 œ > æ æ œ æ æ œ æ æ œ 7 œ > æ æ œœ œ O œ > ¿ ¿ ‰ ¿¿ ¿ ¿ ‰ ¿ ° ¢ ™ ™ 4 ü † ™ ™ ° ¢ ™ ™ 5 ü † ™ ™ / a la Mel Lewis llr dead sticking rl 33 3 3 3 3 3 3 3333 3 ¿ ¿ ¿ ‰ ¿¿ ‰ ¿ ¿ ‰ ¿ ‰ œœ æ æ œ æ æ œ J æ æ œ J ‰ æ æ œ œœ > ‰ œœ æ æ œ æ æ œ J æ æ œœ > œ ¿ ¿ ¿ ‰ ¿¿ ¿ ¿ ‰ ¿¿ ¿ ¿ ‰ ¿¿ œœ œ > œ æ æ œ æ æ œ æ æ œ æ æ œ JModern Drummer June 2022 10 To learn more about Peter grab your copy of his Legends book at moderndrummer.com/shop (Continued) “Here are some more fills where the outline rhythm is written first, followed by one possible interpretation in the style of Elvin Jones. The suggested stickings are just that — suggestions. The main idea is to get a rolling effect from drum-to-drum while providing “time” by means of accented notes (outline). Use your imagination, and your ears, and let your hands follow. Meanwhile, practice these with and without a metronome! ã4 4 1. Outline œ ‰ j œŒ‰ j œ Œ y > y 3 y ‰ y œ Œ y y 3 y ‰ yy 3 y ‰ y Œ y Œ y ã4 4 Variation œ æ > œ @ œ > œ æ 3 œ @ œœ > RLL 5 œ RLRRL y > R y 3 y ‰ y Œ œ Œ y y 3 y ‰ yy 3 y ‰ y Œ y Œ y ã4 4 2. Outline œ Œ œ ‰ j œ Œ‰ j œ ‰ j œ ‰ j œ y > 3 y ‰ yy 3 y ‰ y œ y Œ y ã4 4 Variation œ æ > œ æ 3 œ @ > œ œ 3 œ @ œ œ > @ . œ æ j œ @ > œ @ œ @ > œ @ œ @ > y > 3 y ‰ yy 3 y ‰ y œ y Œ y ã4 4 Possible sticking 6 œ > R œ R œ L œ L œ R œ R 6 œ L œ L œ R œ R œ L œ L 3 œ > R œ R œ L œ L œ 6 œ R œ R œ L œ L œ > R œ R . œ Letc. j œ @ > œ @ œ @ > œ @ œ @ > y > 3 y ‰ yy 3 y ‰ y œ y Œ y ã4 3 3. Elvin-styled 3/4. Theme & Variation yy œ yy œ œ y œ Œ j y ‰ y y y 3 y œ œ‰ J y ‰ J œ y y y yyyy œ œ y œ Œ y 3 y y y œ 3 y œ œ ‰ J y ŒŒ ã4 3y y yyy œ œ ‰ J y Œ y 3 y yy y 3 y œ œ ‰ J y Ó y y yyy œ œ ‰ J y Œ y œ 5 y RR œ L œ L œ R 6 œ LRRL > R > L Œ y Œ A more personal example can be heard here https://www.youtube.com/ watch?v=6UAp259lTzw Playing on my tune “Three-Quarter Molly” (named in reference and honor to Elvin’s “Three Card Molly”), the band of piano and bass repeat a 4-chord vamp while I solo freely atop the time, tempo, and phrases of the song, ALL THE WHILE BEING COMPLETELY AWARE OF WHERE THE TIME IS AT ALL TIMES. Please listen, and notice here, in contrast to much of what we just worked on, the ABSENCE of destination points. My suggestion, if you like this and want to get “here,” is that you practice the destina- tion points concept a lot so that you might build up your inner time muscle and music awareness radar. It also does not hurt to make music with other dependable players. These concepts are explored in depth in my books Essential Drum Fills, available from Alfred Publishing, as well as the updated/soon- to-be-released version of The Drum Perspective, being reissued by Hal Leonard. And, of course, my CD Live in Italy. Check out Peter’s Modern Drummer profile page at moderndrummer.comModern Drummer July 2022 12 The Practice Mentality and Increasing Motivation for the Gym By James Petercsak I n the drumming community, every so often one can stumble into a discussion about the importance of technique. There is this strange idea that some people argue that technique doesn’t matter much. I see this in forums and the argument goes something like: “people spend so much time worrying about their technique that they forget about the musicianship behind playing drums.” For some, this can be true. It’s certainly possible to be so hyper-focused on technique that we forget about the music. But this isn’t to say that technique and proper form doesn’t matter. It’s what provides facility and longevity on the kit. The same discussion takes place in the strength and conditioning community. If someone comments on how important form is, you’ll inevitably hear certain people say things like, “here comes the form- police.” Or “don’t focus so much on form, just do what feels right.” This is absolutely ridiculous. If you hired someone to teach you how to play golf, and they told you that swing technique doesn’t matter, do you think you’d hire them for another lesson? The journey of making progress in the weight room or the practice room is what breeds the motivation to continue. In fact, motivation is the result of forward progress, not the other way around. If we wait to get motivated to go to the gym and begin the process of living a healthy lifestyle, we’ll be waiting forever. Motivation breaks down to energy, clarity, and action. The absence of clarity on specific goals leads to a lack of motivation. To foster energy and motivation for specific goals we need to shift our mindset from “completion” (I just need to get this done) to “challenge” (how can I do this better than last time). When we do this, we increase our standards and begin the process towards mastery. Remember, if we do not commit to mastery, mediocrity is inevitable. Because of this, the execution and technique of an exercise isn’t just important… it’s the most important part of the process. The questions of, “How many sets? How many reps? How much volume?” do not matter until we can do one impeccable repetition. This “one impeccable repetition” is where we standardize the movement and begin the process of chasing perfection. This is the focus I’d invite you to take into the gym and the practice room. When you are at the gym ask yourself, “How do I get near perfect execution on every inch of my movement? Am I maximizing tension throughout your body? Am I thinking about the active range of the muscle? Am I getting into a fully stretched position of the muscle? Am I owning the transition from the eccentric to the concentric part of the movement without using momentum?” The reason I used the term standardize the movement is because we need to standardize what one rep looks like before we know how many reps we should be doing in a set and with how much weight. One rep must move and look a certain way before we can string together 5 or 10 reps. The same can apply to playing a stroke on a drum or drum pad. Standardization always comes down to your form and technique. No matter how hard the set gets and no matter how close we get to failure, we’re not going to deviate from that form. As soon as your form starts to break down and you feel the need to change your movement, the set is over. In the gym and in the practice room, once we start deviating from the standardized movements (maybe the elbows start to flare, or the hips move to one side) not only do we ingrain bad habits, but chances of injury increase dramatically. There is never a time where it’s worth getting injured in the weight room or the practice room. Even if your main goal is muscular hypertrophy (increasing muscle mass). We want to stimulate muscle growth, not annihilate it. Muscular hypertrophy should be the goal for the majority of people. Increasing muscle mass, compared to fat, has profound implications for metabolic function. Muscle is the metabolic sink of the body. It determines almost everything about your body composition and overall health. It is how you regulate your blood sugar, manage fats, and provides your fuel during times of illness. Muscles also serve as our amino acid reservoir. In times of stress your body can draw on muscles to protect other vital organs like the liver, kidney, or brain. Not having sufficient muscle mass (sarcopenia) can be a major problem, especially later in life. There are several mechanisms at play which explain why we experience muscle loss and strength as we age, but it appears to really boil down to two major factors: the loss of muscle quality from oxidative stress, and neuromuscular degeneration. In addition to the physiological benefits of muscle, we can’t skip over the psychological benefits. The process of building a healthier body will inevitably create a healthier mind. The human brain evolved around the ability for complex movement. Talking, eating, hunting, walking, and (yes) drumming is all complex movement. Drumming itself is beneficial for the health and wellbeing of the nervous system and are some of the most complex movements a human can do. Just as we feel the boost of confidence when we learn a new groove or piece of music, building muscle has the same ability to build confidence and a better belief in yourself. The development of character, discipline, and self-respect is the true value found in the weight room and the practice room. Don’t just set goals for the drums or the muscles, set them for who you’ll become in the process of learning and building. So many people miss this part of the process and end up losing the motivation that we spoke of earlier. A concept that helps and will resonate with musicians is practice. If you take the word practice into your workouts, that could help shift your mindset into one that is much more present and focused on getting better from a skill standpoint. In my opinion, this makes fitness much more fun and almost addicting. Once you realize that strength is a skill, the same way that playing a groove is a skill, you’ll always have something to work on and get better at, in the weight room. The term skill doesn’t only apply to the more advanced weightlifting movements like a snatch, or clean and jerk that you see in the Olympics. It takes a lot of skill to do a one arm cable row. Here are some pictures, and the mental cues that I use when performing a set of cable rows. I like doing single arm pulling because most people have a hard time feeling and actively engaging muscles in the back, specifically the lat (latissimus dorsi). Remember, one of the benefits of weight training is preventing neuromuscular degeneration. To do this, we must be actively trying to feel the muscle being worked. July 2022 Modern Drummer 13 When setting up for the one arm cable row, I recommend sitting with one leg off the bench to get the arm in-line with the cable and pulley system. This way, you must focus on pulling straight back for the joints to stack nicely. I also like using lifting straps on this exercise so there isn’t so much pressure on the thumb which helps open up and protect the elbow. After setting up for proper placement, we want to lean forward slightly. This puts the lat in a more stretched position. To initiate the movement, think about driving the elbow back towards the hip. This will keep your arm close to your body which is what we want when trying to bias the lat. We also want to pull until the arm is in line with the torso, there is no need trying to go further back in this exercise. As you return to the eccentric part, or the beginning of the row, allow the shoulder to protract (be drawn forward) slightly (without losing tension and relaxing). You should feel an extra stretch in the lat and mid- back. Don’t stretch so far forward that the weight is pulling on your connective tissue, or is causing your torso to rotate. As you initiate the movement for another rep, think about a strong contraction in the lat, all while remembering the other cues to keep your form and technique as textbook as possible. So instead of mindlessly trying to get through your workout simply to check the box of working- out; embrace the mindset of Vinnie Colaiuta getting ready for a recording session. Strive for precision and execution. Set the bar to get better each and every time you walk into the gym (or sit down at the drums.) As I mentioned before, this is where training becomes fun because it gets very analytical, plus you begin to experiment. In the gym and in the practice room always work on aligning and optimizing your body position. Ask yourself how you can eliminate any extraneous movement, and what is your optimal end-range or musical goal. These are all things you can track to make sure you’re getting results from your training and practice. These are the ingredients necessary for forward progress and to generate motivation. If you can’t track and see your progress, then it’s only a matter of time before the motivation to get to the gym or the practice room wanes. There is too much value in building muscle to gloss over these important points. It is unequivocally the very best weapon in our arsenal when it comes to health, wellness, and extending your lifespan. Before attempting any exercises mentioned in this article, consult with your doctor. Check out James’ Modern Drummer profile page at moderndrummer.comModern Drummer June 2022 14 RETAIL GIANT THOMANN ADDS ADORO SILENT STICKS TO ITS INVENTORY Europe’s largest music instrument retailer, Germany-based Musikhaus Thomann, with its massive online Thomann Cyberstore, is the latest retail giant to add Adoro Silent Sticks to its drum and percussion offering. Says Adoro CEO Stefan Korth: “Thomann’s inventory of Silent Sticks started selling immediately. With so many drummers now playing smaller and quieter venues, and many more living in places where drum volume is a problem for their neighbours, sticks that cut drum and cymbal volume by up to 80% make perfect sense. Silent Sticks are also great for drum teachers and all those students who practice at home. Based in Hamburg, Germany, Adoro produces the innovative volume-reducing Silent Sticks and Silent Beater, plus award-winning Adoro drums including the volume-reduced Worship Series, special-design Adoro drumheads, and Lotus by Adoro hardware including the innovative Lotus Convertible bass drum pedal, which has nine patents pending. Because Thomann has a massive reach not only across Europe, but globally, Adoro is now available to a much larger audience.” News of Thomann follows the recent announcement that Canada’s Long & McQuade is also now carrying Silent Sticks. With over 90 locations and online servicing it is that nation’s leading music retailer and second only to Guitar Center as North America’s largest chain retailer. “Thomann defined the concept of online music gear sales and today is in the world’s top two or three retailers, maybe even the top” concludes Korth, “And as more drummers discover the volume reduction benefits of Silent Sticks, it will play a major role in extending Adoro’s reach around the world.” www.adoro-drums.com https://www.thomannmusic.com RTOM Releases New Single-Zone Triggers RTOM is proud to announce the launch of their new bh Single- Zone Triggers to usher in a new era of hybrid drumming. RTOM Corporation (“RTOM”) Single- Zone Triggers are a new product that instantly transforms acoustic drum heads outfitted with Black Holes into a hybrid kit. With RTOM’s bh Triggers, the days of requiring mesh heads, tools, and time to transform your acoustic heads into an electronic kit have come to an end. Now, you can simply snap on and snap off Black Holes equipped with bh Triggers to your acoustic heads and drummers can effortlessly transition between acoustic and hybrid playing in seconds. In addition to the benefits of quick installation, drummers can now also enjoy the low-volume, quick-attack and resonance of the Black Hole Practice System coupled with the precision and variety of an electronic kit. Plus, bh Triggers are being offered at an accessible price, making them a great hybrid kit solution for drummers on a budget. Features : • Allows drummers to switch from acoustic to hybrid playing in seconds. • Sleek low-profile design that easily grips onto your Black Hole rims without the need for tools or adhesives. • Snap on and snap off Black Holes in seconds. Benefits : • Offers accuracy and high-precision sound. • Works seamlessly with all Black Holes sizes. • Features a highly-durable plastic casing for accidental drumstick hits. • Affordably priced for drummers on a budget. • Works with most drum modules. • Sold in single- and five-piece packs. Availability and Pricing: RTOM bh Triggers will be available in July 2022. Visit RTOM.com and bigbanddist.com for updates on product launch. The single-pack bh Trigger will be sold at retail for $24.99/each and the five-pack bh Triggers will be sold at retail for $74.99/set. www.rtom.com @rtomcorporation facebook.com/rtomcorp RTOM Corporation is a New Jersey based company that aims to build revolutionary products for drummers. Since its inception in 1992, the company has been offering innovative technologies that allow drummers to practice seamlessly with little compromise. RTOM develops realistic practicesolutions that help drummers showcase their unique abilities and enhance their overall playing skills. To learn more about RTOM products, visit rtom.com15 June 2022 Modern Drummer Paiste Introduces Several New Models of Flat Rides. Bigger Range, More Choices In response to renewed interest in Flat Rides, Paiste announces the reintroduction of ground breaking models from the Formula 602, 2002 and Traditionals Series, and the addition of a new model in the Masters Series. Paiste thus significantly expands the Flat Ride selection for drummers. In the late 1960s, Paiste developed the idea of a cymbal without a bell. This resulted in the innovative Flat Ride Concept, for which international patents were awarded at the time. The revolutionary, very defined and controlled Flat Ride Sound has since become part of important recorded music in Jazz, notably so with prestigious band leaders who helped shape modern Jazz. Due to the missing bell, Flat Rides are very easy to control. Since a Flat Ride hardly builds up, the airy, unobtrusive and cultivated ping remains well defined at all volumes, particularly with light play. This is especially advantageous in acoustic music or when accompanying soloists, since the cymbal never covers the rest of the band, even when played dynamically. The medium light weight 20’’and 22’’ Masters Dark Flat Ride models complement the Masters Series with a dark and complex variation on the typical Flat Ride characteristic. The Ping exhibits less of the very high frequencies of classic Paiste Flat Rides, and the low wash has a bit more dirt. The new model thus fits seamlessly into the sound character of the Masters Dark models. The medium light weight 20’’ and 22’’ Signature Traditionals Light Flat Ride models have dark and complex qualities overall, yet the ping offers silvery highs and clarity. With its softer sound and feel this model is well suited for quieter settings. The light weight 18’’, 20’’ and 22’’ Formula 602 Thin Flatride models feature the incomparable purity and clarity typical of Formula 602 cymbals. The airy ping exhibits silky softness, and the overall sound is very deep. These buttery soft cymbals are ideal for delicate playing at low volumes. The 18’’ and 20” 2002 Flatride models mirror the legendary brilliance and warmth of the 2002 Series. The bright, pearly ping floats over a warm, controllable wash. This model is an ideal companion when subtlety and definition paired with radiant presence and a bit more strength are required. The new models join the 20’’ Formula 602 Medium Flatride, which was previously released with the Formula 602 Relaunch. Masters, Formula 602, Signature Traditionals and 2002 Cymbals are made in Switzerland from various bronze alloys using traditional craftsmanship that has remained unchanged in over half a century. www.paiste.com Mapex Drums Announces Promotion to Accompany Drums on Demand Program Now Offering FREE Drum Covers with Purchase Mapex Marching’s Drums on Demand program, which launched April 1, 2022, is creating an exciting new way to circumvent excessive lead times by offering drums in eight new premium wrap finishes including Blue Ripple, Red Ripple, Purple Ripple, Burgundy Ripple, Navy Ripple, Natural Shale, Dark Shale, and Platinum Shale. June 1st, 2022 marked the beginning of a brand new promotion to accompany Drums on Demand that will last until September, 30, 2022. The promotion includes FREE Mapex Drum Covers with the purchase of at least five Mapex Quantum Series Battery Percussion instruments in any of the eight different finishes. These stylish Mapex covers keep drums protected from the elements and looking great for years to come! The finishes introduced in the Drums on Demand program are not only attractive and durable, but they were inspired by the most popular school color combinations to compliment both traditional and contemporary style uniforms. Each drum is built to order by the Mapex Drum Shop Team in the Nashville, TN facility. For More information on Mapex Quantum Marching Drums visit: https://quantummarching.com/ product-category/mapex-marching/Modern Drummer June 2022 16 Pearl Debuts the Matt McGuire “Smart Snare,” and Redesigned CX Airframe 2 Carriers and PLUS Size Add-On Assemblies From millions of YouTube views to sold out concert tours with The Chainsmokers, drummer Matt McGuire knows how to bring the fire. His new Matt McGuire Pearl Signature Snare drum is crafted to not only bring arena-filling sound, but also connect to any drummer who owns it directly to Matt himself! Its unique tonal bite comes from a 1mm Rolled Steel shell that features 30 reinforced 1/3” vents around the bottom edge. This unique design enhances snare response; channeling the force of each hit through ts 6.5” deep chamber and outward in every direction like a shock wave. Its powder coated Matte Black finish further tempers its uniquely bright tone, and Pearl’s reliably durable SuperHoop II 2.3mm Hoops and CL Bridge Lugs add weight for increased projection. Finally, this Tour Edition of Matt’s snare includes two additional badges featuring The Chainsmokers logo and Matt’s Signature. “Any snare drum I play has to cut through and connect,” said Matt upon completion of the project. “Not just a sonic connection when it’s played, but actual, exclusive interaction between players using the latest technology.” With this in mind, each McGuire Signature Snare comes with an NFC chip that connects any smartphone to exclusive content curated by Matt himself; making it the World’s first “Smart Snare.” The exclusive content will take you behind the scenes, backstage, and in the studio for cover video breakdowns from Matt plus so much more. “I love what we were able to achieve not only in the drum’s physical and sonic properties, but also in helping me better connect with my community.” Stop scrolling and experience a snare designed by a true drumming influencer. The Matt McGuire 14”x6.5” Tour Edition Black/Steel Signature Snare Drum (MM146S/C) List Price: $699.00, Street Price: $399.00. Pearl Corporation is also introducing its next generation CX Airframe 2 Carriers — the new industry standard. Built off the legendary performance of Pearl’s CX Airframe Carriers, the innovative CX Airframe 2 models feature the same lightweight profile with rugged durability, yet have been reengineered for increased comfortability to suit players of all genders, body shapes, and sizes in the marching arts. CX Airframe 2 Carriers feature reshaped Airframe shoulder and chest sections for improved comfort and maximum range of motion and support for an all- inclusive variety of body styles. Affixed to a lightweight, customizable belly plate and featuring Pearl’s Agility Control System (ACS) Belt and CX mounting hardware, CX Airframe 2 Carriers deliver a highly adjustable and comfortable marching experience wherever performance takes you. Available separately as add-ons for CX Airframe 2 Carriers, new PLUS Size Shoulder Assemblies provide an expanded form, ensuring a comfortable fit for performers benefiting from the added space. “With Pearl’s newly designed CX Airframe 2 Carriers, performers can truly focus on elevating their musical performance and movement agility with exceedingly more ease and comfort. This innovative design targets improved angles and weight distribution to better accommodate a myriad of diverse body styles and gender considerations. And with the option for the frame add-ons when needing more room, Pearl now offers programs more customized equipment to assure performers of all shapes and sizes can thrive on their instrument.” — Julie Davila (WGI Hall of Fame 2014, PAS President Elect, PAS Diversity Alliance) Experience the difference in marching maneuvering with Pearl CX Airframe 2 Carriers. Pearl Corporation is a division of Pearl Musical Instruments, a worldwide leading manufacturer of acoustic and electronic drums, concert and marching percussion instruments, hand percussion, and flutes. Pearl Corporation is also the exclusive U.S. distributor of Adams Musical Instruments. Pearl Corporation is based in Nashville, TN. For more information on this and other Pearl Drums, check out www.pearldrum.com July 2022 Modern Drummer 17 I n today’s musical landscape incorporating electronics has become commonplace, from creating hybrid acoustic/electric setups, to looping and accompaniment, percussion pads have opened up a world of sounds and creative possibility for musicians. Compared to its predecessors, ddrum’s NIO model cuts the price tag close to in half, bringing this technology to the drummer on a budget, and makes the first step easier for anyone who is looking to dive into electronics for the first time. The NIO, sports nine isolated rubber pads is pre-loaded with 30 preset kits, including five ddrum series kits, 20 sample kits, and a total of 608 built in sounds. Additionally, there is 512MB of storage for loading your own sample drum kits, sounds, or loops via the USB output. It also features two built-in trigger inputs enabling you to connect external drum triggers or pads. I advise reading the user manual thoroughly before getting in too deep, as navigating the menu is not the most intuitive system, but once you’ve gotten used to how selecting and toggling work, there are many settings and variables to explore. This includes velocity and sensitivity control for fine tuning the feel to your playing style, and other possibilities like layering sounds. The front panel controls on the NIO are simple, there are two dials for volume control as well as fast toggling through kits and sounds. A center digital screen shows menu options with adjacent toggle and selection buttons. Click and Record buttons allow you to practice with a metronome and save your own creations. A quarter-inch headphone output enables private practice while quarter-inch stereo outputs L/R with volume control allow you to hook up to an external speaker or PA system. Additionally, there are also 5-Pin MIDI input and output, and the 1/8-inch stereo Aux input allows audio in, so you can play along to your favorite songs. Sold separately, there are also foot switch accessories available. These allow the NIO to become a fully functional electronic kit. This provides a great practice option in limited spaces or when you’re traveling. Additionally, I could see this option working quite well for small coffee-shop style gigs, providing a range of drum sets, 808, and percussion sounds right at your fingertips, helping to bring your accompaniment skills to the next level. I found that rather than a new snare or cymbal, which only really excites the drummer, the NIO will catch the attention of your bandmates by bringing new sounds and textures to the table. When used in a musical way, the NIO is a device that will diversify and supplement your sound at an affordable price point. Today, all of these features are available to more players than ever. ddrum.com ddrum NIO By Nic KubesNext >