< PreviousModern Drummer July 2022 68 multiple synths, modular synths, and more. I wanted to have a unique, strong, and colorful sound. Like I said, that was also my initial drumming goal. I wanted to find “my” sound, and it should be recognizable regardless of musical style. “Downpour” (2022) In this video, the bass drum is triggering an envelope for the arpeggiated synth. This means that on every bass drum hit, some notes of the ongoing sequence will burst out. I am also using a granular processor with a built-in mic to capture my live drum sound and transform it into effects and ambience. MD : What was the very first electronic drum set you owned? Maysun: Actually, I have never owned an electronic kit. My first experience with electronics was an acoustic kit with a delay pedal. Then I added a Microkorg. There was a moment where I tried triggering notes from a drum pad linked to the Microkorg, but I quickly abandoned that idea. The first thing that could be considered an electronic kit would be the SPD-S. I used that along with a bass drum trigger, floor tom, and bit crusher. It is important for me that the audience understand what I am playing when I am playing it. Triggering chords from pads felt odd, I preferred playing them on a keyboard. Also, I’ve always had the goal of improvising with the drums and electronic setups to make it a whole instrument that could be adapted to any situation. “Arbhar” (2022) This was my first experiment with the granular processor called Arbhar. The bass drum trigger is controlling the record and playback parameters of that module. I am also singing into an effect with my throat mic. MD : What was the very first Modular Synth you owned, and how did that evolution happen? Can you describe what that transition and experience was like? Maysun: In my first years of solo experimenting, my setup was huge. I had several full keyboards, synths, pedals on the floor, pedals on my snare, and too many cables! When I started the daily videos, I was in search of something that would allow me to have a full sound but also be compact and easy enough for travel. Having multiple synths and routing them through effects made me use a heavy mixer with several FX sends to control the whole thing. I started researching online to find the most compact one and landed on a modular synth page. I had never seen any of those before, it was extremely small, but it looked pretty complicated. I decided to get a Moog Mother 32 which is semi modular, then I decided to get a modular synth mixer. That forced me to get a modular synth case and modular synth power supply. I realized that to have variations in the sounds, I needed modules for every specific musical movement. I sold all of my synths and controllers to get more modules. Finally, I had assembled a full- sounding system that could fit in a suitcase. This made it easy to set up near any drum set and play my music. I had even screwed floor tom hardware onto my suitcase so that it could be used as a stand for the modules. The synths were fully independent from the drums at that point. It was later that I started to link them using a modified bass drum trigger to influence events in the synth. I had it set up so that I could select notes on the keyboard and the bass drum would decide on its rhythm. That way, I could free up my hands for a few bars to be more expressive on the drums before the next chord change. These days, I have been trying to link more of my body to the synth using a laryngophone I built. I can now send melodic information into my system by singing inside myself, and rhythmic information from the bass drum will alter the events. I also have it so that not every drum hit will trigger something. There’s always a bit of chance which makes me feel as if the synth is improvising based on what I am feeding it. I find it is more organic when every drum hit isn’t in unison with melodic content. I am not in full control over the music, I am always searching for a balance between structure and chaos. MD : What was your main motivation for creating a fully modular based system? Maysun : I use the tools I have mostly because it is what allows me to express myself freely through sound. It’s always changing, I’m constantly reading about gear on forums, social media, trying to think up new possibilities, combinations. My goal is to have a fluid path between what I hear, what I play, the instruments, and the output of sound. At one time, my modular setup was oriented around output modules (a mixer, stereo movement.) Then I gradually started replacing other components with modular synth modules. No more pedals, no need for an external mixer, no need for several hardware synths for different voices or big keyboards. Through this time, I was also experimenting with mixing and sound design in the computer. I was able to find similar modules to the plugins I was using, and modules that were samplers. This allowed me to replicate my recordings more easily live. The routing possibilities with modular synths are infinite. You can always find new ways to get new sounds and new interactions. It’s like being able to change a synth’s internal circuitry from the outside. It’s July 2022 Modern Drummer 69 very addictive. Once I got comfortable with this technology, I started looking into how to make the drums interact with the modular synth. Doing this allowed me to free up my hands and made it a bit easier to perform. Being semi-autonomous, the synth is reacting to what I send it, that allows me to keep my hands on the drums most of the time. It took a lot of experimenting and different setups before I got to what I use now, and it’s still changing. I’m happy to know that if ever I need to perform abroad, I can simply bring my cymbal bag and a suitcase (if acoustic drums backline is offered). I can set up quickly and share any kit with other drummers performing on the same festival. For the person doing sound, all I need is a stereo DI which makes it easy if there is no time for a soundcheck. I even have a headphone module in my setup up in case the venue doesn’t have monitors. To sum it up, modular synthesis makes it possible for me to create any sound I want, and it offers infinite interaction possibilities. It is compact, easy to transport, quick to set up, and my technical needs for a show are easy. And it’s FUN! “Cicada” (2022) The cicada soundboard is a CV controller and contact microphone. It is capturing the snare drum (and singing bowl) sounds and sending them into some effects. Pressure on the soundboard affects the filter on some sounds. The bass drum trigger is also triggering a drone like sub bass. MD : Do you have a background or training in music production? Maysun: I taught myself through trial and error. I asked questions when working with recording engineers during sessions for various artists. I learn a lot from YouTube by watching my peers in the electronic music community. Last year was the first time I took recording and mixing masterclasses online via a “Mix with The Masters” subscription. MD: So much of our work today is done on DAW’s, what DAW do you use to create loops, do sound design, and record original music? Maysun : I currently use Ableton 11, I’ve used Logic, Reaper, Garage Band, and Audacity in the past, but Ableton is what I prefer. I feel it is quicker for creatively processing sounds. I like the workflow. I’ve been curious about Bitwig though. MD: Do you use a combo of pads and acoustic drum triggers? What is your approach to using triggers on certain instruments? It’s very unique. Maysun: I have a modified bass drum trigger. I added an extra piezo in the electrical circuit that I stick closer to the beater. The combination of both impulses (original piezo + secondary) gives it enough voltage to be recognized by my modular synth, even if played lightly. It adds sensitivity without the need for an extra preamp. That’s the only trigger I have on my kit currently; everything is based on the kick. “Vox Ambient” (2022) In this video, I am singing and also controlling some parameters of the modules with my throat microphone. The bass drum is again triggering bass notes. This was my first time using the DIY throat microphone. MD : Can you describe your process of routing and triggering to create some of the music you capture in your studio? Do your new tracks begin with electronic percussion? Maysun : I don’t record electronic drums from the start. I will alter sounds in post-production for a recording. What I will sometimes do is side chain a gate from the bass drum to a synth track. This results in having a synth track that appears only if a drum is hit. You can play melodies or bass notes out of time and link them to the kick or snare to blend it in the track. A good example of this is the song “An Opening” from my last album Wanderlust II. The bass and snare are triggering a sample in different starting points which in return creates a melody based on that drum rhythm. MD : Can you explain how sound design works in relation to your drum set up? Will you explain the entire signal chain for routing your percussion and drums to the FX and Modular Synths? Maysun : My goal is to merge ambient sounds with drumming. I aim to have organic sounding textures that don’t sound too “synth-y”. For albums, I heavily process my sounds. I will stretch, pitch, splice, record onto broken tape, re-amp in spaces, and use contact mics. I’ll use anything to embed realness into the sound. However, this can make my music more difficult to reproduce live. My solution has been to include samples in my live rig. The heart of my rig is Squarp Instruments Rample, it is a 4-voice sampler that allows me to either start long tracks that will be mangled through effects or trigger shorter sounds that can become melodies. There are a lot of parameters to work with in this module which makes it very versatile. You can also use it as a polyphonic synth based on sounds you created. My setup changes often, but my signal chain has stabilized a bit throughout the years. I have long samples that I use to create ambience. These sounds go through effects that allow me to affect them live. I like Instruo Arbhar, which is a granular synthesis module, and something that will glitch sound like QuBit Data bender. Modern Drummer July 2022 70 My bass drum trigger will go directly into Twiigs, which is a probability module. This module allows me to have four outputs from the bass drum trigger and adjust the probability for each channel. This way, sounds can appear randomly, but always on a hit. This will trigger shorter samples that are melodies, sound textures, or will affect a chain of events in the synth. Over that, I will play a keyboard with my left hand for bass, and the rhythm will be triggered by the bass drum. To explain it even more simply. Rhythmic information is based on the bass drum, bass notes are chosen by my left hand on a keyboard, and ambience is from a sampler. Recently I’ve been adding some textures from a DIY microphone on my throat. Finally, I add micro movement on various parameters of each sound to have something organic and unique to each performance. “523” (2020) This was the only the second time I ever used the bass drum trigger with my modular synths. My bass drum is triggering a series of samples that are floating above an ambient loop. All of this sound is also routed into effects. The keyboard that I play with my left hand, the OP1, is providing the bass notes. MD : What was your first touring band? Maysun: Huu Bac Quintet, we’ve been playing since 2013. We’ve toured in all of Canada, the US, China, South Korea, and the Ivory Coast. I don’t use any electronics in this project. The project is composed of Dan Bau (Vietnamese traditional instruments), Erhu (Chinese violin), Quena & Quenacho (Peruvian flutes), violin, piano, upright bass, and drums. MD : What role is hybrid drumming playing for you as a session player or touring musician? Maysun : I do not really have a chance to use my setup in contexts other than in my solo performances, but I think it helps create a different perspective on the role of drumming. The more I get into electronics and sound design, the more I see the drums as textures. I am not thinking about kick, snare, and cymbals. I am thinking about it as frequencies, energy, and emotion. Every sound is valid. Different sounds simply project different feelings to the listener. Electronics allow me to be able to take up more jobs in a group. I can play synth bass and drums, or pads & drums, or effects and drums. Hybrid drumming helps me be able to enhance the sound of the entire project. MD: What role does electronic percussion and hybrid drumming play in your solo live shows? Maysun : It plays the role of an improvising band member. I aim to balance control and freedom within the machines that I use. The goal is to feed them information so they can improvise on that, and I can react to that new information to continue the cycle. I use the electronics to create immersive soundscapes around my drumming. MD : Can you describe your most recent recording for your solo project? Are you also recording remotely for other artists? Maysun: I record almost every day. If I am in my apartment, I will record low volume acoustic sounds and synths, If I am at my shared studio space, I can record drums and re-amp. I haven’t had an in-person recording session since the pandemic, most of what I do for other people is remote. They send me a track with a description and reference of what they are looking for, and I will do my best to create something that is a blend of their style and my style. Because of my online videos most people who reach out to me want “my” sound specifically, I don’t have to try and play like someone else very often. MD : Do you trigger or use any backing tracks live? Maysun: I have in the past for pop projects I subbed in, but nothing now. I don’t really like having a computer with me on stage, I’m not much into that. When I did do it, I would use the SPDsx to launch full tracks, or sometimes it would trigger someone else’s computer via MIDI, or sometimes I’d use the Sensory Percussion software. For my solo setup, I will sometimes have very long samples, but I use them as a continuous audio source that is processed through my effects. I don’t like when it feels like I’m accompanying a track. I like every show or performance to be improvised in some way. Check out more Maysun videos below: “433” (2019) OP1 synth is running a note sequence, going into a series of effects in the modular synth. I am playing drums on top of this. “426” (2019) Distorted sequence in the OP1. Drumming to this while gradually bringing in more instruments and effects. “423” (2019) Sequence in the OP1 with a delay. Gradually bringing in and taking out different voices while playing. “422” (2019) Using the OP1 as a midi controller to sequence bass and melody modules in the modular synth. Playing the chords with my left hand while playing drums.July 2022 Modern Drummer 71 MD : Are you doing any work outside of your current band or solo project? Maysun : I do remote recording with drums and synths, I will help arrange people’s music, I produced a full album for an artist last year which is not out yet, and I have been playing with Huu Bac Quintet for nine years. MD : Which musicians were (or are) influencing your interest in electronic music, looping, and sound design? Maysun : I did not really have a model for drums and synths when I started getting into that. I simply started trying to combine guitar pedals with drums. Once I realized I was trying to make my drums sound like a synth, I got into synths. Today, I’d say that the number of people doing this type of thing is infinite, especially since the pandemic where people were forced to play alone. Current artists I look up to for electronic drums are people like Ian Chang, Mason Self, Fred Burki, Henri Kling, Deantoni Parks, Lucas Koenig, Kwake Bass, Arthur Hnatek, Karl-F. Degenhardt and a lot more. The Instagram community around this is huge. For sound design specifically, I’m very fond of the sounds and emotions produced by Tim Hecker, Rafael Anton Irisarri, Hainbach, and Helen Vogelsinger. I also like sound art installations like those by Tabita Cargnel or Alexey Seliverstov. Everything overlaps. I don’t have one clear source of inspiration, my drumming is not necessarily influenced by drumming, my sound design is not necessarily influenced by other sound design. I like to hear rhythms in vibrations, melodies in percussion, and sound design concepts in nature. Everything is everything. The internet is full of inspiration, but the algorithms don’t always favor the unique ones. You must search to find the unique artists. MD : Who are some of your modern drumming influences? What modern composers do you listen to? Maysun : As I said, my favorite drummers are Brian Blade and David King. I think in all cases I like artists that have their own distinct sound. With only a few notes, you can tell it’s them regardless of the style. I like players who are rooted in creativity and who play with truth and meaning behind every sound. MD : What are your favorite recordings of David and Brian? Maysun: From David King, one of my favorite tracks is “Silence Is the Question” by The Bad Plus from their record These are the Vistas. It starts very simple with a light ride and gradually builds until it is full chaos, as if each member was in a different starting point and gradually come together for a grandiose moment before deconstructing the ending again. This music can sound free but it is all connected in the big picture. For Brian Blade, I would suggest “Smilin Through” from Wayne Shorter’s Beyond the Sound Barrier. When he comes in around the six-minute mark in the track, everything just explodes. There is so much power in his sound. He intervenes in just the right places. Any track with Brian Blade is great. MD : How about favorite recordings of your own? Maysun: For myself, my favorite work is always the last one I’ve done. MD : What is the influence of other styles of music (from the greater music world in general) on your approach to drumming and music? Maysun: I’ve been into spoken word a lot in the last years. Artists like Kae Tempest really inspire me. The meaning behind the words, the flow, the storytelling, all supported by music. I’ve also been interested in sound and art installations and repetitive mechanical sounds as well. MD : What are your musical plans going forward? Maysun: I want to continue doing what I love. I hope to continue exploring the relationship between drums, synths, and experimental music, and continue making as many recordings and videos as I can. I plan on getting more into DIY instrument making and adding a sound installation aspect to my music and albums. I’ve made steel cymbals and small steel percussion for myself in the past and I’d like to do this more when I have the workspace to do so. I am at peace with what I have accomplished so far, but I still secretly hope to be discovered by an artist looking for someone like me to produce music and tour the world. MD : Is there any special drum equipment that helps you with your musical pursuits and sound design? Maysun: Drumgees. They’re not electronic, but they do help me create sounds that can be altered electronically afterwards. They allow me to hold any object against the skins of the drums or bass drum. This means you can place metallic objects and rattling objects across any drum. These sounds can later be chopped up and merged with effects to create electronic sounding textures. MD: You are a drummer, so what kind of drums do you use? Do you have any favorite gear? Maysun : My 70s Gretsch stop sign badge set (8x12, 14x14, 14x18) in Black Nitron might be my favorite piece of gear. They are the instrument I will never sell. I’ve wanted this exact kit for a long time, and I was lucky to find one in a local ad for almost nothing. Close contenders would be my Meinl Dragon cymbals. They are hard to find and have a very special sound which is sort of a blend between a crash and a gong. I don’t have much sentimental attachment to electronic equipment. There is a complete list of my gear available on my website. www.maysun.ca/gear Check out Maysun’s Modern Drummer profile page at moderndrummer.com Myriam MenardModern Drummer July 2022 72 Josh Harmon: From Comedy to Drums, Shaping His Unique and Timeless Sound By Raghav Mehrotra J osh Harmon is the definition of a boundary breaker. Regarded as one of the world’s most creative drummers, his approach is an unconventional as it is successful. His mega- popular series, Rhythms of Comedy, has garnered love from BILLIONS across the globe, making him the most viewed drummer on the internet and earning praise from the likes of Questlove, Eric Andre, Ken Jeong, and more. He began his love for music just as his legendary peers did - starting drum lessons early in childhood. In more recent years Josh discovered a love for comedy, which took him down a totally new musical path. In this interview, we explore how Josh has been able to combine different disciplines to create something new, and how he uses his platform to spread positivity throughout the world. MD: What made you fall in love with drumming and with music? JH: My parents love music, and were always playing music for me and my older brother when we were little. They would play the music they loved and we would sing along, so there was always joy connected with listening to music. I knew all the words to every song on Paul McCartney’s Wingspan album before I could read! My older brother has perfect pitch and can play all sorts of instruments, but for some reason I gravitated toward the drums. The story goes that my parents took me to a Chinese restaurant when I was little and while we were waiting for the food to arrive, I started tapping on the plates and cups with my chopsticks. The next day my mom took me to our local music store and asked them to give me drum lessons. To this day not much has changed, I still find joy in music, my parents are very encouraging, and I still can’t read! Pre-pandemic, I was living in a small apartment in New York City playing drums very infrequently. When the pandemic hit and I moved back home, the silver lining was that I suddenly had access to my drums again; this became the catalyst for the early videos. All in all, I’m just happier when I’m able to play. MD: Did you ever play in your school’s band? JH : Yes. I had great music teachers all through middle and high school. I played in symphonic band where I learned all the classical percussion instruments: timpani, marimba, snare drum, etc... but I remember looking up to the kids in the jazz band – they were always the coolest kids performing in the school assemblies in their black suits after the choir and orchestra performances were over. I actually tried out for the jazz band in middle school but didn’t make it, and I cried for days. But then I resolved that I was going to make the jazz band the following year no matter what. And that’s when I started practicing several hours a day. Eventually I ended up making my high school jazz band…it was fantastic. I practiced the charts endlessly, worked on my reading chops, and even continued playing in a big band in college. In college, the director of the band would give me a huge open drum solo in every concert. And we did multiple concerts a semester, so that’s quite a lot of drum solos! The same people came to the jazz concerts most of the time, so I tried to never repeat solo ideas to keep it interesting. Jordyn KatzJuly 2022 Modern Drummer 73 After a lot of concerts though, I had no choice but to get really experimental during the solos. I would get up and walk around the drum set, playing on the stage or on the seat. I would blindfold myself; I would tap dance, I would juggle… I tried to make each one a performance – and it is this performance aspect of playing the drums that has stuck with me. Within the context of a drum solo, almost anything that is rhythmic and percussive becomes fair game. When you are playing a drum solo, the focus of the entire audience is on you alone, and that is an extremely charged and powerful moment. I fell in love with that energy as I discovered how to communicate through the instrument. If you think about it, drumming – in its most ancient form – was used to send messages. During my drum solos, I would do things like slamming extra-loud rim shots on the snare and then quickly bringing the volume way down. I started noticing that the audience would react – they would laugh, tense up, and display all sorts of emotions as I made these musical changes. I found it fascinating that I could telegraph emotions through rhythm. MD : Who have been your drumming influences throughout the years? JH : Hard question! My favorite drummer would probably be Ringo - his feel, the swing, and the idiosyncrasies of his style contribute to such a unique sound and presence that is continuously inspiring. Neil Peart was my first drum hero, though. I had an iPod Shuffle in middle school with a bootleg recording of Neil Peart’s eight-minute drum solo from the R40 tour that I would listen to over and over again. The power of that drum solo is in its storytelling. Neil takes you on a journey…the solo has such a profound range, and it’s so over the top. I love it. But then there are drummers like Dennis Chambers, Dafnis Prieto, Shannon Powell, and the older players like Sonny Payne, Sonny Greer, Papa Jo Jones, Gene Krupa—people who were real showmen have all really inspired me as well. They play with such fluidity (specifically in their emphasis on upstrokes) and put on a performance that’s captivating to drummers and non-drummers alike. MD: The old big band drummers have such a command over the audience. A little bit of showmanship goes a long way. JH: I think a lot of drummers dismiss showmanship as something “less-than.” In the studio, showmanship isn’t worth anything. But, when you’re performing for an audience – even if you are playing some really hip stuff – if it appears as though you’re not having a good time, that emotion permeates the audience, rather than the excitement and joy you want them to feel. Those old school drummers understood the importance of that. MD : You were in the NBC Page Program at 30 Rock. How was that experience? JH: That was a crazy experience, with very high highs and low lows as well. In the Page Program, you cycle through different placements at NBC over the course of the year. I worked hard at doing every assignment well, and was fortunate enough to get placements at The Tonight Show and Saturday Night Live. From a drummer’s perspective that was a gift because I could hide in the back of the studio and watch the legendary house drummers – Questlove with The Roots and Shawn Pelton at SNL. When I was working at The Tonight Show, I was an usher collecting tickets and helping to put people in their seats. One year later, after having started posting the videos online, I performed on the show. At the same time during the pandemic, I got hired by the TODAY Show and was a writer there for a little over a year. MD: What motivated you to make the switch from TODAY Show writer to full-time content creator? JH: It’s such a twist because, unlike many of my peers, I never had a Jordyn KatzModern Drummer July 2022 74 personal social media presence. When I was living in New York, I was trying to be a comedian. I was performing at the UCB Improv Theater in New York City, doing open mics, submitting packets to Late Night shows, all in addition to doing the Page Program. I was just doing whatever I could, to get into the comedy world. Then the pandemic happened, and everything fell apart. I gave up my apartment and moved back home to my parents’ house in New Jersey, and found myself with nothing but a drum set and lots of free time. That’s when I had the idea of combining drums and comedy. I had seen people create rhythms from speech before but had never seen it done in an analytical way, and specifically with standup. Rhythms of Comedy was really just my way of studying comedy and understanding the mechanics of it so I could be a better comedian. It came as quite a surprise that so many people started watching the series, and even more shocking that big comedians started sharing the videos on their own pages – Ben Schwartz, Hannah Gadsby, and Ken Jeong among them. After 20 or 30 episodes of Rhythms of Comedy though, I had a realization: all my videos were in English, which was limiting who could enjoy them. I realized I needed to remove language in order for these videos to have mass appeal. But how could I do that? What sort of comedy doesn’t have any language in it? My first thought was to do something with slapstick, but then I remember that I’ve always loved impressions. A good impression is like magic. I started wondering if there was a way for me to transfer that concept to the drumset…. what if my drumsticks could do impersonations of other sounds? This led me to make the Rhythms of Ratatouille video, which is not only the most viewed drum video ever made, but one of the most viewed videos ever! I suppose my idea about taking the words out was a good hypothesis. MD : It looks really complex. You’re often playing multiple instruments in the span of two or three seconds. How do you conceptualize and choreograph your movements? JH : I think about every single element of every single moment in all the videos I record, except for the very end when I just let loose. Everything is choreographed down to the frame because I want all the videos to be as visually appealing as possible. I organize my movements in a way that it makes it possible for me to grab all my tools while having nothing obscured from the camera. If the audience’s view is blocked, say, when I cross over to reach something, I rearrange my set up to stay open handed; I am constantly thinking in relation to the camera. I should note that this is not how sound effects are actually made. For a movie, you would create and capture one sound at a time, not do everything in one continuous take. That’s why I call this “drum comedy” – it’s its own kind of performance art. MD : And you’re always smiling in your Instagram videos…it’s contagious! JH : It’s the number one comment that I get. Honestly, I do perform a little bit – when filming the videos I think of myself as playing a character whose purpose is to spread joy, and who is excited and curious about everything. Framing it that way makes it easier to stay grounded, even as the videos get so many views. But also, the energy is infectious – and when all the parts of the video come together just right, it genuinely feels so satisfying, I can’t help but smile. MD : That’s a great way to think about it. How does it feel to know that people are inspired by you to start playing, that you’re the catalyst for their love for music? JH : People send me touching comments all the time. Stuff like, “Your videos really brighten my day,” ”You’ve really inspired me to make a change in my life,” and “I started playing music because I saw your videos.” It’s an honor and a privilege to be able to do that for somebody, just as many different people have done that for me. It also comes with a certain responsibility, as I understand not only adults, but young kids are looking up to me now as someone who they want to emulate. I want to continue to be that positive role model. I just hope that when someone sees one of my videos, they get something out of it. If it makes them smile for five seconds, then that’s mission accomplished. I’m concerned less with trends or trying to go viral. I’m more into creative experimentation and trying to find new ways of using the drumset. Surprisingly, a lot of people are interested in that! I think that’s why my videos resonate with people, because I love it myself. MD: How do you decide what props are apt for a specific sound? JH : I have made so many of these videos now, that I have developed a rather strange intuitive understanding of what fits where. When I watch a scene, I can picture how each sound effect in the scene relates to a specific instrument or prop. Moreover, I listen critically to each sound to try to pick up minute details. Just paying attention to the texture of the sound, for example, makes a big difference. How metallic is it? How “tinny” Is it? Eventually, my mental notes of these Jordyn KatzJuly 2022 Modern Drummer 75 abstract concepts get translated into the physical props I use. It’s the same as listening to a song to try to pick it apart - when the drummer is hitting the ride, we all know that he is hitting the ride. When he goes to the bell, we can hear that difference. I’ve developed a similar sensitivity listening to sound effects. Sometimes though it’s still a question of trial and error, finding something that fits the direction I need to go in. MD : Has being a comedian and playing drums to comedy affected your drumming? JH : For sure! Firstly, my rhythmic listening skills have improved immensely. It’s a blessing and a curse because sometimes when I’m talking to somebody, it takes me out of the conversation because I’ll get distracted thinking about the timing of the words being spoken— I’ll think something like “those are perfect sixteenths and triplets” as the conversation goes on. Also, playing along to comedians has unlocked unique ways of getting inside rhythms and feelings on the drums. When I make Rhythms of Comedy episodes, instead of catching every single word or syllable, I try to find the rhythmic and emotional throughline, and translate that into my playing. It’s not unlike composing an accompaniment to what I hear, which results in odd time, mixed meter, nested tuplets, etc.— essentially flowing within the time yet being sensitive to it. I am not actively thinking about it as I play, but when I go back and listen, I’m often like “Wow, that’s kinda heavy!” When you’re following a voice, people don’t talk at a consisent tempo. In that respect, playing with comedians has made me more sensitive to tempo changes, which has in turn improved my tempo and feel as I’ve had to learn how to intentionally rush and drag. Finally, it increased my confidence in exploring the unexpected. Penn & Teller are a big influence on me. From them I learned that Surprise equals Entertainment. I try to put forth the same thing in my videos— it’s interesting (for both me and the audience) to explore how such unique sounds can be recreated on small, often unconventional, setups. MD: Do you compose? JH : I do write songs. I play the guitar, can play some bass, and I’m taking singing lessons as well. MD : How has your ear for creative sounds influenced your compositional style? JH : I find it comes out more in my playing than in songwriting. I just did a recording session for an album at my home. I not only played the grooves of the tracks on drum set but I sent a bunch of sound samples to the producers, it was just sort of textural stuff that I thought would fit the soundscape of the music, and it all ended up going on the album. MD: Have you ever thought about doing the Rhythms of Comedy videos live? JH: Yup! I did a couple shows with the comedian Mark Normand. They were completely improvised and felt fantastic. I was just listening live and flowing Mark’s joke rhythms on my drums in the moment. MD: You are creating art and that is timeless. JH: More like time consuming! MD : Has being on social media as a drummer and someone who is completely in their own lane affected your view on the music industry? Or the drumming industry? How, if at all, has it changed your thinking about being a musician? JH: What I’ve learned is that being authentic is the key. The audience appreciates that. I’m a very curious person, I love old cartoons, and I love being a showman. The musician Louis Cato gave me this advice - the sooner you can accept all the parts of you, the better off you’re gonna be. I’m a drummer but I also love comedy, movies, animation, and magic. Accepting that and incorporating it in what I do has made my work increasingly successful, but more importantly, more enjoyable. MD : What can we expect next from Josh Harmon? JH : I want to write an album, and I’m really interested in writing a musical. I’m working on a children’s book. I’m moving to New Orleans in the fall. I want to do a ton of playing down there and pick up some new things, meet new musicians, and get inspired. MD : What’s your advice to aspiring drummers and creatives? JH : My #1 piece of advice for drummers is to learn drum history. Understanding the lineage of your favorite players – i.e., finding who inspired the people who inspire you is the best way to become a deeper player. But also, start getting curious about the history of the drum set itself –– like, why does the hi-hat look like that? Or, why do snare drums have snares? That can lead you to approach the kit from a fresh perspective, and to consider not just what you’re playing, but why you’re playing it. If you stay curious, you never run out of things to practice, and more importantly, drumming never stops being fun. Josh Harmon Endorses: Ludwig Drums, Zildjian Cymbals, Vic Firth Sticks, Remo Drumheads, Asius Technology In-Ear Monitors, and Audimute Acoustics. Check out Josh’s Modern Drummer profile page at moderndrummer.com Jordyn KatzModern Drummer July 2021 76 This year marks the 45th anniversary of Steve Smith’s relationship with Sonor drums. Steve bought his first set of Sonor drums in 1977 while touring with jazz-fusion violinist, Jean-Luc Ponty. He played the same Sonor set touring with rock guitarist Ronnie Montrose. The Montrose gig led to his high-profile association with the stadium packing, multi-platinum rockers, Journey in 1978. After joining Jour- ney, Steve became an official Sonor endorser. In addition to playing and endorsing Sonor drums, Steve is one of their top clinicians and is involved in product development. His Sonor signature snare drums and drumsets have been top sellers; there is a plan for a Steve Smith 45th Anniversary snare currently in the works. According to Steve, “My sound is the Sonor sound.” At the height of his success with Journey in 1985, Steve made the bold decision to move on from his Journey superstardom to pursue his interests in jazz, fusion and world music. Both as a bandlead- er and a band member Steve, again achieved superstardom and pushed the limits of every genre he pursued. In 1987, two years after departing Journey, Sonor made Steve this eight-piece Sonor Lite set. He needed a set that could excel in any genre that Steve was exploring. He also needed a set that could stand up to his new touring style. The private planes and road crews he’d enjoyed in his Journey days had given way to taxi cabs, vans, and airline baggage handlers. These Sonor Lites were the right drums for the job. Nine extremely thin plies of Scandinavian Birch gave Steve all the resonance and tuning range he needed. The heavy-duty hardware and White Creme lacquer finish held up to anything Steve and the bag- gage handlers could throw at it. The set consists of 8×8, 10×9, 12×10 and 13×11 mounted toms, 14×15, and 15×16 floor toms, with 20×16 and 22×17 bass drums. Steve played this set from 1987 through 1995 with his band Vital Information, as well as Steps Ahead (he used the kit on the albums N.Y.C. and YinYang), as well as tours with Ahmad Jamal, The Jazz Explosion Super Band (with Stanley Clarke, Randy Brecker and Allan Holdsworth), and a 1988 U.S. State Department tour of Eastern Europe with Randy Brecker. The set can be seen on the album sleeve of Vital In- formation’s Fiafiaga album. This set toured the world nearly non-stop for eight years and remains in excellent condition. The only notable battle scars are some scratches on the 10” tom caused by rubbing on the snare drum and some nicks on the bass hoops. Steve favored the 20” bass for his jazz gigs. The 22” bass drum was used for rock gigs and sessions. Both bass drums have Steve’s signature Journey bass drum heads, plus the 20” bass includes a Vital Information logo head. Steve retired the set in 1995 to make way for the next of the many Sonor sets he’s played in his 45 years playing Sonor drums. Donn Bennett’s Drum Vault: Steve Smith’s 1987 Sonor Lite Vital Information Drum Set By Donn BennettJuly 2021 Modern Drummer 77 45 YEARS SMITH+SONOR LEGEND SONOR drums have remained my first and only choice as a high quality instrument for the past 45 years. My sound is the “SONOR sound,” I can’t imagine playing any other drumset. —Steve SmithCONFIGURATOR Tommy Aldridge, Horst Link, Steve Smith and Oliver Link at Steve’s first visit to Sonor’s German factory in 1979. Steve’s Sonor Lites on the cover of Vital Information’s Fiafiaga Celebration album. Two recent Sornor ads celebrating Sonor and Steve’s 45 year colaboration.Next >