< PreviousModern Drummer August 2022 8 The Next So-and-So! By Peter Erskine I ’m tempted to begin each of my new Modern Drummer columns by writing “With everything else that’s going on in the world…” because the unrelenting news cycles force me to question the relative importance of an artistic particular or a paradiddle. But since this is Modern Drummer and not Modern Politics (or Modern Ecology or Modern Psychology), I’m going to indulge in a rumination that I hope will prove insightful if not inciteful. I came across a thread on the internet that proclaimed a relatively young drummer as being “The next Buddy Rich!” This of course invited commentary from persons with opinions that went all over the map, which in turn generated responses until the discussion turned acrimonious in fairly short order. I’ll admit, it got me to thinking. Since I just turned the ripe old age of 68, let me get one thing out of the way: young drummers today can outplay — and display drumming abilities far beyond what I thought possible – the drumming standards of yore. So, I harbor no grudges or suffer from illusory selective memory about my own drumming skills or those of my age peers. Indeed, much of what I see tells me that we have done something right in terms of educating, even though much of what I see exceeds what I know to be taught in many schools. All to say, there’s much good that’s coming out of the ether known as the internet. Having said that, I lament that younger players do not have the playing opportunities of old. Heck, I lament that “my” generation did not quite enjoy the playing opportunities of my heroes (even though we came close in terms of touring and nightly performances). Think about the heyday of touring jazz musicians: 2 to 3 (even 4!) sets each night, 50 weeks a year, often playing opposite another great band. That level of competitive playing occasions combined with exposure to legendary drumming figures in-person, PLUS the chance for one of them to either praise or criticize you … now THAT’S school! We all have musical idols and heroes. In my own case, I worshipped the drumming of Art Blakey and Max Roach and Don Lamond and Louis Hayes and Shelly Manne and Mel Lewis and Grady Tate and Elvin Jones and Tony Williams, and... you get the idea. And Buddy Rich, too. I’m sure that most of you share the following sentiment: I would never presume to be the NEXT one of any of them! And I would resist anyone attempting to label me as such. First, it’s presumptuous as hell and, second, it denies me the chance to be the next ME. Setting any artist up as “the next” naturally invites comparison. I don’t know about you, but I have enough things to contend with in my day-to-day life without worrying about defending myself as being the “next” so-and-so. People love to ascribe labels to others, but for my money: no thanks. This is all said to recognize that, for the hapless drummer who is being heralded as the “next so-and- so,” well … it’s usually not their fault (if anyone has enough hubris or poor judgement to declare themselves the “next Buddy Rich” or Tony Williams or Elvin Jones, then they deserve whatever criticisms come their way, in my opinion). The Peter Erskine LibraryAugust 2022 Modern Drummer 9 That aside, such glib comparisons miss the very obvious elephant in the room: drummers of old played in bands, and often for bandleaders or bandmates who were VERY discerning and demanding in their expectations of knowledge, ability, and excellence from the drummer. I’ve recounted pianist Nat Pierce saying to me when I was 18-years-old, “You’re a nice kid. You can’t swing for shit, but you’re a nice kid.” Or Mel Lewis excoriating me in Downbeat magazine for not having bottom or resonant heads on my toms and bass drum (I found out later that Lennie DiMuzio and Armand Zildjian both told Mel to “take it easy on Peter, he’s just a kid,” but you know what? Mel Lewis was right, and I learned from his criticism). In addition to my treating elders with incredible respect (verbally and with body language) — and I’m talking about just about ANY drummer who had played longer than I had — I was always prepared for the possibility that this musician knew more about the music than I did at that stage of my life. We all have varying levels of confidence and humility. My innate (or engendered) sense of humility allowed me to learn an incredible amount of data as well as praise. And we all respond well to praise! (Exploring this a bit more: when we treat older persons with respect, we are treating the older version of ourselves with respect. Likewise, when we treat younger persons with respect, we are treating the younger person inside each of us with respect. Wait, maybe this “is” Modern Psychology.) I wish that ALL OF US could play more in-person and with others. The pandemic took a bad situation of changing musical demographics and made it challenging beyond recongnition. So, with that, the Jazz Insights column would like to congratulate all of us for having done the best we could these past couple of years. And I salute everyone who is a creator, whether behind the drums or behind the scenes creating live playing opportunities. Having said THAT, the Jazz Insights column acknowledges that the one-way street of play-alongs is NOT the same as playing with other human beings. Other musicians who are counting and struggling with their own set of challenges and who are depending on the drummer to provide good time (clarity of the beat and its subdivisions, plus steadiness of tempo), stylistic “correctness,” proper set-ups as well as playing of ensemble figures (rhythms), dynamics, plus those hard-to-quantify elements of musicality and excitement (or steadiness, or groove). Add to all of the above: that which is said or left unsaid OFF the bandstand. And showing up on-time for the lobby leave or soundcheck, and so on. Not to mention having to deal with confusing or conflicting musical signals from others on the bandstand. Music is many things to many people. Me? I love to play because it is fun. And I take it as serious as a heart attack. I can admit to varying measures of envy, admiration as well as sorrow for the drummers today who are compelled to make their mark or prove their mettle by virtue of YouTube clicks (“be sure to Follow Me and to click on the Like button”) … Good for you if you can live by this particular sword. And now I turn to General George Patton (legendary US soldier who fought and died in the Second World War) who wrote, “For over a thousand years Roman conquerors returning from the wars enjoyed the honor of triumph, a tumultuous parade. In the procession came trumpeters, musicians and strange animals from conquered territories, together with carts laden with treasure and captured armaments. The conquerors rode in a triumphal chariot, the dazed prisoners walking in chains before him. Sometimes his children robed in white stood with him in the chariot or rode the trace horses. A slave stood behind the conqueror holding a golden crown and whispering in his ear a warning: that all glory is fleeting (sic transit gloria).” My advice? Don’t play for likes. Play for the music. And don’t try to be the next somebody else. Be the next and best version of yourself! Check out Peter’s drummer profile page, and get a copy of his Legends book at modern drummer.com The Peter Erskine Library Peter and one of his musical idols; Elvin Jones.Modern Drummer August 2022 10 Cardiovascular Fitness for Strength and Longevity By James Petercsak I n my series of articles, under the “Health, Wellness, and Drumming” section of Modern Drummer, we have explored the many of the benefits of weight training and maintaining healthy musculature. This is done to keep our joints pain free so it won’t hinder drumming. We’ve identified the essential factors for pain free progression in the gym, like proper volume; picking the right exercises; technique; and the mental aspect of training. We’ve also described the importance of strength, and how your collective muscle tissue functions as an endocrine organ. In this article, we’ll dive into to the details of cardiovascular training, and how it fits into a health and wellness program. Muscle mass is of little importance if you don’t have the cardiorespiratory fitness to power it. People tend to pick between the two broad categories of exercise – Strength training, or Cardio. But the term is strength AND conditioning for a reason, and while you might prefer one over the other, you should be doing both. Don’t assume that the two categories act against each other; in fact HRV (or heart rate variability) is one of the most important indicators of performance and possibly the most important metric to recover from weight training and to move your body optimally. Cardiovascular fitness is important not only for keeping your body in shape, or transforming your body, but for the avoidance of illness and disease. Why is heart rate variability a good thing? Your body has many systems that let it adapt to where you are and what you’re doing. Your heart’s variability reflects how adaptable your body can be. If your heart rate is highly variable, this is usually evidence that your body can adapt to many kinds of changes. People with high heart rate variability are usually less stressed as they can adapt better to changes (either physical or emotional). In general, low heart rate variability is considered a sign of current or future health problems. It’s a metric that shows your body is less resilient and may struggle to handle changing situations. It’s also more common in people who have higher resting heart rates. That’s because when your heart is beating faster, there’s less time between beats, reducing the opportunity for variability. This is often the case with conditions like diabetes, and heart arrhythmia. Before we get into the specifics of cardio training, we need to make one thing clear - Building muscle requires a caloric surplus, meaning you need to eat more calories than you burn. Losing fat requires a caloric deficit, meaning that you need to consume less calories than you burn. While it does get more complicated than that, at the end of the day, calories matter. Having said that, you cannot build maximum muscle and lose maximum fat simultaneously; they are two conflicting goals. If your main goal right now is to pack on as much muscle as humanly possible in the shortest time frame than I would recommend that you limit the amount of intense cardio. However, the majority of people reading this probably aren’t looking to become a defensive end for an NFL team or a sumo wrestler, so get your cardio in, it’s good for you! Cardio is a much-debated subject in the fitness industry. Many experts claim that you should never do cardio when trying to build muscle. Others state that you should do high amounts of cardio at all times no matter what your goals are. Intervals are the favorite method of some, while others prefer long duration, steady state cardio. No wonder there is so much confusion. In my opinion, properly planned cardio methods can help you build muscle and stay lean at the same time. The addition of cardio to your training program allows you to eat more muscle building calories without the risk of them turning to body-fat. Not only can proper cardio methods help you stay lean, but they may also help you build muscle more effectively by increasing the production of anabolic hormones. It will also aide in your body’s ability to move optimally, something as drummers we’re all interested in. Different types of Cardiovascular training First, we have low intensity, long duration cardio. This is a long, up- tempo walk or a very slow, low effort bike ride. This type of exercise has a lower impact on muscle loss and for this reason is a favorite method of many heavyweight athletes. It doesn’t burn a ton of calories, which is why it needs to be done for 45-60 minutes, 6-12 times per week in order for you to notice any significant results. This method is the best form of cardio for heavily muscled individuals who are looking to hold on to as much muscle as possible while August 2022 Modern Drummer 11 simultaneously getting leaner. It is time consuming and only burns significant calories if you have a decent amount of muscle on your frame already. Also, this method is not very effective at improving your cardiovascular health because it does not elevate your heart rate significantly. Medium to high intensity, steady state cardio is typically done a bike, treadmill, stair climber or elliptical machine. The standard recommendations are to work at 65-75% of your maximum heart rate for 20-40 minutes. The oldest and most basic way to determine your max heart rate is to subtract your age from 220. So, if you are twenty years old your max heart rate would be 200 and you would want to stay at around 70% of that which would be 140 beats per minute. This isn’t the most scientific formula, but it is the easiest and works for our purposes. This is more effective at burning calories than low intensity, steady state cardio and doesn’t require as much time. With this method you basically work hard for 20-40 minutes straight without ever changing the intensity. When using this method of cardio, you might be able to hold a conversation, but it would be annoying, as you’ll be breathing heavily. This method has been used for years with great success by many people in an effort to lose body-fat. The problem with this method is that it does not elevate your metabolism for more than two hours after doing it, whereas weight training elevates your metabolism for two days. Because of this, I recommend that you fit this into your off days of weight training, 3 times a week. Doing too much of this type of training can elevate cortisol levels, which is the hormone that can break-down muscle tissue. Even though this method can be very beneficial, we need to be careful about the duration and frequency. There are some negatives associated with long duration, steady state cardio and present a “U” shaped curve with diminishing results if done excessively. Excessive amounts of endurance activity have been shown to: lower immune system function, increase the production of oxidative free radicals, and lead to a degeneration of the joints (especially the hips, knees and ankles) The next form of cardio is high intensity interval training. This method involves performing short bursts of the highest intensity you can muster followed by a down period of lower intensity which allows you to recover before repeating the sequence. Typical interval recommendations are 30-60 second bursts followed by an active rest period of 60-120 seconds. This A simple bike trainer can be a great investment if you don't have a stationary bike. Most trainers will generate enough resistance to elevate your heart rate for a very effective workout.Modern Drummer August 2022 12 is typically done for 15- 30 minutes. One big upside about high intensity interval training is that it elevates your metabolism for up to 48 hours after doing it. This effect is not seen with traditional methods of cardio. Steady state cardio burns extra calories during the workout, and for around two hours after completing. The main benefit of high intensity interval cardio is that your metabolism will be revving like crazy for two days after your workout. So you are burning extra calories far longer and far more efficiently than you do when you rely only on steady state cardio. The problems with interval training typically are with the prescription recommendations. Firstly, unless you’re in tremendous shape, 30-60 seconds of 100% all-out effort is extremely difficult (and potentially dangerous). It can take years of training and technique training to get to that level. Secondly, the rest period prescriptions of 45-60 seconds are also far too short for most. Think about it; sprinters who are the most ripped athletes on earth next to competitive bodybuilders, typically sprint a short distance and then rest anywhere from three to five minutes before repeating the effort. I am not suggesting that you need to rest as long as this, but I think that limiting your rest periods to 45 seconds, especially as a beginner, is going to compromise the quality of your training and therefore, your results. My third problem with interval training is that most advocates of this method tell you to simply lower the intensity during the “rest” period and not actually rest. The fact of the matter is you should crank the intensity down to next to zero on whatever you are doing. Too much lactate production, which is signified by the intense burning you get in your legs and glutes, will severely compromise strength gains. Drowning your fast twitch muscle fibers in a pool of lactate is the best way to turn them into slow twitch fibers. This will make it much harder to get bigger, stronger, and faster. So, whenever you are using a bike to do interval training you always need to make sure that you drop the resistance to zero on the “coasting” portion of the intervals. A better option would be to get off the bike and walk on the treadmill or something. Which type of cardio training is best for you? The answer to this question is easy: It’s the one you’ll stick with and do consistently. For many, walking everyday can be a huge win. If you’re new to this, you always want to start slow and progress over time. That is why I always start with walking for people who have lower cardiovascular fitness and/or have been sedentary and wanting to make a change. If you’d like to try some of the various cardio options discussed, I recommend doing them in addition to the strength training programs we discussed in previous issues. Of course, always consult your physician or licensed medical provider before starting any exercise program. We can start by doing two medium intensity, steady state cardio workouts for the first two weeks. These should be done on a stationary or recumbent bike. The bike is the weapon of choice because there is no eccentric component to pedaling on a bike. Eccentric training is what makes you sore and might possibly delay your recovery. Therefore, for the purposes of maintaining or losing body-fat while simultaneously increasing muscle mass, the bike is the number one choice for most beginners or those who have extremely limited recovery ability. There is no sprinting, no intervals, no active rest periods; just 15-30 minutes of steady state cardio at a medium intensity and maintain for the duration of the workout. In other words, it should be hard work, but not so much that you can’t hold a conversation - It should just feel annoying to do so. After you complete the first four sessions and feel prepared, you can try adopting some higher intensity intervals on week 3. To begin, warm up on the bike for 1-2 minutes at a moderate pace. After you feel warm and limber, dial up the bike resistance to a high level “sprint” as fast as you possibly can for ten seconds straight. This may not seem like it would be that difficult but when you crank the intensity of the bike way up there and give it all you have, ten seconds can seem like an eternity. You should be working incredibly hard but not to the point where you’re pushing yourself to the absolute limit. After your ten second bout you are going to lower the resistance on the machine all the way down as low as it will go and coast at a slow to moderate pace until you feel like you are ready for another sprint. Don’t wait so long that your heart rate nearly returns to normal, or so short that you feel ill. The problem with giving a set rest period is that everyone is completely different and have different levels of cardiovascular fitness. I just want you to work as hard as you can for 16 minutes and get as many high quality, high intensity sprints as possible. Some of you may only need 60 seconds between sprints while some of you may need three minutes; it doesn’t matter. All that matters is that you work hard and make progress during each workout. The principles of effective cardio training are no different than the principles of effective weight training. Once again, the name of the game is progressive overload, and you need to constantly strive to beat your previous performance. This is where your training journal comes in handy. You can record the length of your high intensity bursts, the length of your active rest periods, the total distance traveled, and the total amount of calories burned during the session. In the next issue, we’ll discuss more advanced forms of cardio and provide options on how to fit that into your strength training sessions. But the most important point to drive home is that cardiovascular fitness is a major driver of longevity and wellness. If you want to be strong and fit when you’re 80, you can’t afford to be of average fitness when you’re 50. You now have a bunch of cardio options to choose from, but the most important point is to do the work. So good luck and train hard! The information provided herein is intended for your general knowledge only and is not intended to be, nor is it, medical advice, or a substitute for medical advice. Before attempting any exercises mentioned in this article, consult with your doctor. Check out James’ Modern Drummer profile page at moderndrummer.com Once again, the name of the game is progressive overload, and you need to constantly strive to beat your previous performanceGEWA music USA, Inc. | 8787 Snouffer School Road | Gaithersburg, MD 20879 gewadigitaldrums gewadigitaldrums gewadigitaldrums gewadrums.com // THE NEW GEWA G9 SERIES REAL SIZES FOR REAL DRUMMERS NOW AVAILABLEModern Drummer August 2022 14 Evans introduces dB One Heads and Cymbals EVANS Drumheads, the most technologically advanced drumheads on earth, is introducing a revolutionary new suite of products, dB reduced volume drumheads and cymbals. The dB product suite includes dB Zero, a rebrand of the popular SoundOff mesh drumheads, and the introduction of dB One Drumheads and Cymbals. Drummers now have two options. dB Zero reduces the drumhead’s volume to the lowest level possible and is ideal for silent practice and use with drum triggers and sensors. With dB One, drummers can maintain their acoustic kit’s natural tone and feel, but at only 20% the volume of traditional acoustic heads. “The dB One heads are an incredible practice tool, *especially* if you have volume restraints wherever you drum,” says Whitechapel and Light the Torch drummer Alex Rüdinger. “The first time I really laid into them was at 2:30 in the morning, with other people asleep in the house, two stories up. No one woke up or even heard a peep!” Available in patented tom, bass, and snare heads, dB One drumheads experience an authentic bounce and attack with ShockWeave MeshTM, Kinetic Transfer FoamTM (KTF), and dB One’s innovative Impact Patch striking surface. Additionally, the wire-free Snare SimTM treatment tackles the once impossible-to-fake-buzz and crack of acoustic snares at a reduced level. The new dB One suite is rounded out by dB One Cymbals, the first cymbals to sport the EVANS brand and designed to balance and match with the dB One heads as a system. In addition, each cymbal features EVANS’ patented dBalanceTM technology, a precision- perforated volume reduction system punched directly into the nano-plated stainless alloy surface in a mesmerizing spiral pattern. This meticulous approach to attenuation achieves a chime and resonance as articulate as many full volume sets but at 20% the volume. To learn more about dB please visit https://ddar.io/dBOne.PR. Gretsch Drums Introduces the USA Custom Ridgeland Snare Drum and New Colors For USA Custom, Broadkaster & Brooklyn Gretsch Drums proudly introduces the USA Custom Ridgeland Snare drum to their celebrated range of snare of drums. At almost half-inch thick and made from a fusion of woods, this new drum has a sound that is warm, powerful and loud! For nearly 40 years, Gretsch Drums have been hand-crafted in Ridgeland, South Carolina using the finest materials available. It’s here that a team of dedicated artisans consider every detail to ensure that each drum possesses “That Great Gretsch Sound.” The USA Custom Ridgeland Snare Drum has been developed in the time-honored tradition of Gretsch drums to showcase the dedication and passion of these artisans. The 0.4” shell, made of maple, gum and poplar, features a hybrid bearing edge that combines the classic Gretsch 30 degree edge with an old-school Broadkaster-style roundover; the result is a warm, full-bodied tone with plenty of attack. These new snare drums are equipped with sturdy 4mm die-cast counter hoops, the ever-popular Lightning Throw-Off, 20-strand snare wires and Gretsch Permatone drumheads. Custom made, the Ridgeland Snare Drums are available in 5x14 and 6.5x14 sizes and in all Gretsch Nitron, Satin or Gloss Lacquer finishes to perfectly match any drum set. The Ridgeland, born in the South, made to inspire. For a preview of the Ridgeland snare drum, watch the video here. For more information about the USA Custom Ridgeland Snare Drum, other Gretsch drums and artists, please go to http://www. gretschdrums.com/15 August 2022 Modern Drummer Gretsch is expanding the available colors options for the USA Custom, Broadkaster and Brooklyn drum kits ranges in 2022. Turquoise Pearl and Tangerine Metallic have been added to the USA Custom and Broadkaster finish choices, and the Brooklyn kits can now be found in Antique Oyster. The new bright, vivid colors offer an arresting choice to drummers who want to add a visual statement to the acoustic excellence of the USA Custom and Broadkaster kits. The eye-catching Turquoise Pearl Nitron finish moves like a restless ocean, full of iridescent blues and greens. In contrast, the strikingly hot Tangerine Metallic, in either a satin or gloss finish, is full of energy, vibrant and fiery. Brooklyn Kits adds a new finish with the introduction of the soon to be classic, Antique Oyster Nitron. This finish is reminiscent of rich silky folds of golden butter, that change with the light to radiate warmth and style. The lustrous wrap is refined and subtle, perfect for drummers looking to enhance any setting - stage, studio or home - with a kit that looks as good as it sounds. To find out more about the new colors and all the other Gretsch Drums please go to gretschdrums.com Dunnett acquires Intellectual Property Rights to Milestone Percussion Ronn Dunnett is pleased to announced he has acquired the intellectual property rights to iconic Canadian drum company Milestone Percussion. Milestone Percussion was founded in Vancouver in the early 1970’s by Michael Clapham. At the time. Milestone quickly became the leader in fibreglass drums which were reknowned for thier sonic consistency and durability. “Michael created not just a timeless line of drums, but a brand that deviated from many of the conventional norms of the time. The elegant simplicity of the Milestone logo was matched by the innovative drums he manufactured. The Milestone brand is singular in that regard.“ said Ronn Dunnett, president and CEO of Dunnett Classic Drums Ltd. “Milestone is a true part of Canadian history and at 50 years old, a heritage brand. Milestone founder Michael Clapham was born in 1938 in London, England and immigrated to Canada at the age of 18. His career began at Vancouver’s Drum Village where he worked as a salesman and drum instructor. He eventually purchased the store, operating it until 1980 when he sold it to Ray Ayotte, giving himself the freedom to design and develop the Milestone brand and products. The drums Clapham designed were embraced by legendary artists such as Gary McCracken (Max Webster), Jerry Mercer (April Wine) and producers / engineers such as Bob Ezrin (Pink Floyd “The Wall”) where the unmistakeable sound of fibreglass wove itself into the fabric of their music. Michael Clapham passed away in Vancouver on September 14, 2016. “Fifty years is a very long time for a brand to survive on inertia, and yet today Milestone remains a beloved brand and I plan to celebrate that. I have always loved the brand and as a young drummer coveted the kits I saw my drum heros playing. As it was when I began work on restoring the George Way drum company and preserving George’s legacy, it is an honour to pick up where Michael left off and with the blessing of the Clapham estate. Production on the new line of Milestone snare drums is well under way with orders in the qeue. Those drums will pay appropriate homage to Michael’s work and legacy.Modern Drummer August 2022 16 I have played on a double bass kit from a young age. I had two 24" bass drums with one of those hoop clamps for the hi hat stand so I could fold the legs and set up the hi hat pedal directly next to the bass drum pedal. This was before two legged and no legged hi hat stands even existed. But I realized moving two bass drums around was not fun or easy and I bought my first double bass pedal in the 90’s. As with most drummers I felt that the double bass pedals were never able to provide the symmetrical feel of playing two bass drums. I have been looking for a symmetrical solution for setting up a completely ambidextrous drum set. With OffSet you are set up with the snare drum centered in front of the bass drum. The typical double bass pedal puts your body position at an angle, moving you to either the right or left or your drum kit. Thus, rotating you away from the floor tom side. This makes it harder to reach without rotating your torso. With the OffSet pedal and snare drum centered, your floor tom and ride are much more ergonomically accessible. Overview and Features The Eclipse OffSet double pedal is a completely symmetrical and highly adjustable double pedal for both lefty and righty players. This pedal is well made and is a total game changer, an innovative and high-end pedal without the high-end price. Whether you are a hardcore double bass player or someone who uses a double pedal more casually to embellish and add punctuation to your ideas, you will love the symmetry and adjustability of the OffSet Eclipse. The pedal board height, beater distance, spring tension, and drive wheel are all completely adjustable. You can dial in a feel that is perfect for you. At each joint location there is a precision bearing to give you the most smooth and consistent motion possible. The adjustable cam or drive wheel can effectively change diameter by sliding it forward or back on the drive shaft, giving you a range from 1.5" to 3" in diameter. This gives you the choice or blend of speed and power. The pedal comes with a double chain drive and there is also a direct drive conversion kit available. The pedal features 2 adjustable spikes on each of the three sections, plus strips of hook and loop on the bottom to make sure none of the pedal sections move at all. There is a built-in drum key holder on each pedal. With so many moving parts it’s great to always have a drum key handy. Construction The pedal features high quality construction. There are precision bearings at every connection and adjustable cams. The drive shaft of the center housing has a flat area on top to ensure that there is no slipping of the drive shafts. The drive rods have universal joints on both ends to ensure that you get the perfect angle for your setup. OffSet has parts readily available in the event that you need Offset Eclipse Double Bass Drum Pedal By Jim Toscano and Nic Kubes August 2022 Modern Drummer 17 something replaced. The brushed aluminum finish is great looking and provides great construction with lighter weight. The pedal housings are steel and aluminum and are very durable. Adjustability There are many adjustments on the OffSet pedal so that you can dial in the perfect feel for you as an individual player. You have the beater height and beater angle to the bass drum head. The center beater housing has a spring located on each side to provide a smooth motion for each beater and allows for more controlled oscillations. Additionally, there is a spring to the inside of each pedal board. With a total of four springs, you can make sure that the feel is identical from one pedal to the other and provides maximum control and consistency. You have individual adjustments for each pedal board height. Remember that the two center springs adjust beater feel and the springs located on the pedal boards adjust pedal board feel. The adjustable drive wheels give you further adjustment to fine tune the feel to your individual needs. Setup OffSet Pedals are very simple to put together. The center beater housing connects to the hoop with a hoop clamp adjuster to the side of the pedal board for easy access. Traditionally the hoop clamp adjustment is located under the pedal board. You place each beater in the housing to the desired height, adjust the counterweight on each beater to make sure the throw feels perfect for you. Finally, you connect the two drive rods to the center beater housing section and then to each pedalboard and you are ready to play. The two provided beaters have a hard plastic side and a felt side so you can choose your attack. Your snare stand sits right in front of the center housing and doesn’t conflict at all with the beater movement. Feel and sound It is important to note that both pedals feel identical which is never the case with traditional double bass pedals. The slave pedal on traditional double pedals always feels different to the primary pedal. The drive rod on traditional double bass pedals is usually very long and creates the perception of drag on the pedal action. To me, traditional slave pedals always feel too light, meaning the beater throw never has the same impact as the main pedal no matter how many adjustments I try to make, it just never feels the same. OffSet solved that problem. The snare drum never gets in the way of the center beater housing. The Footboard is 12.5” long so using heel up or down technique is possible. Additionally, it is smooth and well made. On regular double pedals one beater always hits off center. With OffSet both beaters hit in the center and provide equal punch, attack, and sound distribution. Traveling OffSet has two affordable pedal cases available. A soft case for more casual travel and a hard case for more rigorous travel conditions. The pedals come apart easily and quick and are not very heavy. When you reassemble them, you have minimal adjustments to get going. Useful tips Make sure to make the same adjustments at the same time to both sides of the pedal, so that you keep the pedal feeling symmetrical. Take your time with the setup and adjustment. With so many moving parts it will take you some time & experimentation to dial in the pedals to your exact specifications. Make the first adjustments visually. For example, if the pedal board height looks identical chances are it will feel very much the same. After the pedal is set up then check for feel. I will often compare each side with the same foot to ensure that the feeling is the same. Use the attached drum key and hex keys to keep everything tight and properly adjusted. Satisfaction and Availability OffSet stands behind their product and guarantees your satisfaction, all pedals come with a 2-year limited warranty. Customer service and parts are fast, personal, and efficient directly from their OffSet website. This is a small company, and they stand behind their product. Conclusion OffSet Pedals have completely changed the landscape of the double pedal game in every way. You can set up symmetrically, ergonomically, and never have to sacrifice comfort for your setup. Offset has introduced a single pedal that has the same footprint and adjustability for your single pedal work as well. Now maybe one day they will make a hi hat pedal to go with the other pedals! The offset drum pedal retails for $489.00 at www.offsetpedal.com.Next >