< PreviousModern Drummer August 2022 38 restored it. I have to say again, that is NOT a kit that was owned by Krupa, but it is the same model, sizes, and heads that he played in the 40’s on “Sing, Sing, Sing.” On a related subject there is a caveat that I have to say for something else in my collection. I have a 1941 Top Hat and Cane kit that Jack Lawton actually rewrapped that before I got it. The drums are authentic, but the Top Hat and Cane is a rewrap. MD : You have some other more “modern” kits as well. TN : I have a nice 1960’s Slingerland Capri Pearl set, and a nice red & silver sparkle banded kit in 20, 12, 16 from the 60s. I do have an aqua marine pearl Ludwig kit from the 60’s that is like a Ringo kit, it’s just not the exact same color. MD: You have mentioned the Slingerland Black Beauty’s, what other snares do you have? TN : There’s a lot, but let’s start with those. The Slingerland Black Beauty’s were in the 1928 catalog, and by the time the next catalog came out, they were no longer made. At one time there was believed to be only 10 in existence. However, (collector) Jim Messina just kept discovering more of them. Bob Campbell (who is the Black Beauty expert) and I each bought one from Jim, and then I found another one in Canada. That seller was a schoolteacher, and he contacted me. A woman’s father had died, and she knew that this schoolteacher played drums. She asked him if he would want her father’s drum, otherwise she was just going to put the drum in the garbage. She gave him, and when he opened it, it was this Slingerland Black Beauty. I have a Frank Wolf Sea Green Pearl snare drum that is a 12 lug over 6. That’s the kind of snare drum that Chick Webb played, that is a rare color and a cool drum. I have a wall full of Radio Kings and Broadcasters. I have a very rare Slingerland Broadcaster that was only made for a year because Gretsch had a drum called a Broakcaster. The Slingerland Broadkaster is a solid maple drum with a Walnut Veneer wrap which is a rare finish as well, and it’s in mint condition. Then Slingerland got sued and changed the drum name to Radio King. I also have some new and old Ludwig Black Beauty’s to show how that drum has evolved. MD: Can you talk about the differences between all of the different Black Beauty’s? TN : The Slingerland’s are the rarest. MD: Are the Slingerland’s two-piece shells with the closed chamber bearing edges? That’s what really contributes to the amazing sound of those 1920’s Black Beauty drums. TN: I think so, and I agree. We weighed the Slingerland and the Ludwig Black Beauty shells and the Slingerland was substantially heavier. My first 20s Ludwig Black Beauty was a 1929 with a professional strainer. I bought it from the guy who played in New York in the We Three Orchestra, and I bought his entire set. I just got a 1920s 4x14 two-piece Dance Model ten lug, and a 5x15 eight lug, neither has engraving, I’m cleaning up both of those. The 15 came from my college drum instructor Rene Prinz through my high school music teacher Tom Slavinsky, so that’s a very special drum to me. John Aldridge engraved a newer one for me, and I have the Ludwig 100th Anniversary, and a laser engraved one as well. The modern Black Beauty’s are a completely different drum from the 20s ones. The sound is different, the construction is different. MD: Personally, I think there is something “extra” in those old Nickel over Brass shells, I don’t know if it’s in the metal, or if it’s in the unique construction, but there is NOTHING like them! TN: I also have a Slingerland Rolling Bomber and a Ludwig Victory snare. They are both in mint condition. They were wartime drums that had mostly wooden parts and wooden lugs instead of metal, because during the war metal wasn’t allowed to be used. Those drums sound fantastic. Probably the best sounding snare in the whole collection is a 1960s Slingerland Artist 5.5 solid maple shell with a Zoomatic strainer, that is just a fantastic sounding drum. MD : Have you gotten into restoring drums. Did some of your kits need a lot of restoration? TN: Sometimes the hand-painted bass drumheads need some restoration, but I really try to buy things that are in mint condition. I clean everything and I’m pretty meticulous about that. MD : When you clean up a drum, what is your cleaning restoration 1930 Ludwig Peacock Pearl trap set with Millstream painted head, Leedy Butterfly Silhouette trap kit with Leedy elite engraved snare drum, Framed painted drum head on wall by listed American artist Lorenz Griffith (1889-1968.) Showcase with traps, vaudeville and silent film sound effects like whistles, wood blocks, cowbells, Chinese temple blocks and toms, Rare Duplex Afterbeat, Slingerland Duncan Pedal, hand cymbals including bock-a da-bocks, Gladstone cymbals and a collection of vintage bass drum pedals.Available in print and digital format at moderndrummer.com or from your favorite music retailer DIGITAL DOWNLOAD CODE INSIDE Presents: 80 pages of extensive and new in-depth interviews Exclusive Erskine Recordings Pictorials of Weather Report, Peter And Friends, The Early Years Peter’s analysis and insights on 40 + pages of drum transcriptions Digital Download Component EXCLUSIVE PHOTO SECTIONS! Legends DIGITAL DOWNLOAD CODE INSIDE DIGITAL DOWNLOAD CODE INSIDE Everything you ever wanted to know about Hi Hat Rhythms. Infinate patterns to play all styles of music. DIGITAL DOWNLOAD CODE INSIDE Brand new content and interviews Insight, analysis and drum transcriptions The Fabric of Rhythm drum solo recordings MD archive of Steve’s cover/feature interviews Photos/analysis of Smith’s drumsets through the years DIGITAL DOWNLOAD CODE INSIDE Legends Applying the Moeller Technique to the Bass Drum By Michael Packer The Bass Drum Owners Manual BASS DRUM OWNERS MANUAL LYING THE MOELLER TECHNIQUE TO THE BASS DRUM MICHAEL PACKER MODERNDRUMMER.COM DIGITAL DVD DOWNLOAD INCLUDEDModern Drummer August 2022 40 Courtesy Gavin Harrison process? TN: I take the drum apart completely and polish the shell with Mothers Polish. (Of course) I install a calf head on the top, but I have stopped using slunk heads on the bottom, they are just too temperamental with the weather. I don’t like the old corded snares, I actually prefer the Snappy snares from the 20s and 30s. They have brass wires, and they are easy to set up, and they sound great. And IF you really know how to tune a snare drum, you don’t have to even engage the muffler. In fact, snare drums from the 1920-30’s didn’t even have mufflers! MD: Aside from drums, you have a whole cabinet of sound effects from the old silent movie and vaudeville days. TN : I have tons of whistles both wooden and metal. I have whistles to make every species of bird call that you can imagine. The vaudeville drummers had a trap table filled with various sound effects to create the sounds of gun shots, horses galloping, or glass breaking. I have a Ludwig Railroad Imitator that was made in 1927. That is a box that creates the exact sound of a train rolling down the tracks complete with various whistles, and something that made the sound of the clanging of metal tracks. MD : Did Ludwig make a lot of those old sound effects? Who has researched and collected all of the sound effects besides you, that is almost as fascinating a subject as the drums. TN : Ludwig & Leedy made some. However, Walberg & Auge probably made most of them, and then Ludwig would just put a Ludwig decal on the W&A manufactured stuff. Nothing sounds like those original sound effects. There is a sound effects expert named Nick White from Chicago, he is the master of sound effects. Nick actually just appeared in a movie by Martin Scorsese. There is actually a revival of silent movies going on in our country, and Nick appears at showings with an organist and does the sound effects to the silent films. His website is vintagepercussionsoundeffects. com MD : Is there anything that you are still looking for, that you don’t have, any holy grails? TN : A 4x14 Slingerland Black Beauty! Supposedly there is one out there, and I’m trying to get it. They appeared in the catalog but were reportedly never made. I think I know where one might exist. Bun E Carlos has said that’s THE holy grail of drums. I am looking for two different Leedy & Ludwig painted heads called Balloon Dancer and another called Forest Fire. I just got a Peacock Pearl kit. I have wanted one of those for a while, but every one that I found was faded. The one I just bought had been in a basement it’s whole life, so it’s perfect. MD: Where did the nickname “Two Fer Tim” come from. TN : I like to have two of everything. MD : Why? TN: If you have two of something you always have something to barter with for something that you don’t have. MD : That’s a great answer! TN: It’s the joy of the hunt. MD : How do people arrange to visit your museum? TN: Come to Oneonta New York, we are really close to Cooperstown and the Baseball Hall of Fame. I am open by appointment Monday through Friday, and people can bring their camera, recorders, whatever. For those that can’t do an in person visit, I am starting a paid Zoom session at somewhere around $25 a half hour. In that half hour (or more,) I will show you anything in the museum that you want to see and I’ll go into as much detail as the virtual visitor wants. MD: Zoom is nice, but as I said before, I’ve been to most of the musical museums around the world, and (for drummers) there is NOTHING as cool as yours! TN : There is probably no other place in the world that anyone can come and play drums like these in this environment. The drums are all set up, tuned, with the proper accoutrements, calf heads, and era-correct cymbals in a great sounding room. Sure, you could slap together a half- assed collection of old drums to simulate one of these sets, but these are professionally curated, maintained, and are exactly as they appeared in the original 20s and 30s catalogs, and they are sitting right here waiting to be played (by anyone!!!) To see more about this museum, go to www.northupdrums.com Northup Drums Museum 191 Cemetery Hill Rd Oneonta, NY 13820. 607-434-4769. Original trophy from the 1941 Gene Krupa Swing contest won by Louie Bellson, Joe Raynor won second place, photos, letters from the Slingerland Company to Joe. Snare drums (from top, left to right:) 1929 5" Ludwig engraved Black Beauty, 1928 RARE 5 " Slingerland engraved Black Beauty, 1920s scroll pattern Ludwig engraved Black Beauty, 1920s Leedy Elite engraved Black Beauty, Ludwig 100th anniversary (2009) engraved Black Beauty, 1990s Ludwig Black Beauty engraved by John Aldridge, 2000 Millenium Ludwig limited edition 65/100 Birdseye Maple w/ gold hardware, 100th anniversary (2009) laser engraved Black Beauty, 1920’s 4 " Ludwig nickel over brass 10 lug dance model, 1927 5" Ludwig Super nickel over brass .MODERNDRUMMERCLUB.COM HTTPS://DISCORD.GG/MODERNDRUMMERCLUB HTTPS://TWITTER.COM/DRUMSNFT NFT NFT NFT META PASS META PASS These NFTs will be your key to Modern Drummer's Music, Media & Entertainment ecosystem in Web 3. Our community is growing fast & will reap rewards for all META PASS holders.Modern Drummer August 2022 42 Carmine Appice: 50 Years of Being Realistic By Mark Griffith T his year will mark the 50th anniversary of Carmine Appice’s influential book Realistic Rock. Modern Drummer has been featuring some excerpts from the updated version of this book (The Ultimate Realistic Rock) throughout the year and this will continue with some of the more complex sections. But we wanted to ask Carmine about the origins of this classic book, what went into writing it, and what makes it such a great book. MD: In 1972 why did a guy who helped invent rock drumming, was touring with Cactus, playing with Jeff Beck, and had huge success with Vanilla Fudge, decide to write a drum book? CA: I was playing with Cactus at the time, and I was home between tours. I walked into the Sam Ash store in Hempstead NY, I always looked at the book section when I went into stores. This was in 1971 when we all looked like hippies. I saw a book on the shelf from Joel Rothman. It said, “Learn to play rock drums,” and had a guy on the cover with an Elvis Presley style haircut. I looked at the material and it seemed sort of stupid. It had every mathematical version of playing a measure of time that was possible. I knew that no rock drummer would ever play like that, and I decided on the spot, I had to write a book on rock drumming. MD : At the time were there any other books out on rock drumming? CA : Not that I could find. That’s why I did it. During the Cactus tours, the nights were usually pretty crazy, so I decided to forgo all of the craziness and write Realistic Rock while we were on tour. At the time, August 2022 Modern Drummer 43 I also had a teaching studio on Long Island. I had 50 or 60 drum students, so while I wrote the book, I was testing it on my students, and I saw that it worked! MD : I love the way that the book is notated, it’s very easy to read. CA: I designed it like the Chapin book. It has three lines (RH on the ride or hi hats, LH on the snare, and RF on the bass drum.) That makes it easier on the eyes. It was spiral bound, easy to read, in fact you really didn’t even have to know how to read music to get started. At the time I had an attorney that was representing Jimi Hendrix, Zeppelin, Vanilla Fudge, and Cactus, everybody. He got me a book deal with a big publisher called Big Three Publishing, but he didn’t sell the copyright. I didn’t even know what that meant back then. But it meant that I owned the book and they distributed it. In that first year, it sold about 3,000 copies, which honestly didn’t impress me. But I told Joe Morello about that when we were doing a Ludwig Symposium together, and he told me that was huge. He told me that his book had been out for three years or so and it had sold 2,500 copies, so in his opinion selling 3,000 in a year was fantastic. After a few years when my initial contract was up, and because I had retained the copyright, I could go elsewhere and get another distribution deal, so I went to Almo Distribution. But they told me that I would be the publisher. I didn’t like that because I didn’t want to deal with the price of paper, getting deals from printers, and stuff like that. I just didn’t want to be bothered with that stuff. We changed the cover to the Maple Ludwig kit and moved to Warner Brothers, and I got a big advance from them. After six months I had paid back the advance and I was getting royalties. The book just kept selling. When I went on tour with Beck, Bogert, and Appice I took some on the road and sold them at the merchandise table. No drummers were doing that at the time. The last year that I was at Warner Brothers was when (Modern Drummer president) David Hakim was there and it sold 12,000 copies. Then I started to learn about the great drummers who had gone through the book. I was told that Dave Weckl, Gregg Bissonette, and Joey Jordison had all gone through it, and they are all great players. MD : When I was researching Taylor Hawkins for his tribute issue, I learned that he had started in your book too. Where did the grooves that you wrote come from? Were they grooves that you were playing in Cactus and had played in Vanilla Fudge? CA : I started out simple. I started with grooves that I played when I started playing drums. I grew up playing R&B. I loved the music coming from Motown, Stax, Atlantic, and Muscle Shoals. I listened to Wilson Pickett, James Brown, Aretha Franklin, all of that stuff. I learned later that I was listening to a lot of Bernard Purdie (I just didn’t know it at the time.) I fashioned my fills from Max Roach’s melodic fills. The very first cool groove that I ever heard was played by Dino Danelli. He was playing a shuffle with a funky bass drum part. It killed me! All of that is incorporated in the book. My goal was that after someone had finished my book, they would be prepared to go out and play in a rock band. You didn’t have to be a great reader or go through every mathematical way to play a rock beat to play in a rock band. I didn’t write every variation of sixteenth note rhythms and grooves, I wrote grooves and fills that you would realistically play in a rock band. I learned to play from the Jim Chapin book, Stick Control, Syncopation, and the Charles Wilcoxin book. So all of those books are included in almost every book that I write, and every note that I play. That’s my foundation. MD: Those are all very jazz oriented books. How else did you absorb those three important books into Realistic Rock? CA: I think those three books are the most important drum books ever written. The “idea” of the Chapin book and developing four-way coordination is throughout Realistic Rock. When I younger and playing with R&B bands I used the stuff from Syncopation in my grooves, so I took those Syncopation inspired grooves and included them in the earlier part of Realistic Rock. I used some of the stickings (like paradiddles and paradiddles with the diddle in the middle) from Stick Control. I was already playing them subconsciously, but then I used them in the book in the “Four Bar Breaks” section. I found that if you combine some of those Stick Control stickings with the different rhythms with the left foot (hi hat) you get some really cool grooves with hi hat barks, and it just happens automatically. I expanded on that concept in Realistic Rock. The stuff from Stick Control applies to everything! There isn’t a lot of Wilcoxin stuff in Realistic Rock, but I did incorporate some of the Wilcoxin stuff into my later Rudiments to Rock book. MD: It sounds like everything flowed very naturally and easily between the playing with Vanilla Fudge and Cactus, the teaching in your studio, and the books. Through all of that, I think you helped write the blueprint for all of us “drummers who also teach” to learn from and build careers in modern drumming. And personally, I have to thank you for that. CA : There were a few problems though. The first one was that I was taught playing traditional grip. The first six years of playing drums I only played traditional grip. Eventually, whenever I had to pound things out with Vanilla Fudge I would play matched grip, and whenever I played something technical, I would switch to traditional. But when I was teaching from 1971 through ’73, I TIMATE REALISTIC ROCK BY CARMINE APPICE DIGITAL DOWNLOAD CODE INSIDEModern Drummer August 2022 44 decided to force myself to do everything with matched grip, the pounding and the technical stuff. That meant that while I was testing out my book on my students, I was also testing myself and teaching myself matched grip. I did use the Wilcoxin book to help me improve my matched grip. MD : I did the exact same thing. I never really started playing matched until I started teaching as well. CA: Another problem arose for me. Every time I changed drum companies, I had to change the cover of the book. Therefore, starting in the 90s I used an oil painting of me playing that my ex-girlfriend did as the cover. It’s similar to the drawing from the original cover. When Alfred publishing took over from Warner Brothers, I saw a decrease in sales, but I kept adding to the book. I did a video for the book, I added a linear section, an odd time section, and now we have The Ultimate Realistic Rock. The original book was about 60 pages, and now it’s 95 pages or so. MD: With the many additions it’s stayed current and modern. CA : It was always my intention that after someone went through it, they could play in a rock band. So with the popularity of jazz-rock and progressive rock I had to make additions. When drummers started playing all of the combinations of linear ideas in fills, I had to add that stuff too. MD: Did the original version have a double bass drum section. CA : Yes, it had a small section on double bass. But I’ve added to it through the years, and then I did the Realistic Double Bass book. MD: Where did the word “Realistic” come from? CA : I was one of the first rock star drummers. So when I wrote a rock drumming book, it was realistic. It wasn’t written by a drum teacher, or a jazz drummer. Realistically, I’m a rock drummer, so when I wrote a book, it was Realistic Rock. By calling everything “Realistic” I was creating a brand. Then we updated it with more information, now with even more information, it’s The Ultimate Realistic Rock. MD : Exactly what inspired the linear section? CA: Rick Gratton sent me his book called Rick’s Licks, and when I tried to read through it, I really couldn’t follow it. The way it was written was very confusing to me. Rick and I did a clinic together up in Canada, and when I saw what he was doing I told him that we should release a video together with my video company. I told him that his stuff was cool, but the way he explained it was just too complicated. We did a video together, but I helped him break down his ideas to make them more understandable. In the process, I came up with the Linear Rudiments: RLF, RLLF, RLRRF, RLRLRF. Groups of three, four, five, and six notes. Then you combine different combinations of them to create groups of 16 (one bar of sixteenth notes) and put them all over the drums. I just clarified Rick’s ideas and made them easier to learn. Then I began playing those ideas in clinics and on gigs. I saw how well they worked in a “realistic” setting. Then I incorporated those ideas into The Ultimate Realistic Rock book. MD : Because they became “Realistic.” CA : Rick and I have since become very good friends. MD: There are a few things that I really like about the book. I liked August 2022 Modern Drummer 45 that you put in a shuffle section. CA: In Cactus, we played a lot of shuffles, we were a great shuffle band. The tune “Parchment Farm” was a fast double bass drum shuffle. And at the time, it was the fastest one on record. When we recorded that tune, we wanted it to be faster than “I’m Coming Home” by Ten Years After. Alex Van Halen said the inspiration for the tune “Hot for Teacher” was “Parchment Farm” because they loved Cactus. If I were to update that section, I would include ruffs in the middle of them. In the tune “Blue Murder” I do a lot of that. MD : You have an interesting concept and origin behind playing double bass, can you explain that to me? CA : When I was young, I always wanted to play double bass, but I couldn’t afford a second bass drum, or a mic stand with a boom. Then when I eventually got a second bass drum, I really didn’t know what to do with it. MD : There were no double bass drum books at the time. CA: NONE! I started to adapt playing melodic Max Roach fills onto two bass drums. But for beats and grooves I didn’t know how to use the two bass drums. However, I was already playing grooves while my left foot played quarter notes or eighth notes on the hi hats. Since I was already playing those rhythms with my left foot, I just moved my left foot to the bass drum, and got some really cool grooves and sounds. When you played the &’s on the left foot it really got weird. That was my original concept of using two bass drums. Then I started adding things to those initial three ways of using the left foot on the bass drum. That wasn’t what Ginger Baker or Keith Moon were doing with double bass drums, so my thing had a different sound. MD : What inspired you to put the odd time stuff into the book? CA: I loved it. Joe Morello was the guy that I first heard playing odd times. When I heard “Take Five” I was floored so I learned to play that solo. I learned all of my odd time stuff from Joe Morello. Then when I heard the Mahavishnu Orchestra with Billy Cobham. That was it for me, it blew my mind. By listening to them I figured out that when you play quarter notes in 9/8 the quarter note flips around from the downbeat to the upbeat in every other measure. I started playing a lot of odd time music with Jeff Beck, and I did a lot of it with a band I had with Jeff Berlin and Ray Gomez. Even with Guitar Zeus there is some odd time stuff, and there is a lot of it on my new Appice Perdomo Energy Overload recordings. MD : There is something else that I really like about your book, and it might seem “obvious,” (but unfortunately it isn’t.) You wrote everything and have students play everything in four bar phrases. That just makes musical sense. But people still suggest that students repeat exercises five or ten times in a row, which makes no musical sense. If, as a teacher, you can start a student to eventually (and subconsciously) feel a four-bar phrase from day one, it will eventually help them play music. CA : The Chapin book was written like that, so was Stick Control and Syncopation. MD: And Wilcoxin. That’s why they are classic and quality educational books. CA : If you can feel a four-bar phrase without counting it, that’s a huge thing! That’s why the longer solos from my book are 8, 12, 16, 20, and 24 bar solos. MD : That’s what I’m saying. And each of the lines when you are learning a groove in your book is written as four bars. CA : Like I said, the ability to hear four bars is HUGE. Believe it or not, no one has ever mentioned that to me. That’s a great observation by you. MD : I’d like to pass a law that no beginner or intermediate music books should ever have any examples or solos that are not written with four bar phrases in mind. CA : I have had a lot of students throughout the years, and I don’t think anyone has every picked up on that fact. You make a GREAT point! That’s unbelievable, I never really thought about that. MD: At some point, it’s really the most important thing! Feeling a phrase in music, playing in phrases… Beyond time and groove, it doesn’t get more important than that. CA : I agree, especially if you are playing in a band! It will help you create a musical drum part that goes somewhere sensible and musical. Whether you are playing in 7/8, 9/8, or 4/4, you are usually thinking in four bar phrases. MD: You also suggested open handed playing in your books, although it wasn’t called that. You just suggested that people play the RH rhythms with the LH on the ride or hi hat. What inspired those suggestions? CA: Seeing Billy Cobham. I knew he was a righty, and sometimes he played righty and sometimes he played lefty. So I started doing that too. Then I suggested it in the book. MD: Again, it became “Realistic” right? CA : For a while everything was about my teaching. I would go to concerts, and I would film them from behind for my teaching studio. Many different drummers let me do this because we were friends. Once a month I would have video day at my studio. I would show these videos to a room full of students. Then we would talk about it, and I would teach them how to play what they saw. MD : As someone who has taught your book for years, do you have any advice for other drummers who are using your book to teach? CA: I would suggest that you teach it like it is written. If you go through (or have a student go through) the 18 different ways to go through the book, you’re ready to rock. You can add other stuff to make things more complicated if you want, or to develop another sense of coordination. That’s fine. But those original 18 ways to mix up the right hand and left foot, and the left hand and the left foot, all came from teaching in my studio and playing with Vanilla Fudge and Cactus. They worked then, and they work now. That’s what Realistic Rock and The Ultimate Realistic Rock is based on. My concept has always been: Count it out loud, and play it out loud. That approach works. MD : And it’s “Realistic.” CA: You’ve got it! Check out Carmine’s Books and Drummer profile page at moderndrummer.com When I wrote a rock drumming book, it was realistic. It wasn’t written by a drum teacher, or a jazz drummer. Realistically, I’m a rock drummer, so when I wrote a book, it was called Realistic Rock . Modern Drummer August 2022 46 Mark AlleeAugust 2022 Modern Drummer 47 Modern Drummer is starting a new series with Daru Jones called “The Daru Sessions.” In these series of interviews, Daru and I are going to dive deep into several subjects. The first subject of these talks is Daru’s unique drum set-up. Daru Jones’s drumming is always evolv- ing, and he is on the road again playing with Jack White. His drumming on White’s previous recordings Lazaretto, Blunderbuss, Boarding House, and the newest Fear the Daw n has been surprising to those who have known him as primarily a hip-hop styled drummer. Daru still brings a slick hip-hop drumming approach (as can be heard on his two newest projects, Daru Jones Play the Breaks (Live at Layman,) and Daru State of Mind. But Daru’s playing with Jack White it is now further infused with a hard rockin’ edge. This new ingredient to Daru’s ever-expanding vocabulary, and Jack White’s live setlist has inspired Daru’s unique drum set-up to evolve even further. The Daru Sessions: The Evolution of His Set-Up By Mark GriffithNext >