< PreviousModern Drummer November 2022 10 Life... Unscripted By Peter Erskine T here are busy spells and then there are very busy spells. I recently found myself in the middle of a “this job/that job/and another job” when things had been moving along quite calmly for some time. Suddenly, I was juggling spinning plates like that guy on The Ed Sullivan Show. Life does not always come at us as scripted. Therefore, this one job that I had promised to do way back when my calendar was wide open, had now become a fishbone in my throat through trying to please everyone and make the best business decisions I could. At least I was wanted! Okay, let me simplify this. Once you commit to doing a job, you do not want to cancel it if something bigger, flashier, “better” (what’s that, by the way?) or more lucrative comes along (yeah, I get it, more lucrative is often “better.”) I’ll just say this, you’re going to work long and hard to establish your name, credibility, and reputation. If you say you’re going to do something, you need to do it, period. There’s no quicker way to demolish a career than to be that drummer that cancels one gig when another one comes along. The small picture is, you’ll make a bit more money. The big picture is that word will get around that your word is no good. Allow me the indulgence of laying out a sequence of events. 1. The twice delayed 50th reunion of my high school alma mater, the Interlochen Arts Academy, was scheduled for mid-October of this year. In anticipation, I booked my flights and lodging on the campus and was looking forward to several days of this personally important holiday. 2 . A few days later, a work inquiry came in from my long-time friend and associate Vince Mendoza for a concert of his music along with the singing of the great Brazilian vocalist Luciana Souza. This was a no-brainer “yes,” and it nestled comfortably into my calendar. 3. I should also mention that my wife was called away for this entire period to play nanny and granny to our grandson while our daughter was busy filming a new show out of town. I had a little bit of double-duty going on, but I was handling everything okay. I was making lots of “to do” lists and making certain that I was not forgetting anything. 4. Then a series of emails came in about my possibly going to ICELAND to participate in a recording project. This would mean either cancelling the Vince gig or cutting my reunion short. While my college teacher’s wise words of, “Have the courage to say no,” have long- reverberated in my ears, I couldn’t resist the invitation and opportunity to visit Iceland, even if only for a day-and-a-half. Therefore, I decided to cut my reunion/ vacation short by one day to make all of this work. And Iceland agreed to my spending only a day-and-a-half in the studio. 5. Then I got a call to participate in a multi-drummer fund-raising event whose theme was paying tribute to the great big band drummers of yesterday. Well, that was easy to turn down, I had already committed to doing Vince’s gig, so I replied with a simple, “Sorry, I can’t do it.” 6. Maybe I should feel flattered, but the organizers changed the date and time so that I could do it even though the timing would be tight. That meant that instead of “simply” taking three flights to return home from Iceland after a day-and-a-half of non-stop recording, NOW I would be driving way across town to do a rehearsal with a big band and be the first of several drummers to stream their performance as part of this tribute. Then I would zip over to the long-planned Vince Mendoza rehearsal. However, a union crew time issue came up and the live stream got pushed back by an hour. This meant that - no matter what – I would now be late for Vince’s rehearsal. All of this meant that my first day home would be a 12-hour work day, followed by a rehearsal and soundcheck. Then a concert the following day for the Mendoza/Souza project. (Did I mention that Alex Acuña was playing percussion?) Once I (somehow) finished all of that, I was playing a tribute to composer/ arranger Bill Holman on the weekend with alumni members of Buddy Rich’s band. The Icelandic recording was Weather Report- themed, and now I’m flying home to (literally) play “Flying Home” as a tribute to Gene Krupa. Then I’m in the contemporary Brazil world, and the next day I’m getting ready to be Buddy Rich. On the night between Brazil and Buddy, I had a celebrity birthday party gig in Hollywood, and then a tribute to Brazilian percussionist Airto Moreira a day later. You get the idea. Each one of these involved the logistics of drums, cymbals, and wardrobe. And, oh yeah, I had to feed and walk my dog! When it rains, it pours. Don’t bite off more than you can chew. The early bird … At THIS stage of the game do I equate some level of self-worth with being wanted or working? I’m afraid I do. And I’ll bet that you do too. Now Alex Acuña From left: Jeff Hamilton, Peter, Dennis Chambers and Adam Nussbaum.November 2022 Modern Drummer 11 that the bragging part is done, let’s look at how time and place can play a role in the success or failure of our endeavors, and one of the venues where my fortitude and forbearance was tested. Departing Thornton School of Music dean Rob Cutietta is married to a woman from Iceland. Consequently, he knows a number of musicians from Iceland. Rob connected some dots, and I received an invitation from Iceland to travel there and record at a place named Floki Studios. Here is their description of the studio and its raison d’être: “Around the year 868 AD, the Norwegian Viking Flóki Vilgerdason set sail to establish a settlement in Iceland. Legend has it that he made a pact with three ravens who joined his ship. Believing they would help him find land, he asked them to guide him on his way. At sea, Flóki set the first raven free, and it flew toward the rear of the ship. The second raven took to the air and flew off to the Faroe Islands. But the third raven flew out ahead of the ship with strong purpose, so Flóki set his course to follow the third raven. In time he found land; that land would become known as Iceland. Flóki settled and lived the rest of his life in our beautiful valley, Flókadalur - The Valley of Flóki. Flóki’s story is Icelandic lore, and his use of ravens for maritime navigation earned him the name ‘Raven Flóki.’ Flóki’s story has inspired generations. He has featured in books, novels, and on television, and a monument in his honor was built in our valley, just upstream from our studio. Eleven Music is proud to create our own tribute to Raven Flóki— a world-class recording studio where artists create and collaborate in a relaxed environment with outstanding gear and amenities, surrounded by the striking natural beauty of the Icelandic coastline which is there for artists to explore and enjoy. Whether it is marveling at the northern lights or getting the adrenaline going with rafting, surfing, hiking, biking or horseback riding… Flóki Studios off ers artists an escape from the real world, inspiring creativity and friendship. Flóki Studios off ers a platform for artists to explore their passion on the edge of the arctic circle. Like Flóki, we have followed our own ravens here to help inspire those that inspire the world.” This guy Flóki reminds me of a drummer I know! Flóki studio is a combination state of the art up-to- date production facility blessed with a literal ton of analog tape machines. It is what’s known as a “destination studio,” not a place where local musicians go to make jingles, but rather a place to travel to, to get away from it all, to refresh and reinvigorate your senses while hoping for the best from them. Guess what? The concept works! Recent sessions in and around Los Angeles have found me getting more and more exasperated by the work process. It’s no one’s fault but mine. A combination of post-pandemic and latent heart-attack recovery (from 1.5 years ago) have made me a less-patient soul during a number of recent projects. After flying, traveling, and arriving on too-little sleep; I was afraid that I’d REALLY be a toxic presence in Iceland. But the magic of this studio combined with the freshness of these excellent Icelandic musicians (plus the most-excellent bass playing of Matthew Garrison) was just a perfect combination of elements. The music was Iceland meets Matthew and I. Honorable mentions go to keyboardists Jakob Frímann Magnússon, Eyþór Gunnarsson, percussionists Einar Scheving, Sigtryggur Baldursson, and a stunning vocalist named Ragga. The fresh seafood lunches and dinners were out of this world, and to be honest, I can’t wait to go back there! However, Los Angeles awaited me. And after three flights, I got home at midnight local time. I was Gene Krupa the next day, I was myself the day after, I was Buddy Rich a day or two after that, and Airto Moreira a couple of days after that. And all along, I was Professor Erskine at the Thornton School of Music. However, I did notice that Professor Erskine was more invigorated than he had been, and his students were leaving the studio smiling. Although the schedule did threaten to unravel more than one musical relationship, while strengthening others, everything pretty much worked out. Maybe that’s the way life works. We are tested and it’s fun when we score well. But it’s okay to fail or to give yourself a “B” (or even a “C”) every now and then. As a vertically challenged friend of mine likes to say, “Life is short. I’m shorter.” More on the idea of judging ourselves, judging others, and somehow inserting ourselves into those judgements of others in my next column. Meanwhile, here is a link to a few pics of the studio and location https://flokistudios.com/ deplar-farm and www.flokistudios.com The Peter Erskine Library Check out Peter’s drummer profile page, and get a copy of his Legends book at modern drummer.com From left: (Standing) Siggi Baldursson, Einar Scheving, Jakob Magnusson, Eythor Gunnarsson, (Seated) Peter, and Matthew Garrison Peter and RaggaModern Drummer December 2022 12 Drum Workshop Puts Innovation on Display at 50th Aniversary Celebration Drum Workshop hosted a multi-day program of talks and workshops designed to celebrate drummers and the drumming community along with DW’s own heritage of innovation. The opening night brought the introduction of new products that honor the past and excite for the future. The celebration highlighted its 50-year legacy of innovation, while demonstrating its continued commitment to inspire the next generation of drummers with the introduction of breakthrough technology solutions. The 50th Anniversary represents a significant milestone for the company which has built a reputation as the preferred brand of drums and hardware by both professionals and enthusiasts globally. With five decades of product innovations in acoustic drums, pedals and hardware to celebrate, the company is not resting on what’s worked in the past. “We have always looked to improve the tools that drummers have at their disposal, and that is what we’ll continue to do in the years ahead,” said Don Lombardi, chief product officer and co-founder of Drum Workshop. “Looking back to 1972 when John and I started the company right here in Santa Monica, we could not be more proud of what the team has accomplished together and in close partnership with the entire drumming community.” Revealed at the event was DWe , a first-of-its- kind wireless acoustic electronic convertible drum set. Under development for several years, DWe is designed to blur the lines between acoustic and electronic drums and deliver a natural playing experience. DWe adds innovative, patented technology to the artisan, hand-crafted acoustic drum shells that DW is known for worldwide. Launching in 2023 and manufactured in DW’s California custom shop, DWe will deliver industry advances in electronic drums with features including true acoustic to electronic convertibility, wireless connectivity, three zone metal cymbals and a premium sample library. “DWe will deliver the most authentic playing experience in the market for drummers whether played acoustically or electronically,” says John Good, senior executive vice president and co- founder of Drum Workshop. “Our focus has always been helping drummers elevate their craft by delivering new innovation, and DWe is no exception.” Lombardi added, “Including technology in the drummer’s toolkit will enable them to introduce new creative ways to express themselves. DWe solves the issue of having to choose between electronic or acoustic drums and gives drummers the ability to add new sounds to their setup.” In addition to the reveal of DWe and to celebrate the 50-year milestone, DW Drums is releasing a 50th Anniversary Limited- Edition suite of products available globally beginning November 4. DW Collector’s Series 50th Anniversary Limited Edition Drums are constructed from a combination of persimmon, a hard tone wood similar to purpleheart that produces thick attack and projection, combined with spruce that boosts warmth and tonality. Each drum comes with a veneer of rare, quilted maple fitted with inlaid maple and rosewood 50th Anniversary badges and are fitted with antique gold hardware. These Limited Edition DW drums are available in a 6-piece shell pack Collector’s Series® 50th Anniversary drum set, a 6.5”x14” snare, and a 6.5”x14” Edge® snare drum. Inspired by John Good’s memories of growing up in Northern Italy, the DW Collector’s Series 50th Anniversary Limited Edition 6-Piece Drum Set features a core of persimmon, a hard tone wood similar to purpleheart that produces thick attack and projection, combined with spruce that boosts warmth and tonality. These 10 PLY HVLT™ shells, handcrafted in DW’s California custom shop, feature a stunning outer veneer of rare, quilted maple, inlaid with a rosewood and maple 50th Anniversary badge and band. The drums are finished in a burnt toast burst lacquer and fitted with antique gold hardware, True-Hoops™, True-Pitch 50™ Tuning, S.T.M 13 December 2022 Modern Drummer (Suspension Tom Mounts) and DW drumheads by Remo® USA. This pre-configured shell pack includes 8 x 10” and 9 x 12” mounted toms, 12 x 14” and 14 x 16” floor toms, an 18 x 22” kick drum, complemented with a 6.5 x 14” matching 10-ply hybrid persimmon- spruce HVLT™ shell snare, fitted with DW Mag™ Throw-off. Only 100 of these kits will ever be produced and each includes a certificate of authenticity signed by DW founders Don Lombardi and John Good. In addition, 200 à la carte 6.5 x 14” anniversary snare drums will be made for those adding to their snare collections. The Limited Edition 50th Anniversary DW Edge® Snare Drum , is assembled by hand at DW’s California custom shop using the legendary tried and tested Edge® construction. The patented DW Edge™ snare drum was developed by John Good in 1991. Known for its brightness, articulation, volume, attack and sensitivity it has become the go-to snare for a generation of drummers. The new Limited Edition 50th Anniversary DW Edge® Snare is constructed using a 10-ply persimmon and spruce shell with an exotic quilted maple outer veneer finished with a commemorative maple and rosewood 50th Anniversary inlaid badge. Two heavy-duty brass Edge® rings complete this stunning snare drum which is shipped in a deluxe DW carrying bag. DW will produce 100 of these special 6.5”x 14” Edge® snares. Each will include a signed certificate of authenticity and DW’s characteristic professional-grade features including antique gold hardware; DW 3.0 steel True-Hoops™, MAG Throw-Off™, 5P (5 position) Butt Plate™, True-Pitch 50™ tuning, True- Tone™ 20-strand snare wires and DW Drum Heads™ by Remo®. The iconic DW 5000 pedal has become the industry standard bass drum pedal after its launch in 1977. Five decades later, the company is celebrating its 50th anniversary with the release of a limited edition of the iconic 5000 pedal. Incorporating a DW50 signature logo carbon fiber footboard and heel plate, the Limited Edition 50th Anniversary DW 5050 Carbon Fiber Single and Double Pedals possess the same speed, precision and durability you expect — at a reduced weight. It also incorporates the same innovative specifications synonymous with the 5000 series of pedals including, the Accelerator™ (AD4) drive system for increased speed and sensitivity, Tri-Pivot™ Toe Clamp for improved bass drum hoop grip, the Dual Bearing Spring Rocker which delivers ultimate smoothness and the new textured rubber grip pad on the base plate to reduce slippage while playing. DW’s patented Delta Ball-Bearing Hinge, 101 two-way beater, clip-in drum key and built-in spurs all come as standard. Available in both a single and double pedal options. A limited edition DW50 pedal bag is included. Drum Workshop was acquired by Roland Corporation earlier this fall. DW will continue to operate as a wholly owned subsidiary, with both organizations benefiting from their shared areas of expertise. Masahiro Minowa, chief innovation officer of Roland added, “We are excited for DW to reveal this breakthrough innovation and support DW in blending the worlds of acoustic and electronic drums into one seamless package that benefits all drummers.” dwdrums.com Vater Releases 30th Anniversary Limited Edition Chad Smith Stick! November 2022 marks Red Hot Chili Peppers drummer Chad Smith’s 30th year as a Vater Drumstick Artist. To commemorate this milestone, Vater is releasing a limited-edition Chad Smith model which will only be manufactured until November 1, 2023. This 30th Anniversary Edition of Chad’s Funk Blaster model is finished in a special silver paint, with a 30th Anniversary logo designation along with Chad’s signature, which has never been available to the public on his Funk Blaster model before. Chad Smith states, “Heart to the hands to the sticks - which are the conduit to the kit. Vater Drumsticks have been it for me now for 30 years!” Play them or display them as a collectible…Either way, you will own a piece of Chad Smith and Vater History. Contact your Vater Distributor and/or Vater directly for ordering help and information. vater.comModern Drummer December 2022 14 Latin Percussion Launches Limited Edition Black Box Exotic Cajons and Discovery Bongos LP is pleased to release two limited edition Black Box cajons with a choice of Exotic Ebony and Figured Cerise Craftwood soundboards. Based on LP’s award winning, best-selling cajon, the two new Black Box cajons have clear distinct snare and bass tones making them fun and easy to play for the beginner percussionist. Made from environmentally responsible MDF and incorporating two sets of premium snare wires, they are completed with either a stunning Exotic Figured Cerise soundboard (LP1428NYFC) or Ebony Craftwood soundboard* (LP1428NYEB). Cajons can be played with hands or cajon brushes to create an infinite number of grooves. The range of sounds achieved with the different tone zones and premium snare wires will provide inspiration for players of all levels. The new, lightweight LP Discovery Bongos made with LP’s Exclusive HD™ Shell Construction, reinforced bearing edges and Black powder-coated hardware. The new eye- catching and affordable bongos are constructed using a high-density polymer shell, natural rawhide heads, comfortable EZ Curve rims, 9/32” diameter lugs, traditional Cuban- style bottoms and stylish black hardware. The 6 ¼” and 7 ¼”drums are fun and easy to play, simple to tune and they produce a bright dynamic sound suitable for all genres of music. The Discovery Bongos are available in an assortment of seven vibrant colors: Black Onyx, Race Car Blue, Rose, Sonic Blue, Sea Foam, Slate Grey and Snow White. For a limited time the new bongos are available with a FREE carrying bag. lpmusic.com GEWA Digital Drums announces the new GEWA G3 SERIES The new GEWA G3 SERIES kit consists of a five-piece pad configuration and is aimed at everyone from beginning students to advanced drummers. The Gewa G3 offers no compromise on sound, playability, and connectivity, but it comes in at a lower price than its predecessors. The G3 is the perfect companion for home or studio use. It is even compact enough to be used as a practice kit! An outstanding feature of the Gewa G3 is the 901 high-resolution sound library. All sounds were recorded at the legendary Funkhaus Studios in Berlin and use up to 1,000 samples per instrument. What’s more—these sounds are identical to those of the flagship GEWA G9 Drum Workstation. The player has 40 drum kit presets at their disposal. The GEWA G3 uses the same trigger technology (and, therefore, has the same playability) as the GEWA G9 and GEWA G5 series. The G3 configuration includes: one 10” kick pad, three 10” tom pads, a 12” snare pad, a 14” crash, an 18” ride, and a 14” hi-hat. All cymbals--including the hi- hats*—feature three zones, a 360° playing surface that can be choked at the edges (*The 3-zone hi-hats are unique to GEWA Digital Drum and are currently the only hi-hats in our industry which offer this feature!) The GEWA G3 module is extremely easy to use. Turn it on, run the Setup Wizard, and you’re ready to go - BORN TO PLAY! The GEWA G3 will be available in stores from mid-November at a recommended retail price of €1,899.00. The GEWA G3 Studio 5 comes with: GEWA G3 Drum Module three 10” Tom Pads (2-zone) 12” snare pad (2-zone) 10” kick pad 14” crash cymbal (3-zone, 360° play zone, choke function) 18” ride cymbal (3-zone, 360° play zone, choke function) 14” hi-hat cymbal (3-zone, 360° playing zone, choke function) GEWA Studio Rack includes the GEWA hi-hat stand and cables. More information is available at gewadrums.comBuy from your favorite retailer check out more at moderndrummer.com Gary Chester’s New Breed Presents:Zildjian Fat Hats and Blast Bell Warm, Earthy, Dark and Extremely Musical By Brian Hill Fat Hats Zildjian sent Modern Drummer two pairs of the new Fat Hats and a seven inch Blast Bell, they wanted us to give them go, and I must admit that just holding them made me want to play them. On first inspection of the Fat Hats, I noticed that they not only had a wide lathing, but, big, fat hammer marks. I’ve seen plenty of hammering in my day, but I think this hammering is a larger version than some of what else is on the market today. In fact, the hammering reminded me of what I remember on some really old jazz-oriented cymbals from the past. So not only holding them was exciting me, but so was looking at them! The Blast Bell also had its own distinct look that made me just want to hit it! So, let’s take a closer look and, well… hit them! Zildjian worked on the Fat Hats for a decade. They referred to it as a “labor of love.” Their goal was to create a set of hats that have a rich blended sound that would fit into a large majority of musical situations seamlessly. It seems that they were trying to create a consistent “go-to” set of hats that would work in a studio or a live setting. I think they succeeded. The masters at Zildjian came up with a combination of “Dark Hammering,” like on a “K,” and a wide lathing technique as was used on those old classic Zildjian A’s from back in the day. The result was worth the decade long wait! These Fat Hats are a very nice blend of the strengths of both of these classic and musical cymbal lines. The two sets of hats measured in at 14-1/8” and 15-1/8” in diameter. Usually, I can immediately tell the top plate from the bottom just by feel and holding the cymbals. This time was different. I had to look closer because I really wasn’t sure from just the feel. It turns out that the Fat Hats top and bottom cymbals are fairly similar in thickness. The smaller weight difference between top and bottom seems to blur the lines between the cymbals a bit, but that creates something very special that really works well when the hats are blending into the music. I set both sets of hats up and on the same kit at the same time December 2022 Modern Drummer 15 and found that the two sets complimented each other very well. Both sets of Fat Hats came across very warm, somewhat dark, but they also created a lot of mids which helped them cut through the mix nicely. They have a nice combination of blend and cut. In playing them, I found lush and focused sounds that were crispy and crunchy and very rich and very wide. Ok… OK… they were just flat-out FAT! The 15” set was full and warm while the 14” set supplied a wonderful high-end crispness that not only differentiated it from the larger set but made the use of two sets of hats seem very practical. Fun stuff! Blast Bell The Zildjian 7” Blast Bell was a real treat. It was designed in collaboration with Matt Greiner and provides a darker version of the classic Z Bells. I have used “bells” before and most of them have an incredible sustain: Like the “into next week” sustain! Because of that, I found previous bell cymbals to be more of an effects-type instrument. The Blast Bell has a much shorter sustain than most bells, allowing you to be able play a more controlled and consistent pattern when riding it. With the Blast Bell you’ll get a whole lot less of the “crazy-white-overtone-noise” sound, which results in more articulation and clarity overall. The Blast Bell has a lower profile and a raw finish. That gives the bell its distinct look and means that it can be mounted solely on a stand or mounted inverted on top of another cymbal. I really like it mounted inverted on my ride cymbal as it makes a great and easy target! This bell really cuts through with a very consistent musical quality and provides a level of control that I really appreciate. These new offerings from Zildjian were really easy cymbals to review because the folks at Zildjian just did an outstanding job with both of these beautiful instruments. Both explore the sonic realm of a warmer, darker sound that’s only found in metal if you look and work hard enough. I really have to recommend these for a good look……and listen. They’re worth it! Check ’em out! The 15” Fat Hats have an MSRP of 720.00 the 14” MSRP is $648.00 and the Blast Bell MSRP is 186.00. zildjian.comModern Drummer December 2022 16 ROLAND TD-17KVX2 By Jason Mehler R oland recently announced some exciting upgrades to their V-Drums product lineup. Included in the rollout is the Roland TD-17KVX2, which is the subject of our product review this month. The TD-17KVX2 builds upon the previous generation TD-17KVX model and features both hardware and sound module updates. For those not familiar with either model, I will explore this kit as a whole and the upgrades. What’s in the Box The TD-17KVX2 is a 5-piece kit that includes the TD-17 sound module, the KD-10 kick drum pad, a 12” PDX-12 snare pad, three 8” PDX-8 tom pads, two 12” CY-12C-T rubber coated two- zone crashes, one 14” CY-14R-T three-zone ride cymbal, and one 10” VH-10 floating hi hat with bottom unit. Also included is the MDS-COMPACT drum stand (drum stand may vary in some countries.) Hardware Setup The setup of the TD-17KVX2 took me about an hour from unboxing to playing, with most of the time being spent on building the MDS-COMPACT drum stand, a curved rack-mount system that holds most of the pads and cymbals. The rack is sturdy but can be a bit challenging to square at first, due to the curvature of the cross-mount bars. Thankfully, Roland has provided guide holes to make it a little easier to align and eliminate wobble. The left and right extension bars on the MDS-COMPACT seem to be identical, which would allow the kit to be set up either right or left-handed by just moving some cymbal clamps. I am a lefty, but for this review I chose to follow along with the provided (too small for my eyes) printed instruction booklet, which (by default) displays the kit right-handed. Mounting the pads and cymbals was extremely easy. I have always been a huge fan of the ball and socket adjustments which are present on all of the stands and mounts on this kit. One major thing to note about the TD-17KVX2 is that it does not come with a hi hat stand, bass drum pedal or drum throne. Therefore, unless you already have access to those items, you will need to purchase them separately. I used my old trusty Tama Iron Cobra HH to mount the VH-10 floating hi hat cymbal and an old Yamaha bass drum pedal on the KD-10 kick pad. I would also highly recommend a strong drum rug to provide a secure base for the Velcro-bottomed KD-10 to firmly anchor the bass drum pad. The mount for the TD-17 sound module allows for two different mounting positions on the rack. This came in handy for me because my hi-hat stand position was blocking the display when the module was mounted in its default position to the left of the hi hat. Moving the module between the hi hat and first tom solved that issue for me. The pads and cymbals were very easy to connect to the sound module thanks to the pre-labeled wiring harness included with the Jason MehlerNext >