< PreviousModern Drummer April 2023 8 Balloons in the Sky By Peter Erskine Y ou know that feeling when you’re playing a piece of music and you’re somehow disconnected? What you’re playing is not wrong, but it’s not right either. Something is missing. What? Who? The answer is you! YOU’RE missing. And sometimes, you are literally missing while you’re playing. This is very often manifested by hitting the rim only of the snare drum when you were intending to play a rim/head combo hit on the snare. We hear “click,” not “phwack.” Why do we miss? The simplest explanation is that we’re not looking at what we’re doing. However, it also happens when we’re not looking the music “in the eye”. We are there and we are not there, and that’s not fun, nor does it usually sound very good. Teaching my students this past week, I decided to have them all improvise atop the mambo accompaniment provided by the iOS app ERSKN Afro-Cuban Essentials Play-Along. Most of my students have a passing familiarity with mambo, but there’d be sweeping arrests if the Clave’ Police decided to crack down in my corner of the music building. None of them were feeling 100% confident while playing on this spot-quiz challenge of a jam. True to expectation, every student had that look and sound of being disconnected (lack of focus to the eyes, listless head movements and hit-or- miss execution on the kit). I stopped the playback and asked each student if they were having fun. Each one of them answered, “no.” Over twenty years ago, I was backstage in the Queen Elizabeth Hall in London following a rehearsal, and there was a gaggle of guaguanco congueros. They were jamming away on congas, bongos, tabletops and the like These percussionist icons (including Giovanni Hidalgo and Horacio “El Negro” Hernandez) were playing as if their lives depended on it and smiling like they didn’t have a care in the world. Spotting me, Horacio exclaimed, “Hey, Peter! Come on, man! Join us!” Feeling insecure about my lack of Afro-Cuban bona fides, I smiled weakly, and politely begged off, “‘Nah, that’s okay, sounds GREAT guys!” What I would give now to be able to go back in time and recapture that moment and join in on the fun. These great musicians were all inviting me out of friendship and in the spirit of musical camaraderie. They did NOT say or think, “Hey, Peter! Since you are a leading expert on Afro-Cuban music and an authority on all things salsa join us, because we would only invite you knowing that Tito Puente himself has blessed you.” It is safe to say that those percussionists recognized me as being a jazz drummer. I’m not saying that I shouldn’t know my mambo, but that wasn’t the point. I denied them and I denied myself. And while the old quote, “better to remain silent and be thought a fool than to speak and to remove all doubt,” could apply here, SO WHAT if I played something “wrong?” Who cares, right? This was the point in the lesson where I suggested to my students that we try a mind game of sorts. The news that week was all about mysterious balloons in the sky (February, 2023), it seemed like good and topical fun to paint the following apocalyptic pretend scenario: “imagine that you’re playing with a band and you just got the news that the big balloon in the sky has been shot down and is hurtling directly your way … there’s no one to say goodbye to… the only thing to do is to do what you’ve spent so much of your life doing — PLAY — and you may as well enjoy it, because life is short, in fact shorter than you can imagine …” You get the idea, “NOW play.” You might be able to predict what happened. Every student’s jam atop the mambo suddenly sounded GREAT, each in their own way. There was a sense of ownership, discovery, storytelling … and FUN. Eight students over two days, the exact same thing happened, time and again. The psychologist Carl Jung described the “authentic life” as being a learning process of self-discovery. “One does not become enlightened by imagining figures of light, but by making the darkness conscious.” (The Collected Works of Carl Jung, Vol. 13, Page 335) Do doomsday scenarios count? Much like a theater game, it’s all about creating a perspective that works to our benefit. Out of the imaginary dust of impending disintegration, the hipness factor of a drum solo regains its proper place in the universe of things. The result? CONNECTION and FUN. Now might be a good time to offer some solid improvisational advice. But wait! Another story that goes back to the early 1980s when I was living in New York City. I was invited to play with a terrific band known as “French Toast,” I invited my father to come to the gig. Anthony Jackson on bass, Michel Camilo on piano, and French hornist Peter Gordon among others in the group. This was going to be fun. It was a good gig. The night ended with a final tune and a drum solo atop a montuno vamp (similar to the mambo play-along). I started playing and was trying too hard to be hip. I was back- phrasing some rhythms and licks that seemed like they would pass for being authentic, of course these misfired and my timing was getting behind. I couldn’t blame the band, I knew how good they were, so I double-down. Instead of being “Jazz Peter”, I’m trying to be “Fake Tito Puente-blessed Pedro.” I’m feeling like I just got caught with a fake passport while attempting to enter Bolivia in a tawdry television movie. Meanwhile, the music’s moving along and I’m falling more and more behind. My solo sucked. What a lousy way to end the night. But two great things came out of this debacle: one, I so embarrassed myself that I recommended this young drummer I had heard recently to take my place for the next gig, his name was Dave Weckl (this was his big break in the big city). The other thing had to do with Out of the imaginary dust of impending disintegration, the hipness factor of a drum solo regains its proper place in the universe of things. The result? CONNECTION and FUN.Modern Drummer April 2023 9 becoming a bit more of my authentic self, courtesy of Steve Gadd and Modern Drummer magazine. I really needed some informing, and I recall reading that Steve did not back-phrase, and certainly did not GUESS as to a rhythm’s whereabouts or execution. It was ALL subdivisions. And when Steve mentioned off-beat 8th notes or 16th notes combined or mixed-and- matched with off-beat triplets, my head exploded. It wasn’t chance. It was TIME. I’ll make mention now that the added element of SPACE gives any solo the frame it wants, to be interesting to the listener. Here are some subdivisions to practice with a metronome, a play-along track, or better yet, a band. ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ A ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ 4 4 / 3333 / 33333 3 3 3 3 3 3 3 œœ œœœœ œœœ œœœœ ‰ œ œ j ‰ œ œ j ‰ œ œ j ‰ œ j œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œœ ‰‰ œ œ ‰‰ œ œ ‰‰ œ ‰‰ œ œœ œ ‰ œ ‰ œ ‰ œœ œ ‰ œ œ ‰ œ ‰‰ œ ‰ œœ œ ‰ œ ‰ œ ‰ œ œ ‰ œ C RLRLRLRLRL / 5 / 5555 / 5 55 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœœœœ œœ œœœœœ œœ œœœœœ œœ œœœœœ œœ œœœœœ œœ œœœœœœ œ œ œ œ œ œ œ œ RRRRRRRLRLRLRLRLRL B LRLRLRLRLRLRRRRRRRR / 33 3333 / 3333 33 œ œ œ œ œœ œ œ œ œ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œœ œœœ ‰ œœ œ œ j œ œ j œœ œ œ j A. A rhythmic subdivision warm-up. Play these six measures one after the other at different tempos per grouping. Be as aware as possible of your level of relaxation; this affects the feel or phrasing of the rhythm. B. Studies in basic triplet subdivisions that lead to the desired and above-mentioned off-beat triplet. In all following examples, the L-hand (in parentheses) should be played off the drum or pad, on your thigh for example (in other words, a silent sticking). C. The silent sticking approach (or trick,) enables you to hear and feel any complex superimposed rhythm. In general, the faster iterations of a quintuplet are much easier to hear and play than their augmented cousins (classical music terminology, augmentation and diminution: doubling or halving the length of the note, respectively). Whatever it takes to get the sound in your ears and in your hands. Hip and happy improvising to you. Check out Peter’s drummer profile page, and get a copy of his Legends book at moderndrummer.comModern Drummer April 2023 10 PDP EXTENDS ITS CONCEPT™ SELECT AND CONCEPT™ SERIES SNARE RANGE Pacific Drums and Percussion announces the addition of five new metal snare drums extending its PDP Concept™ Select and Concept™ Series Snares in a range of sizes and metals. New to the range of its flagship Concept™ Select Snares are the 8 x 14” Aluminium and 8 x 14” Bell Bronze snares featuring seamless 3mm shells with a unique laser-engraved Art Deco insignia emblazoned on each drum. These curated heavy metal shells are finished with chrome dual-turret lugs, 20-strand snare wire, True-Pitch® tension rods, DW MAG™ throw-offs, and DW Heads™ by Remo®. The Aluminium snare is fitted with natural walnut wood hoops secured with vintage low-profile claw hooks, while the Bronze version comes with triple-flange hoops. Extending the range of Concept™ Series Metal Snares are the new 5 x 14” Aluminium, Brass, and Copper snare drums which are all fitted with double- beaded rolled 1mm shells and finished with a brushed exterior for a bold, vintage-style satin appearance and glimmer. The hardware offers stylish dual-turret lugs and high-end DW appointments like a DW MAG™ throw-off, True-Pitch® tuning rods, 20-strand snare wire and DW Heads™ by Remo®. To find out more about the PDP snares and all the other PDP drums and accessories, visit http://www. pacificdrums.com/ or look for #TeamPacficDrums on social channels. TRX’s New Online Platform Lets Drummers Custom-Design Their Own Cymbals. To better meet the wants and needs of today’s players, the new Custom Cymbal builder on the TRX Cymbals website has been developed to give every drummer the opportunity to design their own cymbals and have them made to order by TRX’s master cymbalsmiths. “Some cymbal companies offer everything from A to Z. But why limit yourself?” explains TRX founder, David Levine. “Since we are a boutique cymbal company, we are able work one-on-one with drummers to create truly unique, one-of-a-kind cymbals with the personality and character that will take them and their drumming to a higher level.” The TRX Custom Cymbal builder guides drummers through a step-by-step process that covers the 10 factors that determine a cymbal’s sound, appearance and performance, including: Type, Size, Weight, Bell Size/Finish, Hammering, Lathing, Finish, Venting, and Rivets. In addition, each drummer can choose to have their cymbals personalized by having their name and/or logo laser engraved on the cymbals. To learn more, please visit www.trxcymbals.com/customcymbals/Buy from your favorite retailer check out more at moderndrummer.com Gary Chester’s New Breed Presents:Modern Drummer April 2023 12 I n February, Roland introduced the VMH-D1 V-Drums Headphones, developed in collaboration with the popular headphone brand V-MODA. In their press release they describe the product as a complete personal monitoring solution purpose-built for the electronic drumming experience. They mention a few key improvements to standard headphones that were aimed specifically at drummers. We will get into those features in this month’s product close-up to see if they hit the mark. What’s in the box? The VMH-D1 comes with a five and a ten-foot audio cable (3.5mm tip), a cable restraint, a quarter-inch adapter, a carrying pouch, and a headphone hanging clip. First Impression The VMH-D1 headphones are packaged well and have a perceived value consistent with other high- end audio products. Once unboxed, the headphones have a nice size and weight to them at around 285 grams. They have a slick, stylish appearance with V-MODA’s signature hexagonal shield-shaped end caps, customized in white with Roland’s V-Drum logo. Roland’s branding also appears on the top and sides of the headband. Pretty cool. Construction Quality The VMH-D1 headphones are well put together and appear to be made of high- quality materials. The metal headband is strong enough to provide a secure fit around the ears without causing excessive discomfort or unwanted movement during heavy playing. The braided audio cable is strong yet light enough to go unnoticed, especially while using the included cable restraint. The memory foam ear cushions and headband cushion are well-made and should hold up for a long time. Unique Features Cables and Restraint: Drummers often find the cable on standard headphones to be a major source of annoyance. The cable is typically heavy, curly, and too short to connect to the audio source comfortably. Furthermore, the heavy cable is usually hanging from one ear, which for us drummers is an obstacle that we constantly need to adjust mid- performance. In my case, it has caused inappropriate language to be used on many occasions. Roland has addressed the cable problem by supplying detachable straight cables and a cable restraint. The restraint comes In the form of a cord with small clips on each end and a slotted rubber piece in the center of the cord. The clips allow you to attach the cord to both the right and left side of the metal headband and the center piece is the channel that you run your audio cord through. This restraint system enables you to route the audio cable down the center of your back and it distributes the weight evenly, so you really don’t feel the cable. It’s also nice to have the option of swapping out short or long cables depending on the distance to your source. Custom design: Roland describes the Roland VMH-D1 Headphones Answering The Call For Electronic Drums By Jason MehlerModern Drummer April 2023 13 VMH-D1 as delivering a custom-tuned sound experience, coupling “custom 50 mm drivers with select materials and new mounting methods”. The design is optimized to reproduce the characteristics of electronic drums such as punchy kicks, warm mid-tones and smooth highs. Headphone hanger clip: The VMH-D1 comes with a hanging clip that attaches to a variety of drum and cymbal stands. The clip is rugged and easy to attach and move when needed. The headphones conveniently hang in a secure, ready-to- grab position from an upright stand such as a cymbal or hi-hat stand. My Experience At the outset of this product close-up, I decided that it would be a good idea to wear the VMH-D1 headphones for the entirety of my review process so I could truly judge the “Extended Comfort” of the fit and materials. This means wearing the headphones while playing, typing, bathroom breaks, snack breaks, ADHD paralysis etc. Skip to the end if you want to know how it turns out. In the meantime, lets talk about how the headphones feel while playing. When I first looked at the promotional images of the VMH-D1 headphones, I was concerned that the cable restraint system would be awkward because it involves three cables hanging down instead of just one. However, after connecting everything, it became a non-issue and was a significant improvement over the heavy, curly cable scenario mentioned earlier. The headphones fit snugly over my ears and as advertised, effectively blocked out a lot of surrounding noise. I attempted to shake them off with some head-banging and random body movements, but they held firm. I also tried to break the audio seal by making exaggerated facial expressions and jaw movements, but to no avail. The VMH-D1 headphones excel in terms of audio quality. I put them to the test with a set of electronic drums from a competing brand and was extremely pleased with the results. The bass drums had a punchy quality, the snare drums were full-bodied and crisp, the toms had a warm resonant tone, and the cymbals were bright and colorful with smooth decay. I also spent some time listening to some of my favorite audio mixes and found myself picking up subtle intricacies like speaker cab rattle and guitar overtones. Extended Comfort Result After a few hours of wearing the VMH-D1 headphones, I can say that they are moderately comfortable over long periods of time. The only noticeable issue for me is that my ears get hot and start to sweat from just keeping them on. Having said that, I do realize that the tradeoff for having good sound isolation is a lack of breathability, so this is far from a deal-breaker. There was no other pain or discomfort caused by the headphone fit. In Conclusion Just on the few practical modifications aimed at elevating a drummer’s playing experience, I would say the Roland VMH-D1 headphones are worth a try. They sound great, look cool and are much less intrusive when compared to standard headphones. The VMH-D1 retails around $180. For more information go to www.roland.comLos Cabos 5A Drumsticks Quality Sticks, Different Woods By Jason Mehler A midst the sea of drumstick offerings by brands vying for drummers’ attention, it’s always a treat to come across quality products from a company that deserves their seat at the table. Such is the case with Los Cabos, a Canadian drumstick brand that was established in 2005 by a family of professional wood turners. For this month’s product close- up, I will be reviewing Los Cabos size 5A drumsticks. The folks at Los Cabos sent me three pairs of the 5A drumsticks in white hickory, red hickory, and maple. First Impression The sticks easily pass the “cool factor” visual inspection with their clean look, modest labeling and popular acorn-style tip. The very base of the stick tapers off slightly to a flat cut end, which reminded me of the days when I would mark the ends of my drumsticks with a Sharpie or nail polish to keep matched pairs from getting lost in a crowded stick bag. Construction Quality The drumsticks measure exactly sixteen inches and are perfectly straight, with no wobble, bend, or weirdness when rolled along a flat surface. The grain of the wood runs in a straight line from bottom to top with no visible knots or weak spots. Each pair of sticks is well-balanced, with the balance point falling just below half of the stick’s length, and accurate within millimeters between matched sticks. Speaking of matched pairs, Los Cabos did an excellent job of matching the pairs of sticks they sent my way. The sticks are pitched high, and each stick is a dead-on pitch match to its counterpart. Same goes for the weights of each stick. The weight variance between each stick (less than 1.4 grams) is virtually undetectable. Playing I tested each pair of sticks on several surfaces: a rubber drum pad, a set of electronic drums with mesh heads and a standard acoustic drum set. The sticks are very comfortable to hold, and the natural finish provides a good balance of grip and slip, allowing maximum control without any sticky residue or risk of accidentally chucking a slippery drumstick into the face of your bandmates. The differences between the white hickory, red hickory and maple sticks became apparent during testing. I could see using all three for different purposes. Red Hickory Los Cabos red hickory drumsticks are made from the dense heartwood at the center of the hickory tree. They are harder, more durable and slightly heavier than the others, making them ideal for loud, hard-hitting drum parts. They are also nice for warming up since the heavier sticks work the muscles and quickly stimulate blood flow to the hands. During testing, these sticks performed nicely and were very easy to control. The heavier sticks do a lot of the work for you but are a little less forgiving and will deliver a nice little shock up your forearm if your technique is bad. White Hickory Los Cabos’ “standard” hickory drumsticks are made from the sapwood of the hickory plant. These sticks are like the middle child of the family - not as dense as the red hickory, but still plenty durable and versatile with a little more elasticity or forgiveness. I found these to be more comfortable for my playing style and would probably be my go-to drumsticks for most musical applications. Love them. Maple The 5A maple sticks are the lightest of the bunch. Made from Canadian maple, they feel great and have the most shock- absorption of the drumstick lineup. because they’re less dense than their hickory counterparts, I did notice that my hands had to work a little harder to produce the same amount of rebound on an acoustic kit. Having said that, I do prefer the maple sticks on the electronic drum set. The light weight of the sticks allows for swift movement around the kit with minimal pad noise, which is especially noticeable on the rubber cymbal pads. In Conclusion It’s safe to say that I’m glad to have gotten the chance to give these drumsticks a whirl. They suited my playing style well and while I didn’t exactly take them on a one-way trip to destruction town, I’ll take the company and fellow drummers at their word when they say that these Los Cabos sticks can stand up to a beating. You are welcome to have a go at it for yourself. I doubt you’ll be disappointed. loscabosdrumsticks.comModern Drummer April 2023 15 Roland PM-100 Monitor Electronic Drum Amplification By Jason Mehler A s we have already tested Roland’s new VMH-D1 headphones this month, I thought it would be fitting to examine one of their amplified monitors for situations where amplifying your electronic drum set is required. Roland has provided us with the PM-100 monitor which is fine tuned for electronic drum amplification, so let’s delve into it. What’s in the Box? Not much in this package but the monitor itself, a long C13 style power cord, and the owner’s manual. First Impressions The PM-100 is a sleek-looking black monitor wedge with a smokey gray grill protecting a ten inch speaker and a two inch tweeter. On the grill face are two raised emblems that I believe are brushed aluminum. One is the Roland logo and the other says V-Drums. The unit looks like it could handle some abuse. Construction Quality The wood speaker cabinet is constructed of high-quality materials and has 4 heavy- duty rubber feet on the underside. The dimensions are 15 inches by 16 inches with a height of 13 inches and it weighs roughly 30 pounds. The build is sturdy, and there were no noticeable defects on the unit that was tested. The knobs and switches on the front face seem less durable as they are made of plastic. A handle is located at the top of the cabinet for transporting and moving the monitor, and it appears to be very robust. Features Dual inputs: There are two inputs that receive a quarter-inch plug. The first is clearly labeled V-Drums and the second is a line level input which also has an eighth-inch audio jack beside it. Dual Volume controls: The monitor allows you to control the V-drum and line volumes separately from one another. Global EQ: the device has knobs to control the bass and treble output. Adjustments to the EQ apply to the total output (as opposed to the individual inputs). 80-watt Amp: The PM-100 boasts a small but powerful 80-watt amplifier to power the ten inch woofer and tweeter. My Experience I originally set up the PM-100 on my hi-hat side so that I could easily access the controls. The included power cord is long, making it very easy to place the monitor in the most convenient location. For testing, I used a competing brand’s electronic drum kit. Once connected, I powered on the unit and began adjusting the volume and EQ. I like how the EQ knobs snap to center. It was very easy to dial in a great sound. This little amp has a lot of power and sounds good at both low and high volumes. There are no numbers on the volume knob, but I have a hunch it goes to eleven. After playing a bit at a decent volume, I moved the monitor directly behind me so that I could hear the output evenly on both my left and right side. After connecting my iPhone to the line input with a third-party adapter, I played along to a metronome app and various songs. The dual volume controls and EQ proved to be fantastic, allowing me to mix the electronic drums with popular tunes by discovering comparable or complementary drum sounds, resulting in a blend that doesn’t sound like bad karaoke. In Conclusion Overall, the PM-100 is a great choice for practicing or small jam sessions at comfortable volumes. The current retail price of the PM-100 is around $330. If more power is needed, you could spring for the PM-200 which is 180 watts with a 12-inch speaker and includes a direct out that could be used to connect additional power. Maybe we will explore that option further in a future close-up. www.roland.comMichael GoldmanModern Drummer April 2023 17 T erri Lyne Carrington is only the second drummer-bandleader to win a Grammy for Best Jazz Instrumental Album, Individual or Group… and she has done it twice. The rst was Art Blakey. Her rst win was for Money Jungle: Provocative in Blue, and this year she won for her new recording New Standards Vol. 1. It’s an ambitious project of music written exclusively by women jazz composers and features some outstanding drumming. Terri also published a book called New Standards: 101 Lead Sheets by Women Composers, so musicians around the world can start playing the songs from her new record and book. She is also featured on Wayne Shorter’s new (Grammy Nominated) Live at the Detroit Jazz Festival, teaching the next generation of drummers at The Berklee College of Music, heading Berklee’s Institute of Jazz and Gender Justice, and creating multi- media art installations for the Carr Center in Detroit. This is only the most recent year in a career that has featured work with legendary jazz bandleaders like Herbie Hancock, Wayne Shorter, and David Sanborn, over a hundred recordings, and playing on late night TV on the Arsenio Hall Show. Terri Lyne was a child prodigy at age 12, but now in her 50’s she is having a bit of a hard time adjusting to the title of “wise old master.” But that’s what 40 years of experience and success in the drumming and music world gets you! Sanjay ParikhNext >