How many of us weekend and weeknight warriors work our behinds off playing the skins, only to have some fan tell us after a gig, “I loved your facial expressions”?
Hearing this one too many times myself, I decided to research the anomaly further by examining 30 celebrity drummers I admire the most.
What’s so strange and equally refreshing about the live performance facial images I compiled as a photo collage linked here from online postings at Drummerworld.com and various artists’ personal websites is they all share similar traits.
The extreme concentration exposed in these images is amazing.
But can we draw meaning from facial expressions as they relate to a solo or phrase drummers are playing?
According to a recent American Psychological Association (APA) web posting, Joseph Campos, PhD, of the University of California at Berkeley says, “there is profound agreement that the face, along with the voice, body posture and hand gestures, forecast to outside observers what people will do next.”
Does that same theory apply to drummers, who change facial expressions on a whim at that difficult phrase juncture in a solo, or when the arms and legs begin to burn from lack of oxygen?
Ever consider trying to look more presentable during a sneeze, or keeping a smiling face when lifting a very heavy object? Same applies to drumming, which is a very physical workout – like trying to play four-way independence at a 120-metronome tempo.
APA says, “the point of contention remains in whether the face also says something about a person’s internal state.”
The strange, deranged, obsessed, comical, intense, and peaceful faces of drumming all come back to one term in my mind: Joy, even if you blew that 32nd note fill you had been practicing for weeks. It’s still pure joy to sit behind a set of drums and play the best you can for minutes or hours on end. The truth is some parts of the brain are more focally recruited while we play drums.
I’d rather see squinty eyes, chaotic mouths, drools, sneering teeth, and back tonsils any day. The alternative is rather opaque to contemplate: Poker face, no smile, no raised eyebrows, no snarts, no emotion, no nothing. How very bland the drumming world would be without our theatrical expressions.
The more comfortable you are behind a drum kit, the more compelling and creative your playing will be. In my mind, facial expressions can enhance the experience for the listener and certainly reflect the concentration and emotion of the performer.

- TIM KANE is a professional writer and drummer of 20-plus years residing in Massachusetts.

More mundane housekeeping aspects of drumming – like tuning – have become so instinctive and intuitive to me over the years that when I went to actually define the process for you, it was like to learning to play drums all over again.
The reality is drum tuning is not that fun, but a necessity if you want good sounding and long lasting shells.
Thanks to YouTube posting restrictions, I have broken down my related videos on drum tuning methods into four topics linked directly below:

• drum tuning intro & philosophy
• tom-tom tuning
• snare drum tuning
• bass drum tuning

While many of the same tuning approaches are used across the entire drum set, there are subtle differences and special tips to consider.
First, you need brand new drum heads when dings or depressions start to appear in the head surface area, they won’t hold a desired pitch for very long, or they begin cracking. Re-tuning existing heads is the recipe if none of the above applies other than just changing desired pitch. And re-tuning is often needed if your drums are moved to a gig or practice location where temperature and humidity levels are different from your drum set storage area.
It is also important to understand the mechanics of drum heads and how they relate to your shells. There are really two kinds of drumheads in the world: one-ply and two-ply, clear or coated styles. I just switched from Remo clear pin stripes to Evans EC2 coated because I wanted a more open sound and higher tuning on my toms. You pick the drum head that fits your drum sound preferences, but also the diameter and construction of your shell in terms of wood type, bevel, and ply thickness. The manufacturers of most good drumheads detail these specifications on their product boxes and websites.
Understanding how your top and bottom heads work is equally apropos. Your top “batter” side head gives you feel and initial pitch. Your bottom “resonant” side head is meant for the aftermath of a drum strike, including lingering tones and sustain.
While there are many different philosophies behind drum tuning, I follow a fairly simple process.
As discussed more in-depth in the aforementioned video links above, tuning your toms is very similar to tuning your snare and kick drum. Whether applying new skins or re-tuning existing ones, you must tune both the batter and resonant side heads by loosening them to finger-tight lug position. Before doing this, it is a good idea to take a peak inside the shell to ensure no hardware is loose or debris present. It’s also a good time to clean your hoops, hardware and shells while the heads are off.
The heads should look wrinkled before a drum key ever touches a lug and there should be equal rim to head spacing around the entire diameter. With the lugs finger tight only, I apply my fist firmly in the center of the head pushing straight down to seat it properly to your shell edge’s 45 or 30-degree bevel. I then select an initial “guide lug” and turn it 2-4 full turns, depending upon how high you want to tune the pitch. I then shift my drum key straight across the entire head from that guide lug and turn its sister an equal amount of turns. Apply this same diagonal tuning approach for the rest of the lugs, ensuring each is turned the same rotation amount. You never want to tune lugs side to side like you would installing a new car tire.
Once all lugs have been turned equally, take the butt end of a drumstick and go back to your initial guide lug. Make sure that lug is the pitch you want, and then tap each lug area about 1-2 inches out on the head from the rim, following the same diagonal approach in the above diagram. Place your ear close to the head and listen for subtle differences in pitch from lug to lug. If you find one lug higher or lower in pitch than your first guide lug, turn its lug down or up one-fourth turn to see if it is corrected. Continue this process until all lugs have the same pitch.
Use this same tuning procedure on both head sides of the drum, with one exception to consider: I tune my bottom side resonant head at least one half-turn per lug lower than its corresponding top batter head. This helps me eliminate pesky overtones and excessive ringing without employing too many muffling products. Many drummers tune both heads to the same pitch, while a few studio drummers I know tune their bottom heads a pitch higher than their tops. It all depends on what kind of sound you are going for.
Drum shells, by their very nature, have a natural pitch that you will find over time as you tune and re-tune your heads. The smaller the shell diameter, the higher its natural tone will be.
Lately, I have been tuning my first three toms to the C major chord using a tuning harp (who says drummers don’t play chords!!!). The note G is my smallest tom, E is my second rack tom, and C is my first floor tom. It really works well for me, and helps during fills and solos to play more melodic notes and to match guitar patterns.
Another tip I have discovered over the years is never to tune your snare with the snare bed activated. You won’t be able to hear a clear pitch with the snares on. I also tune my kick drum resonant head to near wrinkle stage. The kick drum is big enough to have a natural resonance without much head assistance. The looser-than-normal bottom bass drum head helps give me a low, thud, attack-like punch. I use a small blanket inside the kick with no microphone hole.
After installing your heads and playing for a while, it is a good idea to check your lug pitches every few weeks to see if re-tuning is needed.
Taking the time to properly tune your heads not only gives you the best sound possible, it also helps preserve your shells for a longer life.

TIM KANE is a professional writer and drummer of 20-plus years.

“Drummer discrimination”, as I like to call it, is on my mind this week, and not because I am the subject of it with the fellow “musicians” I now play with.
They all respect my ability and musicianship and likewise. I just see it around and hear about it from time to time and thought the topic would make an interesting discussion in the larger drumming community here at Dixon Drums.
Are drummers true musicians? Of course we are. But not every guitarist, bassist, horn player, or keyboardist feels the same. Why? Because some musicians falsely believe drums do not provide linear note values offering true melodic phrases and chords integral to the formation of songs.
Oh really? Look at what Mick Fleetwood did for song composition on the drums. They named the band after him. I have hacked around on guitar, trombone, and piano enough to know all instruments offer distinct voices in any given tune. Ever see a guitarist sit behind a set of drums and try to play a 4/4 rock beat in time with fills? Most can’t swing it. The same can be said for most drummers who try to strum guitar chords in a regular, clean pattern or play single note solos on the keys. Most can’t. My point is drummers are as much musicians as any instrument being played by someone.
Without drummers, there’s no structure to a song; no groove; no tempo; no accents; and no direction. Schooled drummers can sight read and understand note values. Those who can’t read, use their ears. I know a good many guitarists who have no idea what all the scales are, yet they play better than many who can run a Dorian minor in their sleep. Yes, drummers are musicians.
So what types of drummer discrimination do I see and hear about out there. I have bulleted some examples below, but I am sure there are plenty more to rant about:
• Sets up and breaks down his or her drum gear with no offer of help from other musicians; yet drummers are first to help hauling heavy amps and monitors.
• not treated with equal say in song and set selection.
• not listened to on stage when the band debates changing up the set and what tune to insert.
• Not paid the same.
• Not allowed to count off the tempo for songs
• Not given any respect when song composition is deliberated. “Hey, I have a cool idea for a bridge.” Then, you get two heads looking at you.
• Not spoken to during set breaks.
• Told you “banged” well tonight after the gig.
• Not applauded after a great solo.
I have so many more examples. If anyone in the drumming community is reading this, please offer your own pet peeves.
Drummers are musicians.
Right?

- Tim Kane, a professional writer, editor and drummer for more than 20 years.

A lead singer in college once jumped unannounced during a live gig, full body first into my drum set and broke all sorts of critical components. While the most severe form of technical difficulty, we’ve all been there, whether playing in front of 500 rocking fair-goers or three subdued bandmates in a practice room. Live music comes with its inherent equipment challenges.

It is through sound advance preparation that we can avoid most of the common pitfalls when playing live gigs or practices, with exception to a violent lead singer. Even the most astute planner, however, can’t envision all the potential challenges that arise. While some believe one tiny piece of faulty hardware can ruin a gig, not so for those who can adapt. I managed to still play those broken drums.

Some situations require creative problem solving on the spot. I played a fill-in practice once where the regular drummer didn’t leave his hi-hat stand or cymbals. Luckily, he had two 16-inch crashes so I borrowed those for a makeshift closed pair and lowered a boom stand to hi-hat height. I would have much rather brought my own back-up set considering I could not actually use the non-existent hi-hat pedal, but you get the point. Adapt and overcome. I once used a credit card during a gig to fix a loose pedal spring screw because no one brought a tool kit. How stupid was that? It was even more musically criminal to not bring along an extra kick drum pedal – a must for working drummers.

Many problems that do occur during a gig or practice can be envisioned beforehand, though – like forgetting to bring a small carpet so your drums don’t move around on you, or extra felts and wing nuts so flying cymbals don’t cut off a guitarist’s fingers.

Duct tape: don’t leave home without it. I can’t tell you how many times I have stripped a cymbal stand component or cracked a critical drum head. Duct tape should be the last resort, though. When I change drumheads that are not busted, I save them in the new boxes. I always bring an extra used kick and snare drum head with me to gigs. I also bring an extra boom stand or two. Many drummers today actually haul a second snare and stand and use it left of their hi-hats live. That way, if the main snare goes bump in the night, you have an instant and perfectly tuned replacement.

Then there is all the electrical stuff to consider. If you don’t own a powered floor monitor, try to invest in a good used model. First of all, they make great speakers to play along with and listen back to at practice. But I have also noticed when monitors run short at gigs, drummers are the ones who usually get the shaft from the sound guy. And too often, the monitors we get to use are the most deficient ones in the arsenal. Not everyone can afford to have his or her own separate drum set mixing console like Dave Weckl, but a small, quality monitor really helps.

Bring some extra XLR mic cords and quarter-inch adapters with you, just in case one goes bad. Same applies to mics. If you own a few SM57-type models, bring a few with you in case the sound guy runs short or experiences problems – and several drum mic clamps. My experience has shown the sound guy’s equipment for drums can be rather worn and outdated.

The best recipe for planning ahead for a big gig or important practice is to think about all the things that could potentially go wrong on your drum set and have a plan to fix them on the fly.

As a blogger looking for interactivity, I am very curious what your largest technical or equipment snafu has been so please reply to this post, and consider adding an item to the drummer emergency repair kit list I compiled here. Thanks and keep drumming.

- Tim Kane is a professional writer and drummer of 20-plus years.

DRUMMER ER KIT:

(**Most obvious items below can fit inside a large fishing tackle or toolbox)

Piece of carpet to run beneath bass drum spurs
Cymbal felts, all sizes
Extra XLR mic cords and XLR to quarter-inch adapters
Roll of toilet paper
Can of WD-40
Superglue
Band aids, aspirin/pain reliever, Tums
Misc. screws and nuts (to replace busted rivets in throne, cymbal stands, etc.)
Bass pedal chain clips and related parts (if you own them)
Extra bass drum pedal
Extra snare drum and stand
Hi-hat clutch, domed washers, and hardware
Cymbal base washers
Pedal springs, rods, and finger nuts
Earplugs
Tie wire
Pinch clamp for keeping sheet music on the stand
Flashlight
Several AA, AAA and most importantly, 9-volt batteries for your guitarist’s effects pedals and tuners
Extra cymbal stand clamps
Set of screwdrivers and pliers
Snare wires
Duct tape
Can of Moon Gel (for that ring-hating sound guy)
A couple extra drum lugs
Spare boom stand

Drummers are first and foremost timekeepers, plain and simple. That is our core mission. But we are also the gateway to a band’s inner time machine. Like the planet we live on, time fluctuates.

When playing live with other musicians, there is an unwritten ebb and flow of tempo to keep in mind. It’s called “feel.” Play with your ears, first, and then your eyes. That’s what my drum teacher always taught me. But how do you know when to play looser interpretations of time and when to be a metronome (which was first used by Beethoven, by the way)? Not an easy question to answer. Time tends to advance and retract from the initial beats per minute you lay down during certain segments of a song – unless that tune actually calls for tempo changes.

Understanding basic classical music terminology governing time signatures and tempo is helpful – even in rock genres. In any original or cover song composition, there are several main tempo ingredients we knowingly and unknowingly follow, including: Allegro (fast), Adagio (slow), Ritardando (slowing of tempo), and Accelerando (quickening of tempo). There are all sorts of variations within these broad terms, but you get the point.

The most important tempo term – and the one most appropriate for contemporary live music – is “Rubato,” or the free adjustment of tempo for expressive purposes.

Most of us live within this expressive shaping of music that is a part of phrasing, which is further defined by the spaces between each note we play – otherwise known as subdivisions. Where drummers tend to experience time fluctuations in a song can be both apparent and elusive. Solos and section transitions tend to inherently lend themselves to tempo rate changes. That does not mean the song’s time signature actually changes, though. While guitar and piano melodies can be flexible with tempo, accompaniment by drums and bass never radically departs from the original meter. The rhythm section must keep the regular pulse (yet not rigidly in mechanical fashion) and adjust to pace changes.

Regardless of incidental time changes as they relate to the nuances of playing live, the song must return to its original rate at some point. And the onus squarely falls upon drummers to reel everything back in.

There are a few tricks of the trade to re-set a tempo during a song, if the need arises. Cracking your snare hard on the first beat of a measure is one good way to send a message. Closing the hi-hat on downbeats is also a great tool in keeping solid time, so get solid with your footwork on it. If your other three limbs are playing more “feel” during a particular point in a song, the musicians around you tend to key in on the security of the hi-hat. Brief stops can provide that brief non-musical interlude that makes everyone think about coming back in together. And if all else fails, simplify your drum parts to the point of awkwardness and count aloud.

The best way for you to experiment with time and apply more Rubato to the drum set is by practicing along to a metronome or online click track, particularly at slower tempos that are more challenging to control. Work fills into your beats and have fun with the fluctuations.

- Tim Kane is a professional writer and drummer of 20-plus years.

If you asked 10 drum set players how they warm-up before a practice or live gig, you would probably get 12 different answers.

Some musicians don’t perform any warm-up exercises and still look relaxed behind the drum kit. They allow the sound check tunes or even early songs on a set list to massage their chops. Other drummers are nearly obsessed with warm-up exercises. I used to be the skinner who never warmed up with the exception of actual gear lugging and set-up time, which can be a cardio workout in its own right. Then, I bought a practice pad and discovered that by playing various rudiments daily, it did have an immediate effect upon my playing stamina. What quickly became apparent was not so much how long and skillfully I played those drumming essentials, but how I was actually playing them as applied to motion, stick bounce and dynamics.

Drummer fatigue runs rampant in our little corner of the musical woods. The problem is if we push the limits of endurance without proper warm-ups, injuries can and do result. Too much tension while playing the drums can cause inflammation that is passed along to your tendons and ligaments, which then become swollen resulting in pain and possible damage such as carpal tunnel syndrome and tendinitis.

Some drummers use weight training to build endurance, but I don’t recommend that. Learning how to properly breathe – like running a 5K road race – can also certainly add more strength to your muscle behind the kit. Understanding proper arm, wrist and finger techniques are key as well. As the famous Gladstone and Moeller technique books and videos all profess, we all need less tension in order to play at top speeds with maximum power, endurance and precision. But drum set warm-up exercises aren’t so much about just getting your arms, fingers, wrists, feet and toes well oiled for that particular day. We’ll never be totally tension free on drums.

Building endurance via warm-up exercises is all about teaching your brain through repetition to execute proper hand and foot technique. Through memorization of patterns meets technique, you learn to conserve more drum set energy and thus create more endurance.

Those who don’t warm up before playing are really fooling (and cheating) themselves. The good news is you are never too old to learn new tricks on the drum set.

- Tim Kane is a professional writer, editor, and drummer of 20-plus years.

Buddy Rich once said that there were 10,000 drummers trying to play exactly like their heroes. Little did Buddy know it was more like millions trying to play just like him. I can’t claim that Buddy was an early influence of mine as I am a product of the ‘80s and ‘90s. But it turns out Buddy was an early influence for the drummers I most admire.

Buddy was trying to say that drummers should strive to make their own mark in creating music instead of copying someone else’s body of work. I could not agree more, but actually also believe that playing along to and studying a favorite drummer’s music is a great way to both develop your chops and intuitive ears.

Last week I looked back at some vintage videos of my early drummer inspirations while learning to play. Suffice to say, it was an interesting exercise with surprising new discoveries.

When I think of the drummers who truly inspired me early on with the essence of drum set dynamics, fills and polyrhythms, I conjure up three: Neil Peart, Alex Van Halen and Steve Gadd (hear Gadd at the 5:40 time mark for his solo).

When I was a kid sitting in a tiny bedroom with that white sparkle vintage kit I stole from my sister, Alex was the man who taught me how to play hard rock drums and double pedal kick action. Neil, the ProgRock professor of the drum kit – who by coincidence took drum lessons just a few years back to improve (like he needs to) – jumped into my scene with the “Moving Pictures” album. I saw Neil play with RUSH this past summer in Boston, and they played that entire record. It was awesome and inspirational.

To hear “Tom Sawyer” or “Red Barchetta” back then, and try to play along with headphones, was virtually impossible but also quite enlightening with regard to better understanding the complexities of odd time signatures and triplet/flam fills.

Then came along Steve Gadd. He had been around for years, but I did not really discover him until Buddy died and I read about what other drummers had to say.

When I purchased his Gadd Gang album and gave “Way Back Home” a listen, it opened up another facet of my playing style. Steve’s keen ability to just groove in the pocket or heavily synchronize notes between hi-hat, snare and kick with these fantastic buzz-like rolls blew my mind. So I learned the solo in that funk song to the best of my ability. And it turned me on to this greater concept of being a funk/fusion drummer, which is how I would define my style today.

I have come to realize that my own style has early roots in Alex, Neil and Steve’s style – and the styles of the drummers they admired most, and the ones before them.

The point is we should never stop emulating inspirational drummers, for they help us to refine our own skills, style and creativity. I still strap on those headphones from time to time and give “Hot For Teacher” a whirl.

So who were your early drummer inspirations, and even ones you enjoy today?

- Tim Kane is a professional writer and drummer of 20-plus years.

What happens when your sound guy misses the tom clip and drops a mic right atop your nicely lacquered kick drum shell? How about when you leave your wrapped drums in a 100-plus degree car for several days?

It usually means bad things for both types of drum shell finishes.

Lacquer and satin finishes on outer drum shells certainly look great, especially if they accentuate the inner wood grain well, but can get chipped and damaged more easily than plastic drum wrap. Wraps, on the other hand, are more durable, but purists argue they conceal the true inner sound of a shell.

Some dings on a lacquer/satin oil kit can damage not only the finish but also the actual drum, making the argument that if you are an active gigging drummer, a wrap kit will better protect the drum and last longer.

My opinion is so long as you take care of your drum set equipment, it takes care of you. Like a guitar, use cases and care when handling and moving drums. Any drum set can get dinged and scratched whether sitting in your practice spot or on stage. Yes, a lacquer finish is more fragile and easier to dent, but wraps scratch and are more prone to temperature swings affecting the plastic’s glue bond with wooden shell.

A recent IIRC study states that wraps reduce resonance by 4.7 percent. Perhaps that is what you want for sound and in exchange for the nice visual textures, you are willing to sacrifice that percentage. I tend to disagree, as wrap by its very essence, if glued properly, adds another ply layer of thickness to your overall drum shell. The thicker your shell ply, the bigger the sound.

So what should you look for when buying lacquer or wrapped shells?

On lacquer shells, the overall appearance of wood is first and foremost. Does the lacquer show off the outer shell’s knots, curvatures, and grain textures enough, or are you going for a smoky look? Does there appear to be enough clear sealant coat atop the lacquer finish for added protection? How does the finish appear under bright lights versus dark corners? Will they blend well with your other drums?

As for plastic drum wrap, there are nearly endless varieties of colors including solid, swirl, sparkle and pearl patterns to choose from. If you visit a music store, don’t just go with the available floor models. Ask what’s available for textures online or from their distributors.

Remember, a lacquer or satin finish produces a more “open” sounding drum allowing the shell to resonate more freely than is possible with a plastic wrapped finish. However, a wrapped finish can be more durable as well as less expensive.

Everyone has his or her own opinion about what looks and sounds good for shell finishes. Some say my bright green pearl wrap Rodgers kit should only be played at Christmas parties, and that my cherry red lacquer finish Gretsch kit should be in a Marlboro cigarette commercial.

But I sure like the look – and sound – of both, and that is all that matters.

- Tim Kane is a professional writer and drummer of 20-plus years living in Massachusetts.

I have been experimenting with the location, angles and heights of my cymbals lately, so it naturally got me thinking about the larger drumming community’s approach.

And there are some interesting trends developing (or re-emerging) out there. I am seeing more splashes positioned together in a row on single boom stands; inverted cymbals atop large diameter sisters; dual hihats with the auxiliary positioned next to the right-hand ride; left-hand rides above standard-use left hihats; growing use of double Chinas; greater emphasis on bells; and yes, the sizzle cymbal is back – and not only for jazz this time.

Quick tip: Try using a long chain of metal beads wrapped around your bell pads with one side hanging down on the ride for instant sizzle effect – without any need for a specialty model or rivets.

As for predicting cymbal sounds and mastering their relationship to one another, I’ve found a cool exercise. If you have the time, go to any major cymbal dealer’s website and test drive your ideal set up using its online digital cymbal simulators. If you are in the market for additional metal, take your existing primary hihats and ride to the local music store’s cymbal room to ensure the used models jive with the new ones you considering.

Before positioning a cymbal on the boom stand, think about relationship to the drum closest to it. Do you want your splash(es) just off the edge of your snare? Is your 18-inch crash best-positioned right of your ride or above your second tom-tom? Is that china best suited far left or far right for accents? What feels most comfortable?

General industry agreement on cymbal arrangement centers on placing higher pitched cymbals to the left of center and darker or lower pitched cymbals exit stage right. The middle area is much more personalized.

My own cymbal arrangement, which employs Zildjian, Sabian and Paiste gear, recently underwent a set-up metamorphosis of its own.

I’ll take my giant 24-inch ride first. Yes, 24 inches of sheer Paiste, Alex Van Halen-endorsed, glory (not pictured below). The mega-ride used to rest over my floor tom, but I often found it difficult to “ride” the ride without feeling a bit strained.

I previously had two rack toms above the kick, so I took my second drum off the kick mount and clamped it to a heavy stand as a second floor tom. Those adjustments essentially freed up the former right tom kick area for my big ride.

In changing around the ride cymbal position, I also noted that my various crashes – including a splash, two Chinas, and 16- and 18-inch crashes – had no distinct order to them or placement hierarchy. They were just kind of sticking out wherever I could fit them in my space challenged shed-turned-drum studio.

After considerable studio thought in comparison to live gig stage parameters, I decided to group and layer my splash and crashes just above the kick drum – pretty much at a flat horizontal angle. The decision had an immediate impact on my approach and skill development. Center kit cymbal placement occupies the heaviest “strike zone” area of your kit, typically comprising a tom, snare, kick, and first floor tom. So why not have your primary crashes and ride out in front?

Beyond ease in finding and playing each cymbal with a tighter drum set grouping, it has created a welcomed side effect with rediscovery of crash bells and the nuances each cymbal offers when played against each other.

If you play out or move drums around a lot, it is best to work from a file photo of cymbal arrangement and use electric tape or markers to indicate where your boom stand maximum height settings should be. And if you employ a lot of hardware, you may want to mark upper and lower parts so you know what goes with each piece.

With so many different approaches to drum kit cymbal set up, I’m curious what fellow drummers out there are doing with their kits? Share your photos and thoughts here.

TIM KANE is a professional writer and drummer of 20-plus years residing in Massachusetts.