Blog Notice


I don’t use WordPress for my main blog anymore because I don’t need all the power and features so I have found simpler tools for blogging and connecting with people. I may still post here occasionally, but I am doing most of my blogging at the links below. – This is my main blog where I post whatever tickles my fancy. Mostly drums, humor, video games (I’m a Tomb Raider junkie), and other stuff. The platform is actually Tumblr, who lets me use my personal domain for free. – This is my new blog where I post about tea, coffee, and teatime related eats along with links to articles for a good read while you enjoy your own teatime (or any time).

What does an awesome modern rock groove sound like?

Great drummer, always fun to listen to and watch.


This!! here is Morgan Rose from Sevendust tracking drums to a song off their new album “Black Out The Sun” called Picture Perfect. I mean I probably watched this drum clip a thousand times last year when it first came out but I happen to come across it again today and just wanted to showcase it because it is simply beautiful. I mean it’s the perfect definition of groovin’ rock beat. It has all the elements. Ghost notes, perfect bass drum placement and just the right amount of fills. Kudos to Morgan and all the boys of Sevendust.

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FFWDing to the Best Part: “In the Air Tonight,” Phil Collins (1981)

Great song by a great drummer/artist.

Neurotic City

All right, let’s get this shit out of the way.

Best part? 3:16-3:20. Everyone knows this song has an 11-beat drum solo, the likes of which will never be duplicated. Everyone plays the air drums/beats the steering wheel/vocalizes the rhythm every damn time this song gets played on 80s on 8 (or your terrestrial radio station of choice).  But the thing is … (shhh!) … it’s kind of the only good part of the song.


What?  Think about it. The whole thing is about 15 beats-per-minute too slow, the melody is boring, and the lyrics lost all mystique once the whole true story of a guilt-ravaged SOB who spiraled off the mortal coil after being literally spotlighted by Phil Collins himself urban legend was proven to be just that — the stuff of legend (Eminem’s efforts to perpetuate said myth notwithstanding).

Wikipedia says this about the drum solo:


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End of an Era

I have had self hosted sites and blogs for several years but I’m tired of paying for hosting services so I’m moving all my stuff to free blog services. I’ve got this site but it doesn’t have my personal domain because with WordPress that is a premium/paid service so my domain points to my Tumblr blog. Tumblr is also an easier blog platform so I’ll be doing more quick posting there but will be posting longer articles here, which will be less often but hopefully on a regular basis.

Suspended Amplification

Well, it didn’t take long after getting a new kick drum mic to get an internal mount for it. I purchased a Kelly SHU composite mount and installed it last night. It will be a while before I can plug into a PA to fine tune the mic placement, but it is in a good spot based on previous tests and there is enough adjustability in the angle of the mic for the fine tuning. Results will be posted after testing can be done.

My one concern is that there is a fair possibility of the mic moving while the drum is in transit. I’ll need to secure the mic and it’s clip somehow to keep them from shifting. With that done I think the mount will be perfect, so long as the composite material is as strong as the company says it is.

Installation was pretty easy and quick. I used 6 of the 8 provided straps, mounted to the shell using the screws that hold the lugs, and about half of the provided rubber cord. Once mounted I attached my AKG D112 using it’s mic clip and added a 3’ XLR cable that will run out of the resonant head port hole for the time being. I’ll come up with something more elegant later. I really don’t want to drill holes in the shell. I may actually mount the female XLR end to the resonant head itself, next to the port. Just a thought.

Here is a photo of the result. Before putting the head back on I threw in a few t-shirts that can just sit in the middle or pushed up against the heads, depending on the needs of the acoustics of the venue.

Setting Up Your Kit

How do you set up your kit? Toms mounted on the kick drum? Toms over kick drum but mounted on stands? Toms to the side? Four piece? Five piece? Large kit? Double bass? There are loads of variations out there. Which one do you use? Or are you like me and change it around from time to time?

I have played the basic four piece setup, which I really enjoy for it’s simplicity, all the way up to a large double bass kit. A good deal of the decision making process in the size of your kit is made by the style of music you play. A prog rock drummer is likely going to play a much larger kit than a traditional jazz drummer, although there are exceptions to this rule.

I currently play a five piece kit consisting of one kick drum, one snare drum, one floor tom, and two suspended toms. It offers me enough voices, or tones, for variety in fills while still being compact on stage and easy to haul. I do use a double pedal on the bass drum and occasionally use a side snare. The one problem I have with this setup is how to set it up. I keep going back and forth between having the toms in the traditional position, over the kick drum, and in an offset position to the left of the kick drum, like I had them back in my double bass days.

An advantage to having the two toms offset next to the kick drum is that the ride cymbal can be moved in, overlapping the right side of the kick drum like it would be with a four piece kit, which is really comfortable when you spend much time on that cymbal. The down side is that the hi-hat gets moved further away from the snare to make room for having two toms in the position that a single tom would be in a four piece setup.

Keeping the toms above the kick drum has several advantages; hi-hat can be very close to the snare while still leaving room for a cymbal between the hi-hat and first tom and the entire kit is compact and “close knit”, making it wasy to play with minimal wasted energy, and easy to reach everything. The disadvantage is that the ride cymbal has to be moved, either further away to the other side of the floor tom, or higher, above the second tom.

Aesthetically I prefer the traditional, toms over kick, position. Ergonomically I’m torn. I have just switched back to traditional from offset, although I do have the toms on cymbal stands, which allows me to have them shifted slightly to the left instead of evenly centered. A mild compromise.

So, how do you set up your kit? Please feel free to leave a comment and even link to a photo of your kit.

Red and Raw

Radiodust had two shows that I forgot to write about and they were over a week ago. Shame on me!

On the 17th we played at the Boise RAW Artist show at The Powerhouse Event Center. It was a fairly large crowd but we only got to play 5 songs. I also think we may not have been the kind of music most of the people at the show were into. It was mostly visual arts; painting, photography, fashion design, makeup, hair style, and more. I think people enjoyed our short set, but there wasn’t great response.

On the 19th we played at The Red Room where we had another very small audience, but we played a great set. We got to play all of our songs and we were the tightest we have ever been. Audience enthusiasm seemed really good among the few people that were there. With a larger audience it would have been an amazing show.

I don’t have any other shows scheduled in the near future with any of the bands I am involved with so there won’t be any shows to write about for a while. I’ll have to write about other drum related stuff.