Balance, Dynamic, Approach in the recording studio

[Audiocr381ve]

Many of you know I've been working on this Christmas project. I've been in the studio so much lately. I thought I'd share a few key things I've learned since the knowledge around here is flowing. I share these things as a student who has MUCH to learn.

My approach has dramatically changed. I've always been about playing what is natural, but when you hit the studio, and aren't a frequent visitor to it, it's almost like that part of your brain shuts off because of the pressure, which is knowing that their is no turning back when the song is cut. The key to overcoming this for me was to listen better. Once my bodys metronome was calibrated to the tempo of the song, the only thing left to do after I mapped out what I wanted to do musically, was to really try to enjoy what I was listening to, and have the tape capture that. Let me tell you, the difference was night and day.

Their would be takes I would listen to after I felt like I nailed the timing, pattern, but that KEY thing wasn't their! The thing that separates the men and the boys. It didn't groove baby! With all that said, I learned to take a less mechanical approach and to trust what I know, and that is that I love music. I had to enjoy it. Get a little inspired. This attitude made my playing more colorful and loose. I guess you could say I'm learing lessons that I thought I knew already.

Another key thing I learned was that you really can't fake it in the studio. Your limitations come through clear on tape. One thing I had a real problem with was balance and dynamic.

I really thought I had decent balance and dynamic. But the studio slapped a brotha in the face! Just as much as a vocalist needs to learn the art of singing into a microphone, I realized how vital it is to the groove to have a consitent volume and balance of my limbs. Their would be times where I hit my snare drum slightly off center and it was cause a different tone to resonate. Nowadays their is sound replacement but you can't do that live (unless your rockin electronic drums LOL), so it's no excuse to not learn to get that snare drum nice and consistent.

Anyway, I hope you take something with you from my experience. I'm not extremely proud of my recent performances in the studio, but it's pushing me to get it right and continue to learn and grow! Don't sleep bros, get practicin'! 

[BigFoot_BigThumb]

You get two thumbs up.

[Da_Drumma]

THANKS FOR THE INSIGHT BRO!! I REALLY LEARNED SOMETHING FROM THAT! GREAT SHARE!! I APPRECIATE IT!!

[QCdrummer]

I've recorded a couple of small time things, and it was probably one of the hardest things I've ever had to do. It makes you have an even greater respect for the pros. Its like everything you do is magnified. You can hear every little thing. One thing I had to learn about myself was to quit doing hi-hat tricks during the grooves. It can very very annoying when done too much. And I didn't even realize I was doing it that much!

Another thing was appreciating the simple licks and fills. I had to realize that simpler is better when recording!

[Audiocr381ve]

I've recorded a couple of small time things, and it was probably one of the hardest things I've ever had to do. It makes you have an even greater respect for the pros. Its like everything you do is magnified. You can hear every little thing. One thing I had to learn about myself was to quit doing hi-hat tricks during the grooves. It can very very annoying when done too much. And I didn't even realize I was doing it that much!

Another thing was appreciating the simple licks and fills. I had to realize that simpler is better when recording!

I had the same problem with my hats man. Those accent displacements take away from the groove if not done in the proper place on a recording, that's for sure.

[SabianKnight]

Great topic and share Audio...

This subject of balance and dynamic as well as groove are all tied to technique issues (contrary to popular belief). Groove is intimately tied to consistency of primary movement, coordinated body movement/flow, note spacing and accuracy and tonality due to velocity placement of hits based of stick controlled dynamics of varying heights of consistent tempo.

In plane English... be it good formal technique or inaccurate/bad formal technique the technique you apply has to be consistent to the content it is applied to.

Examples:
Audio's issue...

Inconsistent arm motion if not too much arm motion. You need to isolate the write rotation which functions like the cam on the kick pedal keeping the motion balanced and constant in timing. Next thing to add to this is the supportive proper positioning of the snare to insure the bead of the stick in the center  of the head while placement of rim shots falls mid stick on each hit. Most time until your body is trained to do this wrist rotation is your best option. Watch Vinnie and Weckl and Gary Novak Steve Smith, Bernard Purdie, Jeff Porcaro and Jojo Mayer clips.

The other thing is internal timing... if any part of your motion to hit the snare falls out of time it will result most likely in an inconsistant hit sound wise. Why? because you have changed the muscle tension needed for the "time-space continuum" (my trademarked term concept not the Star Trek thing).

Time-Space Continuum = there is a certain amount of time it takes to get between the space of two notes as well as from the beginning of a move through the hit and back to the preparation beginning of the next. If there is not a consistent committed shift of movement tempo then there is not continual flow which interrupts the continuum flow or groove of the music. Moving in rotational arcs insures the flow when the body is kept in motion especially. Purdie refers to it as his "locomotion". Some of us laugh at Gadd but he has it as well... dancing on the drums. Your entire boy should be playing the time... even the silence.

Freddie Gruber taught Weckl, Steve Smith and Neil Peart the concept of arc motions and continued energy flow which improved each of these players timing and musical flow around the kit. Dennis Chambers uses the concept of arc motion to death in his playing though it may not be a conscious thing or something that he was formally taught. In him however you see it used to modulate and move fills around the kit. 

Study Billy Ward's DVD: BIG TIME for working on the internal clock, relaxing the body movements, keeping the flow and setting up the kit for fluidity and even sound projection.
Studying Weckl DVD: How To Develop Technique is good for this as well.

Practicing the 4 strokes: Full Stroke, Down Stroke, Tap Stroke and Up Stroke first on the practice pad and then the snare while place a basic beat on the kick and hi-hat foot on 2 & 4 will get you started. Then apply it to every sound/voice on the kit to the click at various tempos. Apply this to grooves and fills. In fills start with placing the pattern on the snare only using the various stroke heights then start moving the accent through the pattern. After that Move the accent to a differnt voice on the kit while maintaining tap strokes on the snare and or hats. All these variation exercises will help to improve sound constancy and groove.

Study Chris Coleman's DVD, Ray Luzier's DVD, Akira Jimbo's - Wasabi, The books Master Studies I & II, Joe Franco's book Double Bass Drumming

Example:inconsistant ideaology/misapplication of technique
Drum Corp application has no place in 'Nawlins swing/funk. Though the rudimental knowledge is fit the stiff application of most drum corps players playing through the drum is out place. Problem caused... it won't groove because it is too quantized, it has no swing and no dirtiness too it. Also there is now pliability or softness to the hits. So make sure that you understand the concepts behind the application of the exercises and what the music you are playing demands.

[Audiocr381ve]

Great topic and share Audio...

This subject of balance and dynamic as well as groove are all tied to technique issues (contrary to popular belief). Groove is intimately tied to consistency of primary movement, coordinated body movement/flow, note spacing and accuracy and tonality due to velocity placement of hits based of stick controlled dynamics of varying heights of consistent tempo.

In plane English... be it good formal technique or inaccurate/bad formal technique the technique you apply has to be consistent to the content it is applied to.

Examples:
Audio's issue...

Inconsistent arm motion if not too much arm motion. You need to isolate the write rotation which functions like the cam on the kick pedal keeping the motion balanced and constant in timing. Next thing to add to this is the supportive proper positioning of the snare to insure the bead of the stick in the center  of the head while placement of rim shots falls mid stick on each hit. Most time until your body is trained to do this wrist rotation is your best option. Watch Vinnie and Weckl and Gary Novak Steve Smith, Bernard Purdie, Jeff Porcaro and Jojo Mayer clips.

The other thing is internal timing... if any part of your motion to hit the snare falls out of time it will result most likely in an inconsistant hit sound wise. Why? because you have changed the muscle tension needed for the "time-space continuum" (my trademarked term concept not the Star Trek thing).

Time-Space Continuum = there is a certain amount of time it takes to get between the space of two notes as well as from the beginning of a move through the hit and back to the preparation beginning of the next. If there is not a consistent committed shift of movement tempo then there is not continual flow which interrupts the continuum flow or groove of the music. Moving in rotational arcs insures the flow when the body is kept in motion especially. Purdie refers to it as his "locomotion". Some of us laugh at Gadd but he has it as well... dancing on the drums. Your entire boy should be playing the time... even the silence.

Freddie Gruber taught Weckl, Steve Smith and Neil Peart the concept of arc motions and continued energy flow which improved each of these players timing and musical flow around the kit. Dennis Chambers uses the concept of arc motion to death in his playing though it may not be a conscious thing or something that he was formally taught. In him however you see it used to modulate and move fills around the kit. 

Study Billy Ward's DVD: BIG TIME for working on the internal clock, relaxing the body movements, keeping the flow and setting up the kit for fluidity and even sound projection.
Studying Weckl DVD: How To Develop Technique is good for this as well.

Practicing the 4 strokes: Full Stroke, Down Stroke, Tap Stroke and Up Stroke first on the practice pad and then the snare while place a basic beat on the kick and hi-hat foot on 2 & 4 will get you started. Then apply it to every sound/voice on the kit to the click at various tempos. Apply this to grooves and fills. In fills start with placing the pattern on the snare only using the various stroke heights then start moving the accent through the pattern. After that Move the accent to a differnt voice on the kit while maintaining tap strokes on the snare and or hats. All these variation exercises will help to improve sound constancy and groove.

Study Chris Coleman's DVD, Ray Luzier's DVD, Akira Jimbo's - Wasabi, The books Master Studies I & II, Joe Franco's book Double Bass Drumming

Example:inconsistant ideaology/misapplication of technique
Drum Corp application has no place in 'Nawlins swing/funk. Though the rudimental knowledge is fit the stiff application of most drum corps players playing through the drum is out place. Problem caused... it won't groove because it is too quantized, it has no swing and no dirtiness too it. Also there is now pliability or softness to the hits. So make sure that you understand the concepts behind the application of the exercises and what the music you are playing demands.

Thanks for taking the time Sabe. I've decided that I'm going to quit making excuses for myself and dedicate time to practice. Which I do maybe once a month.

Out of the DVD's you recommended, which one do you think is priority for me bro?

[SabianKnight]

Thanks for taking the time Sabe. I've decided that I'm going to quit making excuses for myself and dedicate time to practice. Which I do maybe once a month.

Out of the DVD's you recommended, which one do you think is priority for me bro?

Out of the one's I mentioned above Billy Ward's for working on Time, Groove and Studio approach.

But I highly recommend Michael Packer's Bass Drum and Hi-Hat Technique. He break it to the true fundamentals of the instrument and making them groove. By the time he moves into fills you may not ever want to stop groovin'. He puts every exercise to a metronome and they all groove! His performance clips at the end of the DVD prove the viability of the exercises and their application.

[Audiocr381ve]

Great man, I know what to request for my birthday now. Which is Monday btw!

[SabianKnight]

Great man, I know what to request for my birthday now. Which is Monday btw!

Michael Packer's is only $20 so you might want to add something to your list... else you are on cheap date, LOL. Though the info is truly priceless. This one will challenge you. Don't cheat either and try and play by ear... play from the booklet and try and keep up.

[drumzalicious]

Good points man.

I can personally say from being at Berklee i have been in the studio alot more than i was when i was back home and its completely changed my outlook on playing as a whole.

I already knew of the mindset that you need to practice to a metronome so that your timing becomes so solid that you make it seem as though the click is accompanying you not you accompanying the click. the thing i learned though was the consistency and the accuracy.

When you go into a studio in this day and age you can record one part at a time but the thing is you dont want to be one of those musicians that a producer has to do bits and pieces at a time you want to be the guy they call because they know its only gonna take you two takes to nail the part and everyone can go home.

To be able to do that though you have to be very accurate. not just with your timing but also with your sound. the way you hit the drum translates so much more in the studio than it does when your sitting by yourself in the practice room. the listener can tell and the engineer can tell as well. What alot of cats dont realize is that that translates to live playing as well.

Chris made a visit to Berklee when he was in boston on the New Kids on the Block tour and he was talking about consistency and how the fact that in a arena its felt even more. he gave the example of the song "Single" with Ne-Yo and NKotB. the song has 8th notes on the bass drum almost the whole song, best believe the audience will notice if you hit one softer than the other.

Along with accuracy you learn how to be your own engineer in the studio. I learned how to "mix" myself from the drum throne. in other words i learned to balance my sound to what i know it needs to sound like before the engineer even touches the faders to mix the track. it helps the engineer and it also makes you more musical as a player when you encompass such dynamics.

i know i didnt really say anything that wasnt said already in the thread but i just wanted to kind of elaborate on the topics already covered.

[Audiocr381ve]

Good points man.

I can personally say from being at Berklee i have been in the studio alot more than i was when i was back home and its completely changed my outlook on playing as a whole.

I already knew of the mindset that you need to practice to a metronome so that your timing becomes so solid that you make it seem as though the click is accompanying you not you accompanying the click. the thing i learned though was the consistency and the accuracy.

When you go into a studio in this day and age you can record one part at a time but the thing is you dont want to be one of those musicians that a producer has to do bits and pieces at a time you want to be the guy they call because they know its only gonna take you two takes to nail the part and everyone can go home.

To be able to do that though you have to be very accurate. not just with your timing but also with your sound. the way you hit the drum translates so much more in the studio than it does when your sitting by yourself in the practice room. the listener can tell and the engineer can tell as well. What alot of cats dont realize is that that translates to live playing as well.

Chris made a visit to Berklee when he was in boston on the New Kids on the Block tour and he was talking about consistency and how the fact that in a arena its felt even more. he gave the example of the song "Single" with Ne-Yo and NKotB. the song has 8th notes on the bass drum almost the whole song, best believe the audience will notice if you hit one softer than the other.

Along with accuracy you learn how to be your own engineer in the studio. I learned how to "mix" myself from the drum throne. in other words i learned to balance my sound to what i know it needs to sound like before the engineer even touches the faders to mix the track. it helps the engineer and it also makes you more musical as a player when you encompass such dynamics.

i know i didnt really say anything that wasnt said already in the thread but i just wanted to kind of elaborate on the topics already covered.

Nah man you were right on bro. I love to hear insight from cats that go to berklee anyway haha

[drumzalicious]

Man you would be surprised at how many people at Berklee wouldnt make you look or listen twice. its not like it used to be where basically every one was really killin. there are a few just not as much of a majority as you would think

[Audiocr381ve]

Man you would be surprised at how many people at Berklee wouldnt make you look or listen twice. its not like it used to be where basically every one was really killin. there are a few just not as much of a majority as you would think

Really? Please tell me why? I know in my town if we find out you went to berklee we all get nervous. We all wish we went to college there. That's crazy to hear.