Drum It With Brummet

I both play and teach drum set and auxiliary percussion - congas, bongos, timbales, cowbells, blocks, shakers, etc. When I am playing live in the percussionist mode I am usually limited to how many channels on the sound board I can have for my microphones. Typically I’ll get one each for my congas and bongos and a third for over my rack, which has my timbales, cowbells and blocks. From experience in both live and studio work I have learned that there is a certain way to set up my rack so that sounds of different “sonic intensities” – or volumes are balanced for the one and only microphone that lurks above the rack.  Obviously my bar chimes that are tinkly and delicate are no match for full blown rim shots on the timbales – so yes, they would be un-matched in intensity. But what about the cowbells, woodblocks, and weird sound effects in between all that? Sometimes we have to gauge what is more intense by simply using our own ears as a guide. For example: you wouldn’t play a cowbell ...

Sunday In The Park connects talented performers with stage opportunities during the warm months.   http://www.sundayinthepark.ca ~~   Find us online via :  https://taplink.cc/brummet  ~~

Marco Minnemann - Drum For Your Life, Drumeo Video :  Check out this fascinating video where Marco displays some very interesting time changes. This is not your typical wackity-wack drummer.  See how he melodically plays, seamless, flawless, and with class. https://youtu.be/Z89riOo-8pM ~~   Find us online via :  https://taplink.cc/brummet  ~~

Inner Dynamic Control One of the common questions my drum set students asks of me is: “ What can I do to be a better drummer ?” This is a big question to answer for sure because there are so many facets of being a “better” drummer.  The most important tool for becoming a better drummer is to hone your dynamics. Of course we all need to be able to play quiet or loud depending on what the song - or part of the song is requiring. As drummers we need to be aware of the different dynamics of each venue we play at (whether the room is loud and boomy, or tight and hushed). Drummers need to be aware of what I call “inner dynamics” that will be required for each of these different rooms.  For instance one of the venues my band Tantrum plays at regularly has a large, long, high ceiling with a good sized dance floor. There is a wonderful, natural resonance to the room and I can play pretty much unrestricted. I don’t mean loud and crazy, I just mean I don’t need to adjust, within my kit, ...

  Ballaké Sissoko and his playmates created a very special concert sharing world music in a beautiful and visually striking way. https://youtu.be/diA2MlFJggo    * 1 hour 20 minutes Check out the Kora player. notice the long strings... those ropes of hide braided for tuning.  The guitarist who joins about 20 min in adds this Kora-like playing to a unique guitar - note the double strings, and the wildly different strings, (per normal 6 strings)... making it a 12 string but obtaining different tones due to the sized strings.  ~~  Find us online via :  https://taplink.cc/brummet  ~~

  Western Canadian Music Alliance is an organization created by the Music Industry Associations (MIA’s) of British Columbia, Alberta, Saskatchewan, Manitoba, Northwest Territories and the Yukon Territory. Its purpose is to promote and celebrate western Canadian music.  BreakOut West , the Western Canadian Music Awards , and the Western Canadian Music Industry Awards are the primary events, among their many projects.  Learn more @: https://breakoutwest.ca   ~~  Find us online via :  https://taplink.cc/brummet  ~~

Part 2 of 2:  If Drums Were Lost (con't from Dec 3rd):   For a time I was a very busy studio drummer in the Okanagan (BC, Canada) as well as playing with some of the top bands in the area at the time. I went through the trials of the road touring BC and Alberta (Canada) and definitely learned the “ paying your dues ” part of the business; there is an entire book to be written on that alone!  When my wife and I relocated to a smaller city there was not many openings for drummers. What few bands there were had some one already playing the drum kit. So I switched gears and played mostly auxiliary percussion (congas, bongos, timbales, etc) in bands. Also I was lured into a few local theatre productions, which incidentally, was a great way to hone my reading skills.  Now I have a perfect balance of playing in a weekend rock band, teaching both drum set privately and hand drums in groups. I also build and repair just about anything to do with drums and percussion and I hav...