HDTenEightyP/NetNews huggingface dataset:
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: The most unique drummer
Organization: Educational Computing Network
Date: Wed, 30 Dec 1992 17:07:08 GMT

My candidate for the most unique drummer is Tony Oxley.
He is from the British free jazz scene, and probably the closest thing
before him is Dutch drummer Han Bennink.

Oxley has what you would call a "lost-and-found" kit.  There are a lot
of other things other than drums and cymbals for him to hit, stuff he
got from a junk yard.  His style has swirls of sound, even when he is
keeping time.  Things that you normally hear on toms are played on these
other instruments.  Sometimes they have a metallic sound, other times,
like a bongo played with sticks.  It sounds as if he has some drums and
cymbals with unusual tunings in there.  All in all, a very unique
collections of sounds.

He has played with Cecil Taylor and Anthony Braxton.  The most recent
thing I have seen with him is on John Surman's ECM recording
Adventure Playground.  Unfortunately, the leader's lackluster playing 
makes the album less than desireable, but the longest cut Quadraphonic
is very good, and is a good intro to Oxley's style.

You can also see him on the video Burning Poles, by Cecil Taylor.

Jeff

Newsgroups: rec.music.makers.percussion
From: dchavez@tincup.enet.dec.com (Dale J. Chavez - Colo Spgs)
Subject: Drum Videos Review: Weckl, Steve Smith, Morgenstein
Reply-To: dchavez@tincup.enet.dec.com (Dale J. Chavez - Colo Spgs)
Organization: Digital Equipment Corporation
Date: Mon, 28 Dec 1992 16:47:52 GMT



    Rod Morgenstein - Putting It All Together
    Steve Smith - Part One
    Dave Weckl - The Next Step

The Morgenstein video is much better than I thought it would be.  He's much
more versatile than I thought.  I bought (and subsequently returned) the
last Winger CD thinking his style would come out a little more, but it
didn't.  The video on the other hand was made in '88 when he was still with
Steve Morse.  He focuses quite a bit on ghost strokes and double-bass
drumming (to be expected).  Good video.

The Steve Smith video was as good as I had expected since I've heard more
of his playing over the years (Journey, Vital Information). Again, he has
quite a bit of versatility and can play jazz as well as anyone I've heard
(short of Weckl, or Vinnie).  What I like most about Smith's video is the
booklet with all the transcriptions that comes with it.  The sould quality
is excellent also.

Weckl's follow-up video, "The Next Step" is every bit as good as the first,
but surprisingly, not nearly (in my opinion) as technical.  He tends to
focus more on practical exercises that can be applied to the kit, as well
as explaining how he came up with the drum part to a song on the first
video (which he plays slowly).  He also talks about playing in odd time,
and incorporating triplets around the kit.

On a side note, I saw Weckl give a clinic in Boulder last February, and
he's just as spectacular live as he is on the video.  What impressed me
most was that he's really a down to earth kind of guy...I unfortunately
thought he might be kind of pretentious, but he's not.

--
------------------------------------------------------------------------
Dale Chavez                            !  Email:
Digital Equipment Corporation          !  dchavez@closus.dec.com
Information Design & Delivery Services !  !decwrl!closus.dec.com!dchavez
Colorado Springs, Colorado             !  dchavez%closus.enet.dec.com

Newsgroups: rec.music.makers.percussion
From: smills@news.weeg.uiowa.edu (MuffinHead)
Subject: Re: "My first set," sort of... ideas?
Keywords: drum, rums, sums, um.. tums
Organization: University of Iowa, Iowa City, IA, USA
Date: Mon, 28 Dec 1992 06:44:52 GMT

Jeff,
   I'd suggest not skimping on cymbals. You can't tune a cymbal. Cheap cymbals
will stick out like a yuppy at a ho-down. Actually, they won't stick out
because they won't be heard. Go for some Zildjian Rock's or Z's, if you
are planning on playing metal.
   On the other hand, used drums can create almost any sound you want just
as well as new drums. Cymbals really aren't all that expensive, especially
if you know the salesman and can cut a deal on buying a bunch at a time. 
   If you find a set of used drums, you can always fix up the bearing edges,
paint them, get good heads and tune them to your sound. Used cymbals can
only be polished and run over with your car to change the pitch. :)

Muff
Newsgroups: rec.music.makers.percussion
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.music.makers.percussion,rec.audio.pro
Subject: Re: miking bodhrans
Date: 29 Dec 92 07:02:28 GMT
Followup-To: rec.music.makers.percussion
Organization: Grass Valley Group, Grass Valley, CA

In article <1992Dec28.193941.9786@ac.dal.ca> cullen@ac.dal.ca writes:
>> Monica Cellio writes:
>>> Can anyone here give me advice on the best way to mike a bodhran? 

I have both recorded and reinforced the borhran, large and small
sizes.  I have used simple vocal mic's and nicer electret condensers.
Use the mic that sounds best to your client.  Read below for details
on how I have done it in the past.

Mur replies:

>I've never recorded one, but I have miked them live, and you might find this
>useful. I just use a 57 (unless I have something better) about 2 inches from 
>the head, and just next to the player's hand, on the inside of the drum. 

The drums like this that I have recorded and reinforced were handheld
and I was unwilling to ask the drummer to hold it still enough to get
2" from the head :-)  

For P.A. I have placed the mic directly in front of the
drum, back about 12" and at the same height the drum was held.  For
recording I have used the same position except that I was higher and
pointed down towards the drum.  I was about 2' or so back.

The ensamble I was recording was situated in a circle in the living
room of one of the players.  They were confortable with the room,  it
was out in the sticks.  I set up the equipment outside on the porch of
the house.  A nice album!

>Assuming a soundcraft 200b fixed strip, the EQ would be low at 3 o'clock
>low-mid at 2:30, high-mid at 10:30, and high at 1:30. Then add some
>rack/floor tom rock reverb to taste.

Chris Translates:
"low" = +6-9 dB at 60 Hz.
low-mid= +6 @250 Hz
high-mid= -6dB at 5kHz
High= +3 at 12 kHz

The above description assumes that:
12:00 is at the 0dB detent.  3:00 is to the right 90 degrees and 9:00 is
left 90 degrees.

Good luck!
-- 
Chris Christensen                  The opinions I express are my own,
chrisc@gold.gvg.tek.com            and sometimes they are wrong!
916-478-3419 FAX 916-478-3887      After all, I *AM* only human.
Newsgroups: rec.music.makers.percussion
From: smills@news.weeg.uiowa.edu (MuffinHead)
Subject: Re: Percussion Videos & Tricks
Organization: University of Iowa, Iowa City, IA, USA
Date: Thu, 31 Dec 1992 06:17:06 GMT

purelght@deeptht.armory.com (Eric Braun) writes:

>Can anyone out there recommend good videos or other resources for learning
>new percussion tricks, rhythms, etc. I'm particularly interested in
>African, Latin, and other ethinic rhythms and Poly-Rhythm tricks.

   I just saw a review in the Feb. MD for a video by Peter Magadini called
The Polyrhythm Video. The review says, "...I believe most students would
have benefitted from examples of sound patterns for each of the polyrhythms
covered; only the first is performed. ... Despite its faults, though, the
video does clarify the basics and promote an open-minded awareness of poly-
rhythms..."
   Sounds like something I may check out. Oh, it's 40 minutes and $24.95.
MD gives the address:

P.O. Box 1818
Champlain, NY 12919

Newsgroups: rec.music.makers.percussion
From: umlehner@uxa.ecn.bgu.edu (Mike Lehnertz)
Subject: Porcaro tracks...
Organization: Educational Computing Network
Date: Fri, 25 Dec 1992 02:18:36 GMT

   Rosanna man... That is about the best shuffle I have heard. It just
grooves man. But then again, nobody could shuffle like Jeff Porcaro.
Even Dave Weckl said that on his solo album he has a "Jeff Porcaro
Shuffle" on it. It must be nice having a shuffle style named after you.

   Much of his Steely Dan stuff is smoking. Not bad considering he was
still a teenager when he recorded some of that. Ummmm... He was on a few
of Michael Jackson's tunes. A Bruce Springstein album too... 


                                                 - Mike -
From: caedmon@cats.ucsc.edu (Axeman)
Newsgroups: rec.music.makers.percussion
Subject: "My first set," sort of... ideas?
Date: 28 Dec 1992 04:43:23 GMT
Organization: University of California, Santa Cruz
NNTP-Posting-Host: am.ucsc.edu
Summary: What should I get?
Keywords: drum, rums, sums, um..


Howdy everybody.  I've had a friend's drumset at my house for about two 
months.  He took it back the other day, and now I find myself drumming
on everything.  I must have a set!  I'm a beginner and proud to admit it,
but I am looking for a heavy/death metal setup moreso that I am a jazz/funk
setup.  I have been on a drumset long enough to know what I want (I hope!)
My wish-list set is as follows:
	Double Bass
	Ride
	Hihat
	Snare
	2-3 toms
	Hardware, hardware, hardware.

I am completely in-the-dark as to prices.  I am fortunate to have 'contacts'
at various big music places (I play guitar primarily), but I don't know
the "deal" with retail-price vs. actual price for drums.  The last guitar
I purchased was what I consider a good deal.  Retail 1400, mine for $900.
What prices can I expect and what prices can I be wary of for the afore-
mentioned drum set?  I'm not familiar with tonal qualities of different-
sized cymbals, but I'm ready to 'skimp' on that department in order to get
good fundemantal pieces.  

Also, what should I be cautious of if I end up getting a used set? (prices?)

Thanks for any input, output, or redirected i/o.  All I can offer in
return are really hectic guitar licks. :)

-- 
,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,
,;';,   caedmon@ucscb.ucsc.edu               Jeff Ishaq          .,;';,
,;';,   I am a meatball:  Bite me.           Guitar withdrawal!  .,;';,
,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,
Newsgroups: rec.music.makers.percussion
From: gtas1@pool.info.sunyit.edu (Terrance Stedman)
Subject: Re: How About Some talk about Hot Drummers!
Organization: State University of New York -- Institute of Technology
Date: Mon, 21 Dec 1992 07:05:03 GMT


	Mainstream Jazz: Will Kennedy (Yellowjackets).  Demonstrates
			some of the tastiest cymbal work I've ever heard.
	Rock: Peart.  End of story.
	Electric Jazz: Dave Weckl.  Pure technique and amazing chops.

On an unrelated note, does anyone else wish Vic Firth would bag the purple
dye on their signature sticks?  This crud gets all over my cymbals.  
-- 
 I ) I I <~ I_I   Terry Stedman                          .sig copyright   
 I \ I_I _> I I   Internet: gtas1@pool.info.sunyit.edu   1992, T. Stedman 
--------------------------------------------------------------------------
Newsgroups: rec.music.makers.percussion
From: schultz@stpaul.ncr.com (STEVE SCHULTZ)
Subject: Any Info on ddrums brand of pad/synth?
Keywords: drum machine; drum pads; trigger pads
Organization: Product Marketing
Date: Wed, 23 Dec 1992 17:07:07 GMT

Somebody please point me in the right direction to find out more information 
about ddrums - a brand of drum pads/triggers/drum machine brain/etc.  I saw 
a used set of these at my local store and they were rather interesting...
what is used market price, MIDI limitations, upside/downside, etc.

I am not a drummer but am interested in finding out more about the 
electronic drum world, drum triggers, etc.

Any info would be helpful.  Thanks in advance.

Steve Schultz
NCR NPD, St.Paul, MN
eMail:  steve.schultz@stpaul.ncr.com
 
Steve Schultz, Mktg Product Manager
NCR NPD, St.Paul, MN
eMail:  steve.schultz@stpaul.ncr.com
Newsgroups: rec.music.makers.percussion
From: umlehner@uxa.ecn.bgu.edu (Mike Lehnertz)
Subject: Re: How About Some talk about Hot Drummers!
Organization: Educational Computing Network
Date: Fri, 25 Dec 1992 02:01:42 GMT

   Vinnie is on tons of recordings. Albums, commercials, movies...

   Anyway, the thing about Vinnie is this... You listen to a recording
that he is on and you go "oh, good groove Vinnie is playing." Then, as
you listen to it again, you start hearing things that you didn't hear
the first and second times and you go "Holy shit, that is some amazing
stuff! How's he do that?!?" Like, I have listened to John Patitucci's
album (self titled) and Vinnie is playing this samba I believe and he is
kicking with the bass perfectly. You listen to it and think what he is
playing is a piece of cake until you pick up a pair of sticks.

   There are some articles that I have read about the biggies in the
drum business and they all say how awesome Vinnie is. Jeff Porcaro in
particular when he saw Vinnie with Zappa on Saturday Night Live. Vinnie
wasn't well-known then. He really isn't well known now either, only in
the drum world.

   A friend of mine was taking lessons with Gary Chafee. He asked him
about Vinnie and Steve Smith. Vinnie and Steve were both friends at
Berklee. He said that Steve would come to his lessons and sound totally
unprepared. Steve would practice and practice... Vinnie came into his
lessons and banged everything out with no effort. I don't think anyone
has impressed Gary Chafee more than Vinnie.

   (Can you tell I'm a huge fan?)



                                            - Mike -
From: williamt@athena.Eng.Sun.COM (Dances with Drums)
Newsgroups: rec.music.makers.percussion
Subject: Re: How About Some talk about *Hand* Drummers!
Date: 23 Dec 1992 22:37:12 GMT
Organization: Sun Microsystems Inc., Mountain View, CA
Reply-To: williamt@athena.Eng.sun.com (Dances with Drums)
NNTP-Posting-Host: athena

In article <germuska.725140021@antioch.acns.nwu.edu> j-germuska@nwu.edu (Joe Germuska) writes:
>I'm not much of a hand-drummer yet! (but plan to start scoping out some skins:
>which could start a new thread -- anyone know the ranges I should look in as
>a beginner who doesn't want to spend a fortune, but doesn't want crap? I'm
>thinking of either bongos or a tar (or other frame drum) but might consider
>a conga or tablas, although I think that either would be wasted on a beginner.
>I did see a pair of ceramic tablas for about $100 - seemed really cheap?)
---

    From what I hear, tabla's would be a bear to start on -- you have to
practice for 1-2 years before you can begin to make basic music.  Ick.

    Bongos lack a low end -- something I like.  A tar lacks volume and
speed, but has a good sound in a *quiet* room -- somewhat haunting -- but
group playing options are limited.

    Conga's are a fair starter -- or one of the small asiko's like from
West Cliff Percussion -- their small pine, goat head asikos run about
$192 retail, I believe -- their hard wood, thick goat head baby asiko run
about $250 -- worth the xtra 58$ in my opinion.  They have a fairly good
low end, and when cranked (they are strung drums), can compete with a
Djembe.

    Of course Djembe's are great for alot of different purposes, but they
lack the warmth of tone of cowskin drums -- so maybe a full size
asiko/cow would be best for that.  Congas aren't real great on the low
end.  Djembe's have a great low end and a great high end, but good ones
(from senegal), can get pricey -- anywhere from 375-600+ depending on the
size of the head.  I've seen djembe's from Hawaiian woods that looked
like furniture (high polish), that sounded fair -- that sold for as much
as 900!...  Don't think it was worth that price though.

    I guess, a asiko styled conga or quinto from west Cliff would be a
good deal.  They have a great sound -- better than an expensive LP.  I
seem to remember them running around $325 for the Quinto, maybe $350 for
the conga -- but don't quote me.

    West Cliff Percussion runs out of Santa Cruz, you phone them at (408)
458-1946.  Tell, em William sent ya!  -- maybe I can talkem into a
discount for netters!...

    later...

william


--
1935 will go down in history.  For the first time, a civilized nation has
full gun registration.  Our streets will be safer, our police more efficient,
and the world will follow our lead into the future.
                         --Adolf Hitler
From: rmascaro@uniwa.uwa.edu.au (Robert Mascaro)
Newsgroups: rec.music.makers.percussion
Subject: Re: How About Some talk about Hot Drummers!
Date: 21 Dec 1992 14:43:03 +0800
Organization: The University of Western Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

In Australia there is a drummer by the name of Virgil Donati. I just
went to his clinic, he uses a sonor single bass double pedal. He can do
double stokes on his double pedal at 210bpm, and it sounds like a
perfectly executed snare roll!. Greg Bisonnette remarked that he is one
of his very favourite drummers at his recent clinic. He can play
Jazz/fusion to heavy rock. Modern Drummer had him as an up and coming.
He plays in Australia in a band called Southern Sons, watch for him.
regards,
Rob.

Doug Harbord (doug@justdoit.ingr.com) wrote:
: Lets see, I just bought the Vital Information CD, Easier Done Than Said, and I
: was completely blown away by the first cut which was a blazing boogie. Steve Smith
: has come along way since Journey. I put him at the top of my Jazz/Fusion/Rock idols.
: I also saw the new DCI video of Simmon Phillips. This guy is a monster. His double 
: bass licks are great. I also hear that he has been asked to tour with Toto on the 
: 1993 tour. What an honor to be able to play in Jeff's place.
: 
: Lets hear some Talk about "Talented Drummers" you listen to! 
: --
: Doug Harbord 	Intergraph Corporation
: M.S. CR1102	Systems Product Marketing - Graphics Technology
: (205)730-6166	b11!justdoit!doug
: internet 	doug@justdoit.b11.ingr.com
Newsgroups: rec.music.makers.percussion
From: anzlovar@wl.com (Bob Anzlovar)
Subject: Re: How About Some talk about *Hand* Drummers!
Organization: Warner Lambert / Parke-Davis
Date: Wed, 23 Dec 1992 23:00:08 GMT

In article <germuska.725140021@antioch.acns.nwu.edu> j-germuska@nwu.edu (Joe Germuska) writes:
>I'm not much of a hand-drummer yet! (but plan to start scoping out some skins:
>which could start a new thread -- anyone know the ranges I should look in as
>a beginner who doesn't want to spend a fortune, but doesn't want crap? I'm
>thinking of either bongos or a tar (or other frame drum) but might consider
>a conga or tablas, although I think that either would be wasted on a beginner.
>I did see a pair of ceramic tablas for about $100 - seemed really cheap?)

I'd say that between the two, conga is more approachable. I've never
seen ceramic tablas before, only the metal ones. 

I own a set of Pearl congas I got on sale 2 or 3 years ago. I like them
a lot, but they tend to be kind of heavy (especially carrying them up a
mountain, but that's another story.) 

>Anyway, as for listening, I do plenty of that! If you like Planet Drum, you
>should check out At The Edge: it has more of a mellow new agey feel, but it's
>very cool.  Also, Airto's newest album, The Other Side of This, features just 
>about everybody from the PD tour somewhere or other.  Also a little more new-
>agey than PD, but interesting and cool.

I also like _At the Edge_, but I didn't think that it was a good answer
to the other person's question about primal, frenzied drumming.

>
>Of course, Santana also has a habit of rallying excellent percussionists: try
>Lotus, a double live CD from Tokyo, 1974: trippy sounds and propulsive
>percussion!

What are some other good Santana albums for percussion? I know he's a
guitarist & therefore buying his albums blind might have me buy
something I'm not as happy with as I'd like.

>That's it off the top of the head.  But a good question, and one I look forward
>to hearing more answers to!

Me, too. I've been looking for more from people who were into things
other than traps to post here. I've only seen a couple.


-- 
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Bob Anzlovar                    | I wrote COBOL once, but I didn't like
(anzlovar@wl.com)               | it. I didn't compile.
Newsgroups: rec.music.makers.percussion
From: smills@news.weeg.uiowa.edu (MuffinHead)
Subject: Drum Video: Tommy Aldridge
Organization: University of Iowa, Iowa City, IA, USA
Date: Mon, 28 Dec 1992 20:15:44 GMT

   First off, let me say I wish more people would put together videos. Peart
and Copeland need to do one. From Neil, I'd like to see the electronic side
of his performance, how he goes about coming up with sounds from scratch or
other sources. From Stew, I just want to hear him talk - he's a genius.
   I only have two videos, since out of all the videos there are out there,
few are by drummers who have something to offer to me. Dale did Dave's
video(s), so I'll do the other one I own.

   I used to be a lot more into metal than I am now, so Tommy's style
interested me. I grew up listening to Black Oak Arkansas when they were still
around (the first time). I was in about 4th grade when I heard Tommy's solo
in "Mutants of the Monster" from the live album. I wasn't even a drummer yet,
but this performance impressed me. (Note that this is about the same solo
he still does to this day. Too bad he doesn't branch out.)
   Tommy's video is good for metal drummers who want to be flashier or
drummers who want to do something a bit more technical (just one thing,
actually). Basically, he shows two things in the video: How to play a cool
5th note pattern between the hands and feet (on basses); and how to twirl
sticks. The other stuff he shows about basic double-bass playing is
figured out by a new drummer in the first week (s)he owns two basses.
   The best thing about the video is the way Tommy speaks. He speaks his
mind in an Ozark-boy, hard-ass way. He's about as articulate as Weckl is in
his first video (I thought Dave should've prepared more on how to get his
points across - way too many "umm's").
   That's about it. A fairly un-impressive video.

Muff
Newsgroups: rec.music.makers.percussion
From: hamm@weejordy.physics.mun.ca (Craig Hamm (Evil Spock))
Subject: Test Department suggestion
Organization: Ocean Sciences Centre
Date: Sun, 3 Jan 1993 20:42:37 GMT

	A very interesting album, in the industrial vane, (but NOT like
	Ministry etc), is "Beating the Retreat", by 'Test Department'.
	It is full of 'railyard-like' percussion.  They are from the
	UK.  SOme of it also sounds a little insane, but it really grooves
	in a few spots!!

-- 
  Craig Hamm, Memorial University,|   
  Newfoundland, Ocean Acoustics   |
  Canada                          |
  ________________________________|
From: sotoc@cdl02.me.msu.edu (Ciro Soto)
Newsgroups: rec.music.makers.percussion
Subject: FOR SALE: TR-626  RHYTHM COMPOSER
Date: 27 Dec 92 19:29:34 GMT
Organization: College of Engineering, Michigan State University
NNTP-Posting-Host: cdl02.me.msu.edu


WHAT:   RHYTHM COMPOSER  (MIDI)
MAKER:  ROLAND
MODEL:  TR-626


CHARACTERISTICS:
48 PRESET RHYTHIM PATTERNS
48 USERS PROGRAMMABLE RHYTHIM PATTERNS
40 TO 240 BEATS PER MINUTE
6 TRACKS
1 TO 16 STEPS
ACCENT (-3 to +3)
PITCH  (-7 to +7)
LEVEL (0 to +5)
DRUM VOICES: 	bass drum 1,2;snare drum 1,2,3; low,high timbale;
		low,mid,high tom 1,2; open high conga, low conga;
		open,closed hi-hat;crash,ride,china cymbal;
		cup; rim shot; hand clap; claves; mute hi conga;
		shaker; cowbell; tambourine; low,high agogo;
REAR PANEL:	Mono/Stereo out jack (R) & (L)
		Headphone jack
		Multi out jacks
		Start/Stop Jack
		Trigger Out Jack
		tape in/out jack
		Tape sync in jack
		Tape sync out jack
		MIDI IN connector
		MIDI OUT connector
		Memory Card Slot
		AC Adaptor Jack (9V)
DIMENSIONS:	400x194x55 mm
WEIGHT:		2 lb and 14 oz
ACCESORIES:	MEMORY CARD M-128D !!
		MANUALS
(NO AC ADAPTOR)

CONDITIONS:   	AS NEW



MAKE OFFER DIRECTLY TO   sotoc@egr.msu.edu
DON'T POST