HDTenEightyP/NetNews huggingface dataset:
From: rmascaro@uniwa.uwa.edu.au (Robert Mascaro)
Newsgroups: rec.music.makers.percussion
Subject: modern drummer
Date: 24 Dec 1992 09:36:16 +0800
Organization: The University of Western Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

Thanks to all people who replied to my question on modern drummer. It
appears that my modern drummer is delivered by slow boat and takes about
6-8 weeks to get to Australia. This is probably why the date is 2 months
ahead on the cover. If I was to buy modern drummer from the news stand
in Australia it is 2 months behind from when I get it delivered!! (4
months out of date). I could get it airmailed but this costs more then
double the price.

My other dilemma is which new Chick Corea album I should buy. I have Eye
of the Beholder (which I think is grossly underrated) and Inside Out,
but I understand that he done a couple of albums since, which are the
better ones??, should I get Akoustic Band (I hear this is brilliant)??.

I hear that Dave's new album Heads Up also is brilliant, is it better
than Masterplan?? I would appreciate any comments, respond or mail to
me.
Regards
Rob.
Newsgroups: rec.music.makers.percussion
From: smills@news.weeg.uiowa.edu (MuffinHead)
Subject: Re: Drum Video: Tommy Aldridge
Organization: University of Iowa, Iowa City, IA, USA
Date: Tue, 29 Dec 1992 09:22:15 GMT

kemp@wx.atmos.uiuc.edu (john_kemp) writes:

>So how do you twirl sticks?  I'm ashamed to admit I have never figured
>out the trick to this impressive albeit probably useless skill.

   Well, there are two ways. The first is like a baton twirler twirls,
going from finger to finger. The second is a fake. Peart and others do it
this way (me included because my fingers are too stupid to do it the real
way).
   Basically, you put the stick between your first and middle fingers,
holding it close to the middle of the stick, then make each end of the stick
do a propeller thing. Start out with the stick close to your hand. (I mean
next to the skin between the fingers.) It will usually work its way towards
the second knuckles.
   Start the stick moving by making your hand go in a motion as if you're
drawing a circle of light on the wall from a light in your palm. After a
while, your two fingers will take over moving back and forth opposite each
other.

   I learned a cool trick from a guy who played corp. It's a sort of flip/
twirl that moves the left stick from traditional to matched grip. First,
flip the stick out so the tip moves upward and your palm turns down. Then
let the stick bounce back a bit so you can catch it between your first
and second fingers. Now let it twirl down from between the third and second
fingers and catch it between your thumb and first finger. Let it slide
out from between the first and second fingers, and wrap the last three
fingers around it to form the matched grip.
   It takes a lot of practice to get the feel of it. I do it when I need to
switch from traditional because my left hand can't do a fake twirl like my
right can and it feels left out. :)

Newsgroups: rec.music.makers.percussion
From: smills@news.weeg.uiowa.edu (MuffinHead)
Subject: Re: beaters for Taos drum
Organization: University of Iowa, Iowa City, IA, USA
Date: Thu, 31 Dec 1992 06:09:24 GMT

   For less expensive cymbals, I'd suggest finding some WuHan's that you
could try out. Their china-types are the best around, but they also make
rides and crashes ('though I've never heard them). What makes them
attractive is the price. An 18" china goes for about $80, half that of a
Zildjian or other top brand. You mentioned jazz, so it seems WuHan's might be
a good alternative to K's or A Custom's.

   Everybody's gonna laugh, but I used some Camber hi-hats during practice at
our keyboard player's high school. They really surprised me - I liked the
sound a lot. They're very bright and crisp, but probably not at all what
you'd want for jazz. As far as cheap cymbals go, I've found hi-hats to be
the least offensive when compared to "real" cymbals.

Muff
Newsgroups: rec.music.makers.percussion
From: wes@ian.stx.com (John S.)
Subject: Re: "My first set," sort of... ideas?
Keywords: drum, rums, sums, um.. tums
Organization: STX, Lanham Maryland
Date: Tue, 29 Dec 1992 07:11:16 GMT

In article <1992Dec28.064452.31560@news.weeg.uiowa.edu> smills@news.weeg.uiowa.edu (MuffinHead) writes:
>    Used cymbals can
>only be polished and run over with your car to change the pitch. :)
>
>Muff

HEY!!! That's a great idea! I've got an old "KRUT" brand cymbal that
I'll have to try that on. It might turn into a decent cymbal. Thanks
for the suggestion, Muff. You're a genius!
   
                                                                             \
==============================================================================>
         ______                 ____________________                         /
           /  __   _  _  _  _  /__   _  _  ___  __   _  _  ___  __   __  
       ___/  /_/ _/--/ _/\_/  ___/ _/--/ _/_- _/-' _/--/ _/_- _/-<,_/__>

         wes@ian.stx.com     (John Shepherd)    Hughes STX, Lanham, MD
Newsgroups: rec.music.makers.percussion
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: How About Some talk about *Hand* Drummers!
Organization: Educational Computing Network
Date: Wed, 30 Dec 1992 16:33:37 GMT

For HAND drumming, get the Ritual Trio's albums, the leader is Chicago
drummer Kahil El Zabar.

Jeff
Newsgroups: rec.music.makers.percussion
From: drums@cbnewsl.cb.att.com (robert.e.wisnack.jr)
Subject: Re: Xmas toys - Alesis D4
Organization: AT&T Bell Laboratories
Distribution: usa
Date: Thu, 31 Dec 1992 16:28:38 GMT

In article <1992Dec31.053057.4075@cs.yale.edu>, nathan@laplace.csb.yale.edu (Nathan F. Janette) writes:
> In article <1992Dec30.203031.24661@cbnewsl.cb.att.com>  
> 
> That $110 price seems unlikely.  They cost about $200
> around here in stores not known for robbing customers.
> I'm having some problems with it, but I can't isolate
> the problems to the pedal, the DrumKat-EZ, or the
> SR-16 sound module.
> 
> --
> Nathan Janette
> PPP link from hilbert.csb.yale.edu
> 
> Please reply to: nathan@laplace.csb.yale.edu (NeXT)
> 

I thought that price seems kind of low, but that's what
they told me over the phone.  I am going there on Saturday
to buy it.  I will let you know exactly what I pay for it.

	Thanks
	Bob
From: dchavez@tincup.enet.dec.com (Dale J. Chavez - Colo Spgs)
Newsgroups: rec.music.makers.percussion
Subject: Review: Dave Weckl, Heads Up
Date: 29 Dec 92 16:54:36 GMT
Reply-To: dchavez@tincup.enet.dec.com (Dale J. Chavez - Colo Spgs)
Organization: Digital Equipment Corporation



    Dave Weckl's latest CD, "Heads Up" is out, and having listened to it
    extensively for the last couple of weeks, I think it's somewhat better
    than his initial release, "Master Plan".  I actually think it's more
    melodic (all things being relative of course; let's face it, Weckl and
    melodic is somewhat of a paradox) than "Master Plan" also.

    The songs:

    1. 7th Ave. South
    2. Heads Up
    3. Taboo
    4. Tomatillo
    5. Periphal Vision
    6. Tee Funk
    7. Against the Wall
    8. Full Moon
    9. Trigger Happy

    The musicians:

    Jay Oliver, Jimmy Earl (bass), Eric Marienthal, Randy Brecker, John
    Patitucci, Steve Tavaglione, Jeff Beal, and Gary Novak.

    The title track, "Heads Up" is probably the funkiest thing I've heard
    from Weckl, and it cooks.  Even more surprising is the fact that he's
    credited with playing bass on this tune, and he plays some real funky
    bass riffs.

    The CD also has the Corea-inspired fusion stuff that tends to get old
    and sound uninspired sometimes.  If Weckl wasn't so damn talented, (in
    my opinion), this would no doubt be another Corea clone fusion CD, by
    yet another jazz artist.  Granted, you need to have an appreciation for
    not only Weckl, but Corea's music as well in order to enjoy most of
    the stuff Weckl does.  But he does it WELL.

    If I have one complaint of Weckl, it's that he doesn't play with enough
    feeling, or soul.  There's a pop song he performs ("Mercy, Mercy"
    originally by the Buckinghams) on the Buddy Rich Memorial video that (I
    think) shows his lack of soul for pop music.  Granted, he's one of the
    most technically proficient drummers around, but you've got to have
    some soul and feeling when you play.  I think Vinnie is probably as
    technical as Weckl, but he also has the ability to play pop/rock
    material extremely well (check out the latest Sting live video).

------------------------------------------------------------------------
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
From: mbreen@sdacs.ucsd.edu (Michael Breen)
Newsgroups: rec.music.makers.percussion
Subject: Hot drumming
Date: 22 Dec 1992 18:49:13 GMT
Organization: University of California, San Diego
NNTP-Posting-Host: sdacs.ucsd.edu

Disclaimer first: I'm not a drummer, but a composer/arranger and I play
just about any stringed instrument.  I have a great respect for 'real'
drumming, and have never used artificial rhythm in my recordings.

Having said that:

If anyone would like to hear some serious "primal drumming" (I think that's
how a recent poster put it), check out some of David Byrne's recent
releases.  "Rei Momo" continues to surprise me with it's rhythmic variations.
No "drum kits" are used; all the drumming is accomplished by a number
percussionists on traditional South American instruments.  I recently
purchased another Byrne disk "Uh-Oh" that is also full of great rhythm.
Do any of you real drummers share or counter this opinion?

Also, I must support the opinion of Stewart Copeland as "hot drummer."
I saw him perform many times, but the first was most memorable.  It was
the Police's "Zenyatta Mondatta" tour at San Diego's Symphony Hall, and
Stew was in explosive form (as usual).  He busted a bass pedal into four
pieces that night (I *almost* got it when Sting tossed it out).  I
recall distinctly learning that night (many moons ago) how drums could
be used to seriously alter mood and "color", even in a dinky three-
piece outfit.  Listen to the middle break on "Driven to Tears", where
Stew changes rhythm halfway through.  It struck me quite memorably
that night that Andy and Sting had changed nothing, but Stew had
created a brand new "texture" on top of their playing all by his
lonesome.  This is all very obvious in hindsight, but I will never forget.

Michael Breen
singing and philosophizing
(and remembering the girl I saw that show with; where is she now?)

Newsgroups: rec.music.makers.percussion
From: kauff@neit.cgd.ucar.edu (Brian Kauffman)
Subject: Re: How About Some talk about Hot Drummers!
Organization: NCAR, Boulder CO
Date: Tue, 22 Dec 1992 00:30:37 GMT


Conspicuously missing (up 'till now) are two of my favorites:

o Bill Bruford
  Notable for concentrating on subtile & intricate textures (not flash), and 
  for making bizarre time signatures (in rock and swing jazz) flow so smoothly 
  that, at first, you don't even notice what's going on.  His impeccable
  chops & taste gives "progressive rock" a good name.

o Stewart Copeland
  Perhaps the drummer with the most instantly recognizable style, the 
  imitation of which provides constant flattery.  

-Brian
Xref: sparky rec.music.makers.percussion:335 rec.audio.pro:2651
From: kludge@grissom.larc.nasa.gov (Scott Dorsey)
Newsgroups: rec.music.makers.percussion,rec.audio.pro
Subject: Re: miking bodhrans
Date: 28 Dec 1992 13:45:02 GMT
Organization: NASA Langley Research Center and Reptile Farm
NNTP-Posting-Host: grissom.larc.nasa.gov

In article <mjc.725486560@NL.CS.CMU.EDU> mjc+@cs.cmu.edu (Monica Cellio)  
writes:
> Can anyone here give me advice on the best way to mike a bodhran?  I've 
> never been happy with this aspect of any of the recordings my group has
> attempted to do -- either the bodhran dominates or the richness is lost
> and all we get is dull thunking.  We do our recording all at once (on
> multiple tracks, but playing together), as opposed to laying down one  
track 
> at a time.

This is an instrument that is very difficult to close mike.  Much like the
violin, the frequencies that are produced by the instrument vary considerably
with the angle of the listener on the axis of the instrument itself.  The
sound that you hear as a listener is a mixture of the instrument and the
room reflections which combine.

When you close-mike something like this, it tends to become very shrill if
miked on-axis, or to lose all of its high frequency response if miked off
axis.  The only real solution if you are going with a multimiked configuration
is to mike it on axis, apply a lot of reverb, and roll off the highs.  Get
a decent quality plate reverb, since most reverb units sound extremely fake
and will make a real mess of things.

Your other solution is to record all the tracks at once, then go back and
dub the bodhran on later.  Use something like a B&K omni condenser mike
pulled back about fifteen feet from the instrument with nothing else in
the studio, and you'll find the sound quality is much better.

Of course, I could maintain that multimiking is a bad thing in general,
and that you are much better off just going live to two-track, but this
would probably start a religious war...
--scott
Newsgroups: rec.music.makers.percussion
From: drice@ponder.csci.unt.edu (D. Keith Rice)
Subject: Jeff Porcaro's death (Was: Re: How About Some talk about Hot Drummers!)
Organization: University of North Texas
Date: Sat, 26 Dec 1992 01:45:34 GMT

In <1992Dec18.140629.749@hellgate.utah.edu> noykman%peruvian.utah.edu@cs.utah.edu (Nathan Dykman) writes:
>The cocaine story is quite true. The coroner's report was quoted on Mtv and
>other places as Jeff dying from drug abuse. Also, his father has supposely
>alluded to the same thing, that Jeff died from drug abuse. Drugs have taken the
>lives of TOO MANY musicians. Jimi Hendrix, Keith Moon(I think), Janis Joplin,
>John Bonham, Bryan Ford(orignial stones guitarist), and Jeff Procaro. At least
>the music lives on, and that is what ALL these musicians should be remembered
>for. The music, and not the mistakes they made.

The coroner's report indicated that Jeff died of complications from hardening
of the arteries that was brought on by cocaine abuse.  But his wife was inter-
viewed on Entertainment Tonight on Tuesday evening and she said that she had
not known that Jeff had ever used cocaine.  She also said that she had spoken
to medical experts who said that cocaine use does not lead to hardening of the
arteries.

She told about what a doctor in the emergency room said when they took him in
to the hospital.  He had said that the smell of the pesticide on Jeff was
almost overwhelming and that they were treating him for pesticide poisoning.

Later on, his wife said that she was planning on hiring an investigator to
look into why the coroner reported something that was (to her) wrong.

--
_____________________________
__-----____--___--__-----____	D. Keith Rice
__--__--___--__--___--__--___	University of North Texas
__--___--__--_--____--___--__	Department of Computer Science
__--___--__----_____--__--___	Denton, Texas, USA
__--___--__--_--____--_--____
__--__--___--__--___--__--___	drice@ponder.csci.unt.edu
__-----____--___--__--___--__	drice@cs.unt.edu
_____________________________
Newsgroups: rec.music.makers.percussion,rec.audio.pro
From: nathan@laplace.csb.yale.edu (Nathan F. Janette)
Subject: Re: miking bodhrans
Reply-To: nathan@laplace.csb.yale.edu (Nathan F. Janette)
Organization: Yale University, Department of Computer Science, New Haven, CT
Date: Mon, 28 Dec 1992 08:20:50 GMT

In article <mjc.725486560@NL.CS.CMU.EDU> mjc+@cs.cmu.edu (Monica Cellio)  
writes:
> Can anyone here give me advice on the best way to mike a bodhran?  I've 
> never been happy with this aspect of any of the recordings my group has
> attempted to do -- either the bodhran dominates or the richness is lost
> and all we get is dull thunking.  We do our recording all at once (on
> multiple tracks, but playing together), as opposed to laying down one  
track 
> at a time.

How much physical isolation is available for the
recording process? To use the most sensitive type of mic,
a condenser, you probably want to isolate the bodhran
behind a damping wall or perhaps even in another room. 
With less leakage of other instruments into the drum mic,
you'll have more control mixing the tracks together. 

--
Nathan Janette
PPP link from hilbert.csb.yale.edu

Please reply to: nathan@laplace.csb.yale.edu (NeXT)

Newsgroups: rec.music.makers.percussion
From: morrowjp@rtsg.mot.com (Jerry P Morrow)
Subject: !!!!*** Bass Player Available !!!!!****
Organization: Motorola Inc., Cellular Infrastructure Group
Distribution: usa
Date: Tue, 29 Dec 1992 19:40:59 GMT


the subject says it all, well not really ...

What I'm looking for: - part-time band, gig about 2 to 3 times
	              a month 
		      - rock/funk/blues styles, but mainly guitar
			based: Eric Johnson, SRV, Joe Satriani
		        also song oriented music, not just guitar
			endless guitar solos , for example, Eric
			Johnson is a great songwriter and guitar
			player
                     - I've been avoiding 'classic rock' lately,
		       FM101 and XRT are alot more interesting to
                       me
			- ideal line-up would be drummer, lead
			guitarist, second guitarist who can really sing
                        and play some keyboard,
			and me 
			- some of my favorite chicago bands are
			New Ducan Imperials, Funkhouse, Animation,
			Ed Zeppelin, Arra
                       - certainly don't plan on being a rock star,
			my day job definitely comes first

my experience:		- I have been playing keys since the middle
			of high school, playing in rock and hard
			rock bands, the last band I was in was a 
		 	9 piece band with horn section (too many 
			people to have show up at practice at the
			same time) that was fun, but a pain
			- I picked up acoustic guitar about 2 1/2
			years ago and became pretty good for
			someone with no formal lessons
			- I decided to switch to bass after I 
			learned most of music I'm into doesn't require
			a lot of keys, and I enjoy playing a stringed
			instrument much more than something with 
			plastic keys
			- I have been playing bass for almost a year
			now, and feel I'm ready to jump into a band

my equipment:		- Custom made 5-string (low B) bass, SWR bass amp
			- Roland U-20 synth, Korg DW-6000 synth 
			- good PA: 3-way JBL cabinets, CROWN mt1200 power amp,
			  Alesis comp, dbx EQ, 2 shure mics, I use the 4-ch
			  mixer in my TOA keyboard amp as a mixer right now
			- and lots of other junk
k   well call me at (708) 991-6228 if you are REALLY REALLY interested,
otherwise, just email me at

morrowjp@adobe.rtsg.mot.com

see ya, 
Jerry
From: williamt@athena.Eng.Sun.COM (Dances with Drums)
Newsgroups: rec.music.makers.percussion
Subject: Re: How About Some talk about *Hand* Drummers!
Date: 28 Dec 1992 16:24:06 GMT
Organization: Sun Microsystems Inc., Mountain View, CA
Reply-To: williamt@athena.Eng.sun.com (Dances with Drums)
NNTP-Posting-Host: athena

In article <1992Dec28.061046.5776@murdoch.acc.Virginia.EDU> rea@Turing.ORG (Rea Kloski) writes:
>I agree with most everything William said, but I have an addition:
>Dumbeks.
---
	I have 3 Doumbeks, but didn't mention them since some teachers will
tell you they don't really qualify as 'hand' drums, but more as 'finger'
drums.  While you can play the Arabic rhythms on many african drums
(djembes are oversized wooden doumbeks), they same cannot be easily
said of afro-cuban rhythms on doumbeks.  I've seen good afro-cuban
players get bloody hands on a doumbeks when trying to play them 
like an african drum.  They don't have the volume -- can't compete
with the larger african drum at a drum circle.

	As Rea mentions, they are cheaper.  They are also pretty portable.
I too would recommend the metal over the ceramic.  One tip, and you
have ceramic fragments -- and the drum really doesn't sounds as well
in fragments :-(.  My favorite doumbek is a brass colored turkish
drum imported by some company in St. Louis.  It *sounds* ceramic and
has a Remo head on it.  It ran me about $100, 2nd hand.  New, I am
guessing it would run for about $120.  It's small enough to go as
carry-on on an airplane, and when well enough padded, to be snuck
into a Dead show for the half-time festivities :-).

	Of course if you want to play middle eastern music and play for
belly dancers -- well, then a doumbek is probably your best choice!

	Middle eastern music tends more towards solists and uses 'accents'
in the music.  Usually there is only 1 drum part.  With african drumming,
you have multiple drum parts/song -- meaning you usually need more
than 1 (say 4-5) people to really play a song.  I also haven't noticed
any emphasis on accents yet in the afro-cuban drumming I've been
exposed to -- but, you have 3 main tones, base, tone and slap in afro-cuban,
while in middle eastern, you only have 2 main tones: the base and the tone.
You have other sounds like slaps in doumbek playing, but they are usually
done as variations to some basic rhythm, while in afro-cuban the slaps
are an integral part/requirement of the music.

	In case you were wondering, I take lessons in doumbek as well as
generic afro-cuban and congolese.  My current favorite is the generic
afro-cuban (we get Haitian, Nigerian, Congolese, Cuban, and others).

-wat-
--
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: 22 Dec 1992 08:51:21 +0800
Organization: The University of Western Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

My 2 favourite players are Dave Weckl and Vinnie Colaiuta.
I have seen Dave in a clinic, I own about 3 videos with him on so I feel
qualified to speak of him.
He has the most amazing ability to NAIL every single stroke. There is
not a drummer in the world who is so precise. His chops are amazing, as
can be seen in his first video, back to basics. Granted he might not be
suited to a rock/pop gig, but was Buddy Rich??, we still call him the
greatest.

Vinnie must be the best rock/pop, rythym/blues all round player. His
chops are incredible, even his double pedal work. He has a different
feel to Dave, a bit looser, not as technically precise, but still
brilliant. He plays with tremendous feel, as can be heard on Roben
Fords Talk to Your Daughter.
These are my 2 favourites, in order
regards,
rob.
Xref: sparky rec.music.makers:11655 rec.music.synth:19685