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Adam_
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« on: August 10, 2003, 12:24 PM » |
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How do you achieve clean and consistent rimshots?
I once read something about doing flams to get clean rimshots... how does this work?
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Bart Elliott
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« Reply #1 on: August 10, 2003, 12:49 PM » |
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The only thing I know to say is PRACTICE ... again, and again, and again, and again. I sit and practice rimshots for minutes at a time ... just working on the consistency and sound quality.
Think about how often we play backbeats ... it's practically in every genre of music. Think about how much time we devote to having great backbeats. Feel convicted yet?
I don't know about the whole "flam" thing helping your rimshots. In my opinion, just practice rimshots again and again ... just the snare, nothing else.
Be sure that your snare drum is set-up properly for YOU. Work on your technique and how you hit the drum. The more consistent you are with that, the more consistent your rimshots will be.
I sometimes play backbeats, leaving the stick on the drum; not allowing it to rebound. It's a different sound and different feel ... and I've noticed that the rimshots are more consistent with less effort. Rick Marotta does this, and is famous for his backbeats.
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chrisso
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« Reply #2 on: August 10, 2003, 02:38 PM » |
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I was never happy with my recorded snare sound until I did a session where Jerry Marotta was playing also. His sound was fabulous, exactly what I was looking for and I noticed his every backbeat was a rimshot.
I've never conciously practiced them. I do find that if they start to sound inconsistent it's a good idea to back off the velocity of your hit and concentrate and accuracy and consistency. A rimshot sounds pretty good whether played full tilt or mezzoforte.
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Jon E
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« Reply #3 on: August 11, 2003, 06:53 AM » |
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Consistency in the way you set up your drums is important too. Not JUST the SD.
It (like a lot of drumming things) is about muscle memory. Practice and repetition will help your muscles learn and remember where they need to be o play rimshots (or other things) accurately and consistantly.
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felix
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« Reply #4 on: August 11, 2003, 09:29 AM » |
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I sometimes play backbeats, leaving the stick on the drum; not allowing it to rebound. It's a different sound and different feel ... and I've noticed that the rimshots are more consistent with less effort. Rick Marotta does this, and is famous for his backbeats Right, but back to your original suggestion of playing rimshots and letting the stick rebound. man that is tough to get a really consistent, although great, sound. I do better with it when I am staring at the snare head so I can just drop the stick into the sweet spot. Unfortunately that isn't too cool looking, so your suggestion of practice practice practice is excellent. Rimshots/the snare sound so excellent when just placed like that. |
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irishthump
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« Reply #5 on: August 12, 2003, 06:25 AM » |
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Like Bartman said, the key is discovering the correct positioning for your snare, then just practice!
Also try experimenting with altering the spot where your sticks fall. By that I mean whether you hit the rim with the middle of the stick or whether it's nearer to the butt/tip. It can drastically change the sound.
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"Free your mind, and your sticks will follow....."
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Joe
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« Reply #6 on: August 12, 2003, 06:24 PM » |
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I find that not concentrating so much on hitting the rim aids my rimshots greatly.
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I'm not a particularly slow player, yet I don't play fast. I play half-fast.
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Mister Acrolite
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« Reply #7 on: August 12, 2003, 06:35 PM » |
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I learned rimshots the simplest way of all: playing without mics in a rock band. The only way to be heard was to play rimshots. So I got used to playing them early on. The funny thing was I got TOO used to them. When I went to a rudimental snare drum contest one year, one of the judges gave me grief because I was playing all the accents in the piece as rimshots. I guess he thought that was a bit extreme...  But I still play rimshots for my backbeats on all but the softest of gigs, and always play rimshots in the studio. At this point I don't even think about it. I play rental drums quite frequently, so the first thing I do on a strange kit is get the height and angle of the drum set so that I can play rimshots without having to think about it. Likewise, when I sit in on somebody else's kit, the first thing I do is figure out how to position my stroke so that I can hit consistent rimshots at whatever height and angle they've got their drum set to. |
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Louis
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« Reply #8 on: August 12, 2003, 06:43 PM » |
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so the first thing I do on a strange kit is get the height and angle of the drum set so that I can play rimshots without having to think about it. I am more critical of my snare position that anything else on the kit. I position the snare height and angle so that with a stick touching the center of the head and the rim I can hold the stick with my palm facing downward and just barely touching my leg. I can then vary the position of my pinky to get the best sound and it makes it easier to do consistent rim shots. |
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nullify_drummer
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« Reply #9 on: August 12, 2003, 08:40 PM » |
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the easiest way i found, is consistancy on the angles and position of your drums, and instead hitting your drum and pulling the stick back right away, follow through like hitting your cymbal, and try to get the stick as close to the rim as possible before you strike the drum. i dunno if this makes much sense to you i cant really explain it. sorry i cant be of more help.
but like bartman said, practice practice practice
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Roger Beverage
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« Reply #10 on: August 13, 2003, 08:37 PM » |
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Other than practice, making sure the height and angle of the snare is consistent every time you play will be the biggest help.
The reason flams are helpfull is because they require exact positioning of the sticks and get you into the habit of consistency.
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BetaBob
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« Reply #11 on: August 13, 2003, 11:59 PM » |
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Yeah, if you are hoping to achieve a big crack with a rim shot, then it doesn't matter about taking your stick straight off the skin, I feel it even dampens the skin slightly which is not as good for big stadium rock, with a steel/brass snare, but absolutely ideal for those funk/metal moments on a maple snare where you really want it to shine, and if you do do a lot of ghosting in between, it really contrasts the ghosts and the back beat.
This also helps you learn it though, because if you play the rim shot and keep the acorn on the snare head, then you can simply let the shaft fall into place, touching the rim, so you can get used to exactly where it is, and when you whip your arm, hopefully the main focus point of the whip, will revolve around where you left your hand - on the rim.
It's tricky, and basically does take practise.
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blue-eyed soul man
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« Reply #12 on: August 16, 2003, 02:34 PM » |
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CONSISTENT rim shots is the key, here.
first thing you do: get yourself a ludwig snare,
and tune it tight.
no, just kidding. some other snares might work, too.
maybe. anyway,
take the left-hand stick, and hold it in a matched-grip. (your thumb is over the stick, with the other
four fingers wrapped underneath).
now, move the thumb underneath, and bring the
index finger to where your thumb just was). in this
position, the index finger is on top of the stick, with
the other fingers underneath.
when you go to strike the drum on the head/rim,
press down slightly (don't let the stick-tip bounce off
the head).
this is the only time i'll use "matched".
CAUTION: this approach is probably only appropriate
for small rooms and acoustic jazz type stuff.
and this "index finger on top" approach doesn't sound as good as an "open" rim shot (where you hold the stick loosely). because with the index finger on top technique, you're having to hold the stick tightly (the stick doesn't resonate.
BUT, for someone just starting to experiment
with this, it'll still give you another "color" to work
with. (to use the painting analogy again).
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agogobil
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« Reply #13 on: August 16, 2003, 08:43 PM » |
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get a gig with a comedian.
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drumsensae
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« Reply #14 on: September 03, 2003, 12:11 AM » |
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what works for me is remembering you don't have to smack the s**t out of the snare to get a great sounding rimshot. I play with my snare flat and it seems like all I do for a rimshot is almost "drop" your wrist straight down not at angle and stay loose. I think it can be made 500 times harder if you think about it to much, just like all drumming.
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c. jude
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« Reply #15 on: September 03, 2003, 07:42 AM » |
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As stated, the same way you get to Carnegie Hall.
Mr. A's playing rimshots on all accents in a piece anecdote (while his may have been inadvertant) is quite a good way to practice I think. Find some sticking passages with lots of accents and run them. Don't forget to play the full range of dynamics too (soft rimshots to earsplitters).
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LeftHandFirst
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« Reply #16 on: September 03, 2003, 08:30 AM » |
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If your snare is tilted toward you straiten it if is strait but low raise it then it will be easier to hit rim shots. Put it at a level wher you almost have to avoid hitting rim shots when you don't want em. That's what I do.
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