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I guess I'll have to try it out when I replace the heads next. The snare came with a Remo Ambassador SS, which is good, but I replaced the Evans Genera Dry with an Ambassador X-14. It works fine, but it's a bit thick and has a tad more ring than I need for my Free Floater Snare. I have to use 2 moongels near the edge to control it and I can't tune it down past a certain point or else it starts to resonate like a tom. I think I'll go back to the trusty 'ol Remo CS Reverse Dot Coated, maybe the X model of that (with an Aquarian CC SS on bottom). I have to wait a bit though since I've got some other stuff I need to focus on paying for (like student loan paybacks, lol!).
I'll PM you with my experience of it once I'm able to replace the heads.
Hi Matthew! It's actually very simple--no extra threads or work involved.
Buy 12-24 thread nuts (in stainless steel so they'll stay looking nice), they'll cost about $.11 each. Unscrew a tension rod and then screw the nut on and reassemble such that the nut is on the rod in between the rim and the "nut" in the lug casing. (The "nut" in the lug casing is the metal piece the rod threads into--or the top of your free floating drum's post with the threads.) Once the drum is tuned exactly where you want it tighten the 12-24 nut tight using a 7/16" wrench against the nut in the lug casing (you may want to hold the rod up top with a key while doing this). At this point one nut is tightened up against the other on the tension rod which prevents it from turning/loosening. And that's it! With a broken in head the sound will stay exactly where you left it.
I keep a little wrench in my stick bag just in case, though loosening up the lug with a key will usually unlock the nut.
I've punched in a week after recording something having played all week and the drum sounded exactly the same. I've tried other methods & "lug lock" types of products and none have really done the job. The nut job (hey, I like that!) is the perfect simple solution.
I've sent a message to Bill Bachman, who is a member of this forum, to see if he might chime in and further explain his suggestion, which you mentioned.
As far as other products ... there are a lot of different products on the market, many of which work very well ... so pick one and try it; find out what works best for you. I have successfully used LugLocks for decades, but they can be a pain to mess with if you put them on every lug, so I just use them on the problem tension rods.
I was lucky enough last fall to find a Pearl 14"x6.5" Maple Free Floater, so I brought it along with me to each of the three weeks I've played at Christian camps so far this summer. I love how it looks and sounds, and I have literally gotten nothing but positive feedback on both of those aspects of it. Something I've noticed that is apparently an issue for MANY others is that when doing rimshots, the nearest lug to where the stick hits likes to detune a bit every few songs.
There seem to be A LOT of products out there designed to prevent this. I even ran across a post by Bill Bachmann on the drummer world forum about his own method. I'm just not sure what would work best. Who here has used these products and which are the best in your opinion?
To be honest, Bill's idea sounds awesome, but I need a slightly better explanation of how it works than I found on that other forum. It almost seems like it would just be adding another set of threads for the rod to screw into. How exactly would this particular method keep threads from unscrewing?
I'm here to ask for your participation in a Online Drum Semantic Listening Experiment. This experiment is part of a series of tasks connected with my master in Sound and Music Computing (@MTG-UPF http://www.mtg.upf.edu/ ), which comes under the Project GiantSteps - Seven League Boots for Music Creation and Performance (http://www.giantsteps-project.eu/). In summary, we’re trying to discover how we can use semantic information to characterize drums’ sounds (and eventually enable the use of this kind of features in DAW’s or similar gear).
Beforehand, I apologize this spam inconvenience, but even so I would be very appreciated if you could spare a moment of your time, and participate in this experiment, until next monday:
If you have any question or comment don't hesitate to contact me.
Thanks in advance !!!
« Last post by Pat Brooks on July 02, 2015, 03:41 PM »
Thanks for the information. As it turns out I was able to score the book from another source. Which is just as well as I always get carried away when bidding on EBay.
The book is fantastic, it contains nine very accurate( to my ear ) solo transcriptions
plus many four measure breaks. I love this book, somebody should get it back in print.
Here's some info about the book:http://www.percussionmusiconline.com/3095.shtml
I used to have a copy about 30 years ago, have no idea what happened to it. I mainly remember the solos, which are transcriptions of Joe playing on those tunes. I would go for it.
live off the floor, no click...obviously!.. fyi the previous CD Tracks in the Sand is before my time
I realllllly dislike recording...being under a microscope etc...my playing is generally too random to record well, I take lots of chances, some of which pay out.....
I took my training wheels app LiveBpm with me but they wouldn't let me use it..."it will isolate you too much"...took 2 bass drums, a 26 Cat Jazz and a 22 maple Renown...and told the producer/engineer who owned the studio who we were hiring (!) that I wanted to try a different bass drum sound..like the old two headed big band days......fiddle fiddle....no go... "not manageable" so I ended up using my Renowns with an 80s Luddie bass drum that belongs to Pat Steward and which was used on The Summer of 65 Bryan Adams record....sounded like a cardboard box at my end, but it was "manageable" and easily EQd...blame it on the pillows and Ringo era. that era of engineer only understand one sound.
it went downhill from there...engineer didn't like my ghost notes, snare notes, fills "sounds like someone falling down the stairs", using crash cymbals... etc etc etc etc opinionated son of a gun!
« Last post by Pat Brooks on June 28, 2015, 12:39 PM »
I have an opportunity to bid on a couple of out of print books by Joe Morello. My question is about one in particular. It's called "Off The Record", is it worth bidding on? If it's a good book why is it out of print? Any feed back would be appreciated.
Glad you resolved your issue. I'm not a Mac guy, so couldn't really help you.
thanks..and congrats again on your persistence and service....I'm not a mac guy either, but my band is...and the main man needs help understanding how to use garage band....so anyway...it's good for the brain, like learning a foreign language
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