I’m a big believer that odd meters don’t have to be mysterious or elitist — they simply need to be heard, felt, and practiced in small, consistent doses. Over the years I’ve helped students and session players make 5/4, 7/8 and other uneven time signatures feel natural, and what keeps...
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Technique
Electronic kicks often sound tight, precise and—let’s be honest—sterile....
Technique
I used to avoid recording snares with anything on them because I feared killing...
Technique
I love the challenge of getting a roomy, vintage 1970s jazz drum sound out of...
Technique
I’ve spent a lot of gig and studio hours coaxing samples out of my Roland...
I love restoring and adapting vintage drums — there’s something magical about the tone of an old Gretsch snare that a modern kit sometimes can’t match. But when you bring one of those woody, open snares into a contemporary pop session, it...
I’ve spent a lot of late nights trying to get a “roomy jazz kit” from less-than-ideal spaces — bedroom studios, rehearsal rooms with thin walls, or tiny live rooms in a rented house. Over the years I’ve landed on a few practical mic-pair...
I want to talk about the pocket — that sweet place where time feels effortless, the band breathes together and your groove becomes undeniable. Over the years I’ve found that a focused, short routine using paradiddles can sharpen both timing and...
Vintage Ludwig snares have a warmth, character and snap that modern snares sometimes lack — but when you drop one into a contemporary pop mix it can either sit beautifully or become lost or, worse, sound harsh when pushed. Over the years in the...
I often find myself trying to get the best of both worlds: the natural thump and resonance of an acoustic kick, plus the consistent attack, texture or punch of a sampled sound I’ve crafted on the Roland SP-404. Over the years I’ve developed a...
I want to talk about the small hi-hat choices I reach for in sessions when the goal is to add groove and color without crowding the mix. Those tiny articulations — a slightly tipped tip, a half-open “sizzle,” a controlled foot chick, or a...
Getting a roomy, 1970s-style drum sound from a small home studio is entirely possible — it just takes deliberate mic choices, placement, and a little imagination. I’ve spent years chasing that warm, natural, slightly distant drum vibe you hear...
I travel a lot for teaching, gigs and studio work, and over the years I’ve tuned my practice routine to be as portable and productive as possible. Building a compact setup that focuses on timing, tone and creativity isn’t about owning the...
I remember the first time a student asked me, "How do I get hands and feet to do different things?" That question is at the heart of drum independence, and it's one of the most common blockers for beginners. Over the years I’ve boiled down my...
When I'm combining electronic drums with live kit recordings I want them to feel like they're part of the same sonic world — not two competing rhythm sections. Over the years I've developed a go-to plug-in chain that helps electronic samples sit...