Finding the right cymbals for your style of playing can be one of the most challenging and frustrating tasks for a drummer. With so many options you might feel like it’s trying to find your favorite tree in the forest. You end up with that feeling of being totally lost in the woods.  Well come along with me and let’s go cymbal hunting. I’ve walked this trail before.

Let’s first decide what you want to accomplish. Do you need cymbals for a heavy rock band or a jazz trio? Is your style more latin or classical? Or maybe you just want a great “all-purpose” set of cymbals to do everything.

I would definitely recommend having a set of cymbals that will cover all the bases. Don’t think of getting weird “special effects” or “style designed” cymbals if your budget is limited. Look for a good ride cymbal, a couple of crashes, a splash, and a great set of hi-hats. You can add to your collection later, but use this as a starting point.

What company makes the best cymbals?  To be honest, all of the major cymbal companies are making great instruments. And they all offer a large variety of cymbals to choose from. So I say, “Play what inspires you.” I personally prefer MEINL cymbals. But I am also aware of what the other manufacturers are making. I just happen to be very happy with what I’m hearing from Meinl.

Here is what I look for in a “general purpose” set of cymbals. They have to sound good in all the styles of music I’m playing so they can’t stand out individually or have a tone that is identified with a certain style.

For instance in jazz the cymbals are often lighter and sound dry and dark. In rock music they are usually heavier and sound cutting and harsh. That’s not always the case, but just a general reference. So in my “all purpose” set up the cymbals are a medium to medium thin weight. And the sizes are what would be considered the current standard. A 20” Medium Ride, 18” and 17” Medium crashes, a 12” splash, and 14” Medium Hi-hats. This is what I call the modern standard package.

I use the Byzance series from Meinl; very similar to the classic A series from Zildjian. You could probably compare that to the AA series from Sabian or the Signature line of Paiste cymbals. All of these models are the top of the line for each of the companies I mentioned. And along with that comes the top of the line price. When buying cymbals you can not cut corners. I recommend buying fewer pieces and getting better ones if your budget is tight. When buying drums you can spend a little less money and still get a great sound with good heads and proper tuning. Cymbals are a whole different story. So with the set up I’ve listed you could easily spend $1000 or more.

To save money you could buy used cymbals but be sure to test them and inspect them carefully. Hold them up to a light and look for any small cracks. Also look for sales at your local drum shop or shop on line. There are some great web sites that have tons of drums and cymbals to choose from. Take your time and don’t feel pressured to buy.

If this adventure is new for you ask the salesperson to show you a large variety of cymbals to try out. Most drum shops will have a room where you can play every cymbal that’s for sale. If a store will not let you test cymbals don’t buy from them. *You wouldn’t buy a car without test driving it. But don’t abuse the privilege either. Once you’ve played a cymbal for a while move on to another. You should be able to hear pretty quickly what sounds you like or dislike.

So what are we listening for? We want to find a set of cymbals that sound good as an ensemble, not just great individual instruments. I play a cymbal all over its full surface. I hit it on the bell, on the edge, and every where in between. I’ll tap soft rhythms and then build into pretty hard “slices” across the edge to hear how it sounds as a crash cymbal. Yes, even on the ride cymbal! When I hit a crash I’ll let the sound decay as long as possible and listen carefully to how the tone fades. It should have a smooth, shimmering decay. If it sounds like it’s flanging or making a wave tone I’ll try something else.

When playing “ride” patterns, does the cymbal maintain good stick definition or does it start to “wash” out? Crash cymbals will probably do that anyway, but I try to find at least one that could be used as a ride cymbal too; maybe the 18” crash. Ride cymbals should definitely stay controlled. They should flow with the intensity of your playing. If you love the tone of a ride but it wants to wash out too soon you could put a little tape on it. I’ve got a couple like that; they sound great but I had to put a little tape underneath to “dry” them out a bit.

Once I’ve found individual favorites I’ll set them up together. I’ll play patterns on the whole set and listen carefully to see if they sound great as a group. You should notice very distinct pitches. Ride to crash; splash to crash; top hi-hat to crash, etc. etc. I try to hear a broad range of tone from the set. I especially choose crashes the have very different pitches but similar timbre or character. As the sounds fade I’ll listen carefully for an “odd” tone; a sound that just doesn’t seem to fit with the other cymbals. Sometimes you have to try a different crash, or splash, or even a ride cymbal.  I know this is an art and it takes time to learn. Just be patient and you’ll get the hang of it. That’s why it’s probably a good idea to try cymbals from the same series when you first do this. But after a while you’ll be able to mix and match cymbals according to what your ears are hearing and not by what you’re seeing. Even with the best design and manufacturing processes, each cymbal is unique. The same models may be very close, but there are always subtle nuances that I think make each one an individual voice.

When mounting the cymbals, be sure the plastic sleeve is on the stem of the cymbal stand. This cushions the cymbal hole and protects it against grinding.  Also check the base plate on the stem. If it’s curved, make sure it curves downward. It’s supposed to match the shape of the bell of the cymbal. And last but not least, be sure the felt washers are in place on the bottom and the top of your cymbals. All of these elements affect the tone of your cymbals. Don’t tighten the wing nuts too much either. Crashes and splashes have to move freely to get the best tone. Ride cymbals can be a little tighter to control the tone if you’d like, but the general rule is to “let them breath.”  Even the top hi-hat should be able to wiggle so the tone is not choked. It only needs to be tight enough to track properly with your foot action.

The angle of your cymbals is also important. No matter what height you place your cymbals, angle them to point toward your chest. This will line them up with the motion of your arms and wrists. When crashing your cymbals, use a “slicing” stroke. Do not hit straight on the edge of your cymbals. They will not hold up under that kind of stress.

All of these guidelines should give your cymbals a long life. When making this kind of investment, you’ll be glad you followed these general rules.

Over time, I’m sure you’ll want to add to your collection.  Maybe another crash or splash would be nice.  Whatever cymbal you add, be sure to do the same testing method.  I use to take my ride and two crash cymbals with me to test the new one along side them. Now my ears can pretty much hear a cymbal to identify its character and tone enough to get a good match.

Remember though, this is still an art form.  Don’t hesitate to try different types of cymbals to expand your musical palate. A good set of cymbals will be a key element to your sound.  As I said before take your time and choose carefully.

Blessings to you and good cymbal hunting.

Carl

URGENT UPDATES:     1. Only use headphones or “in-ear” monitors to hear your mix. NEVER use speakers in a booth or behind the shield: It WILL destroy your hearing!     2. The drums MUST be miked, even if you only use a few panels.  ///////     If drum volume is just impossible to control in your venue a drum booth maybe necessary… as a last resort! First, try to play to the room more… (*read my other article about this.) …adjusting your dynamics etc. etc. But if all of that has failed, then build a booth for your drums or order one from the ClearSonic company (www.clearsonic.com).      If necessary you can totally enclose the drums. You can match the color & décor of the auditorium and everyone will be happy with the sound AND the look.

When using a shield or a booth be sure to make it large enough so you can still walk around the drums. It should also be at least two feet higher that your highest cymbal. A drum kit must “breath” or move the airwaves freely to sound its best. If the booth is too small the drums will sound choked & harsh.  As an example: Test this by holding your hand in front of your mouth while you are speaking and then gradually move it away.  Notice how your tone sounds warmer as you allow more space between your mouth and hand. Drums have a similar response in a booth!

There’s no use putting up a small shield.  It will only cut down 5% to 10% of the decibel level. If you go to all of this effort do it completely. You can start in phases. Maybe begin with just the front panels. Add the back to it if that’s not enough. Then the last step would be a top if necessary.

**The photo shows a pretty common approach to drum booth set ups. Not bad really, except that the kit is too close to the glass for my liking. It needs a little more breathing room. If needed they could add more panels and totally enclose the kit, but it wasn’t needed for this auditorium.

I always prefer playing to the room without using a shield, but I’m flexible and can work in both situations. As always, the main thing is to serve the team and do what works best in each setting.

Wow, I was so blessed that the guys at worshipdrummer.ca put my Worship Grooves DVD on there Christmas list. http://www.worshipdrummer.ca/gift-ideas-2011/ There’s still time for domestic orders to make it before Christmas. Get your shopping done now. Such great deals on all my DVDs. You can afford one more present for your drummer OR yourself.  $10 each for everything in my store!! Happy Holidays & Merry Christmas everyone.

GO TO STORE NOW!

 Can someone tell me just how many snare drums it takes to make a drummer happy? I wish I knew. About the time I think I have all the snares I need a new sound will hit me in the ears. Maybe sounds hit us in the soul too. Either way, I am constantly listening for new snare drums that should be added to my arsenal.

In reality I think a drummer’s collection of  “working” snares could be complete with about six different drums. I can do almost any job in a session or tour with these essential snares.

1. 14” x 6” brass shell snare – like Yamaha’s Classic Brass or a Pearl Free-floating brass shell or a Ludwig Black Beauty.

2. 14” x 5” maple shell snare – Yamaha Maple Custom Absolute.

3. 14” x 5” aluminum shell snare – like a Ludwig Acrolite or similar model.

4. 13”(or 14”) x 3” brass piccolo snare

5. 12” x 6” maple piccolo snare

6. 14” x 6 ½” chrome over brass Paul Leim Signature Snare by Yamaha, similar to Slingerland’s chrome over brass or Pearl’s old Jupiter Snare.

I actually have about fifteen snares. Not too many really, considering I can think of drummers I know that have thirty or more. Each drum has its own character and tone. That is the reason we drummers are compelled to keep buying them.  Some drums I get at a shop after checking out dozens in the show room. Other drums I’ll find at yard sales. Still others I’ll get just because I’ve heard them used by other players and I want to add that sound to my collection.

It’s true that the design of a drum creates its own unique tonal character. The size of the shell; the material used; the thickness; the rims; the hardware; the snares; the heads; and the cut or shape of the edges will all affect the sound you hear. As players we usually don’t consider why something sounds the way it does, we just like or dislike what we hear. “It’s a feel thing.” And that’s perfectly OK! Trust your ears. I always advise drummers to play what inspires them.

You may feel that you have no idea where to begin. Maybe you just want one drum to do everything. In all fairness, that is a tall order for one snare. If I had to choose only one drum for a tour or recording I would probably go with the 14” x 6” brass shelled snare like the Yamaha snare, Pearl Free-floater, or Ludwig Black Beauty I mentioned earlier. I use all of these drums with standard steel hoops, not die-cast. And the producers, artists, and bands always like what they hear. No kidding! All of the sessions I did in the last two weeks I mostly used one of those snares. Paul Baloche’s entire “Offering” recording was a Ludwig Black Beauty with a Peavey 1000 maple piccolo snare to the left of my hi-hat. On the latest tour I’m using the Yamaha brass shelled drum. Again, on different songs I’ll try different things. But I usually begin with the brass drum.

The sound of a brass snare is awesome. Brass is a heavier metal so it projects some warmth that steel does not. Because it is metal it has a brighter tone to it than wood. Also by changing the tuning and muffling of the drum you can make it sound really fat and low, or crank it up and make it really “pingy”! It’s probably the most versatile drum in my collection.

Now I know there are drummers reading this who might disagree with me. That’s OK! Again, I encourage you to play what inspires you. I’m just trying to narrow down all of the options into one workable snare drum. And so far the brass drum has always come out the winner. While working on a project I may use a different snare for each song. That really does happen. But when there’s no time to change I’ll always set up the big brass snare.

As a secondary snare I usually use a 14” (or 13”) x 3” brass piccolo snare to the left of my hi-hat. That again is a starting point. According to the music I might switch things around. I’ll put the piccolo in the primary position and the bigger drum to the left. It’s always a creative musical choice.

Head choices for this set up are as follows. I’ll use an Evans Reverse Dot Coated head on the bigger drum and a Coated G1 on the piccolo. The standard Snare Side Evans Resonant is on the bottom of both drums. If I want the piccolo even brighter sounding I’ll put a thinner head on top. Again, if you like different manufacturers use what inspires you.  I’ll tune the bigger drum pretty tight, but not like the piccolo. With the snares turned off tap the center of the drum. The note you should hear should be around a “G”. If you want it a little brighter tune up to an “A”. I’ll tune the piccolo much higher. I crank it up to a high “C”. I even tune my snares in perfect 4ths or 3rds; never closer than a minor 3^rd. It’s always a creative choice.

Actually some of the signature drums being made now are really amazing. Paul Leim’s Yamaha snares are incredible. Pearl’s Steve Forrone snare; Tama’s Kenny Aronoff snare; and Yamaha’s Manu Katche snare are also great drums. It’s no surprise I like all of these drums. They’re designed after the Ludwig Black Beauty brass snare with some variations. Paul’s drum has the chrome over brass element. Manu’s snare as well as Paul’s come with die cast hoops. These hoops give a snare more “crack”.  All of these drums have that same classic brass character. The others are almost exact copies of the Black Beauty.

For you Steve Gadd fans, after years of development Yamaha finally came up with a snare that Steve loved. His classic Ludwig “Supra-phonic” sound has been duplicated by Yamaha. For years Yamaha made the rest of his kit, but Steve always used the Ludwig snare as his primary drum. Their design team really nailed it with this drum. They even make it in six varieties of different sizes and wood shell models too. Of course if you want that sound you could just get the Ludwig Supra-phonic like he always used.

The world of snare drums is constantly growing. In every issue of Modern Drummer you’ll find new designs and even independent builders coming up with fresh concepts in drum building. The Craviotto Drum Company is just one that makes fantastic snare drums. Chester Thompson allowed me to check out his maple snare that they made. It had amazing “crack” and tone, and a very distinct character of its own.  A drum I would like to add to my collection one day. This seems to happen a lot when I hear new drums. Musicians are like musical chefs always adding spices to their cabinet. I have to admit I have quite an appetite.

I want to remind you to be creative. Find an old beat up snare at a yard sale and rebuild it. I have an old Ludwig snare that my father-in-law found for five dollars. New heads and wire snares made the drum come to life. An old wood Slingerland student model drum I got from a drum shop sounds fat and “trashy”. I use it according to the musical moment that calls for that sound. At a close out sale at Sam Ash I found a cheap little piccolo snare for twenty five bucks that just sounds awesome. You can hear that drum on several cuts of the new Quad Venti recording “Global Settings”. www.quadventi.com

No matter how many drums you own, get to know what each one will do. I’ll spend time playing each snare to get use to its unique sound. I’ll tune and adjust them in different ways to discover a variety of colors in each snare. That way when I’m in a session or on tour I am able to actually hear the sound in my mind without going through my whole collection to find the right “spice” for what I’m cooking up. It is great to experiment as long as you’re not wasting other people’s time.

The snare is probably the most distinct drum voice we hear in music today. So having a good understanding of the options available is very important. Start with a few essential drums as we’ve discussed. As time and money allow keep adding to your own personal collection. Listen, read, and investigate so you will be able to serve up quite a tasty treat for your fellow musicians. A good chef knows what flavor he wants to add to a recipe to make it unique and wonderful. It won’t be long before you know how to add just the right snare “spices” to your own musical menu.

Buon Appetito!

Chef Carl

Even when you’re on the road you have to practice. Here’s a little warm-up I do when I travel.

Ah, yes,,, another seminar and concert event has finished.  Great teaching sessions and nights of worship have been followed with many discussions about technical & spiritual matters. Questions about how to tune the drums or what equipment do I prefer are fairly common. Also comments about how certain songs touched people or the positive team spirit of the band are heard. But the most popular topic here, by far, is the “busy drummer syndrome.”  This doesn’t mean keeping the calendar full of appointments either. No, sadly, I frequently talk with worship leaders, music directors, and other musicians about their drummers “over-playing.”

OK, drummers, here’s the deal! Most people don’t want to hear a fill every two bars. They don’t care how hard you’ve practiced to play those 32^nd note patterns or to “nail” the solo from your favorite drum recording.

They just want you to PLAY THE SONG!  Keep the tempo steady, and play the tune the way you hear it on the recording, AND THAT’S IT! **The bold letters mean that I’m shouting… Oh, I’m sorry,,, I mean,,, speaking with a strong emphasis. Actually, I’d pull my hair out except that I shave my head now and have nothing left to grab.  Why is it that so many drummers don’t get this? … It is a mystery.

You may have heard me say this before but it’s worth repeating. I always tell my students and clinic attendees to “Play music, NOT drums.” Serving the song and your team is your primary objective. If you think those things are suppose to serve you and give you a way to show-off your “sweet drumming skills” you’ve got it all wrong.  Gosh!!!

Now I know I’m making a big deal out of this, but it IS a big deal. Making the song sound great is EVERY musician’s job. If that is your heart about being a drummer people will love your playing.  If the music calls for a lot of activity then go for it… but if it’s just playing grooves for tunes, then master that skill as well.

Every great drum icon I’ve seen & heard made the whole band sound fantastic. Especially working with singer/artist types they always play for the song, and it is a magical experience. Drummers often think that their drum hero must be very restrained in their ability to just play songs. “They must be bored out of their mind! … I wish they could really cut loose!” But, you know, the “regular” people listening never think of it like that. The non-musical folks are just enjoying and experiencing the music.

So, how do you keep from falling into the “busy drummer syndrome?” The first thing I do is just copy what has already been done. Listen to the original recordings and just do what they do. It’s that simple. And yes, SIMPLE is usually the operative word. Most songs are arranged very carefully. Check out any of your favorite artists or worship recordings and you’ll hear what I mean. Intros, verses, choruses, etc. etc. all seem to have specific musical ideas happening. Play it just like that.

Yea, I know, you’re thinking… “But Carl, that’s sooooooo boring!!

I want to add some flash to it; put some of my own personality into it! Man, I’ve got to express myself!” Arghhhhhhhhh!   Get over this attitude as soon as possible. Express yourself at home! Blow off that creative drive during your practice time. Otherwise, just play the songs.

Doing a great job IS expressing yourself. It is the most mature thing you can do as a musician. Making great music and bringing the songs to life is what it’s all about. There is not one artist that I’ve worked with that doesn’t feel the same way about this subject.

Another way to battle this illness is to talk to your worship leader or music director and ask if what you’re playing is working for them. If you’ve started with the recording as your reference they’ll usually like what you are doing. But there are times they do want a little more activity just to add energy to certain songs. Don’t get carried away though. This is not permission for you to become a “drum monster.” (You know, the big creature stepping on everything that gets in its way.) Yes, you must ask them. Sometimes people are afraid to talk to you about your playing because everyone knows how sensitive musicians can be.

Recording your rehearsals and performances is also a great tool. Video tape it if you can, but do something so you can go back and check out how it went. Be honest with yourself and make note of both your great and bad moments. Let others review your recording as well. Then change anything you need to in order to make your performance even better.

Finally, practice groove ideas with a click track for eight bars without any changes. Only do fills at the end of an eight bar phrase, and then maybe go to a variation of the groove for the next section. Do not even do fills in the 4^th measure. This is an exercise in restraint. Not physically difficult, but it can be a real mental challenge. Do it! Listen closely to how consistent you are with EVERY element of your playing. Do the snare hits sound exactly alike? Is your hi-hat pattern maintaining a steady pace? Does the bass drum perfectly line up with your hands and sound solid? Put your playing “under the microscope” and perfect every element to the best of your ability.

OK, so you say you’ve heard it all before.— Great. — BUT,,, are you doing it? Are you really honing in on your musical artistry? Do not become complacent or rest on yesterday’s accomplishments. Keep moving ahead. Improve what talent you already have.

1.    Copy the drummers on great recordings.

2.    Ask for honest feedback from those you work with.

3.    Record yourself all of the time and review it.

4.    Practice the 8 bar phrase concept with a click.

 

Playing simple great grooves is NOT as simple you may think. It takes a strong, mature player to do this. But the pay-off is amazing. The whole band is going to sound better. Your singers are going to love how open and spacious the tunes feel. And you should feel more confident and solid in your performance.

Again, remember it’s all about the music. Play what’s right for the style of songs your doing and you’ll be honored amongst your peers.

“PLAY MUSIC, NOT JUST DRUMS.”

 

Blessings,

Carl

 

 

 

 

It was a powerful time of worship on Sunday with Chris McClarney’s team. Gabe Harris & I were so excited to lay down the grooves with TWO drum kits!

I always arrive early for whatever job I have to do. And a drummer should be earlier than everyone else. If there are any tech issues that come up it gives me time to iron them out before the rest of the team arrives. It makes soundchecks and performances much more relaxed.

“Tricks for Clicks”

By Carl Albrecht

How do you know when a drummer is knocking at your door?

Answer: The knocking speeds up!  … or slows down!  OR, maybe both!

Sorry gang, I just had to throw that in there. It’s one of the many drummer jokes that we get bombarded with. But may it not be true of you! So, how do we avoid the problem of shifting tempo? How can you get your time rock steady?

You’ve guessed it; today’s discussion is about the famous “click track.”

A term used to literally describe the track on a tape or computer recording system that is dedicated solely to the metronome. A concept first developed in film production when they wanted to align musical cues with the action that was happening on screen. The conductor would listen to a click track printed directly onto the audio portion of a film and conduct the orchestra to match what was happening in the movie. Then it became a staple in studio recording. Now we use it for live playing as much as we do for studio work.

Playing with a click or metronome is one of the biggest challenges for musicians. From my early years of study on drums, percussion, and piano all of my teachers required that I practice with this tool of the trade. And so it is today. I use it for EVERYTHING! Practicing, recording, and live events get the same attention to the mark of the metronome. The infamous b.p.m. (beats per minute) rules the drummer’s life.

I’ve played with clicks, clacks, pops, beeps, dings, and many other sounds. So let me show you a few tricks to make this experience more enjoyable. Hopefully this will help you and the whole band feel like the click track is your friend.

Ultimately you should be able to listen to whatever is sent to you as a click sound. There are still times when I have to listen to an annoying pop or beep.

The main thing is to be the team player and don’t complain. But if you can be the one who creates the click then make it something you want to hear all day.

I normally like to have a soft sounding high cowbell sound on the quarter notes and then use a small shaker for the subdivisions of the beat.  Some want a different sound on the quarter note (or pulse) of the song. Other players I’ve talked to like to hear just a shaker playing 8^th notes, 16ths, or triplets depending on the feel of the tune. Be careful with the sound of the shaker you use for a click. There are times the sample hits a little strangely and it doesn’t sound steady. That’s why I normally choose a short snap shaker sound.  WOW!  Say that fast 4 times. “Short snap shaker sound”…….

There are so many metronome devices on the market today there’s no excuse for all musicians not have one. I just got a music distributors catalog in the mail today and the whole back cover is full of metronomes. Everything from a basic $11 mini version up to multi-functional Yamaha Clickstation that list for $189.

If you can spend a little more I highly recommend getting one of the little drum machines rather than an ordinary metronome. In stores everywhere and on line there are always drum machines for sale. You can easily spend under $200 and get a machine that will work great. An Alesis SR-16 is a great little inexpensive machine. You can even use a foot switch to start & stop it. I keep the switch by the heel of my hi-hat pedal.  I like to use the percussion sounds that I can program rather than a plain click or beep sound. The main point is to start with something that works for your budget. There’s just no reason not to have a metronome.

The first time you play to a click can be a very frustrating experience.

I recommend starting with the metronome playing double time. In other words if you want to play notes at 80 b.p.m. set your device to play 160 b.p.m. and so on. If your machine can play the subdivided notes then you can easily keep the main pulse at 80 and then let the other sound play double time. (ie: cowbell on ¼ notes and the shaker on 1/8^th notes) Listen and count for several bars before you start to play. 1, 2, 3, 4; 1, 2, 3, 4; then begin. We call this “internalizing the time.” Stay very relaxed and keep your strokes smooth. Don’t allow any stiffness in your arms, wrists, or fingers. If you feel your tempo is wandering a little don’t tense up. Just try to feel the pulse and lock into it. If you get totally lost; STOP! Breathe; start counting again; internalize the time; and start again. You should feel your ears and hands locking into the sound of the click. I often tell my students not to think of a click as isolated blips, but as long notes that are connected. Picture in your mind the bouncing ball image. “Follow the bouncing ball!” If you think of clicks and all percussion sounds as having length it should be easier to keep the proper tempo spacing in your playing. I had one teacher tell me to thing of the pulse of music as being “round,” not pointed or square. Whatever picture you can use to get this idea hang on to it. It really does work!

I would also use ear buds or headphones to listen to the click. Most metronomes have a headphone plug. Use it!  In most band settings this is the way you should monitor the sound anyway. Don’t send the click sound through the speakers. If you have to, get your own small headphone mixer.

Again, they are easily found in music stores and catalogs. In one channel I have the monitor line sent to me (2 lines if a stereo mix is available). I send my click line into a totally separate channel. If I’m using drum loops, that is also in a separate channel from the click and mix sends.  Having the music mix and the click in separate channels allows you to adjust levels according to the moment. In softer songs you can turn the click down, but when everything is loud you might need to turn it up.

Trust me; there have been enough times when I couldn’t control the click volume, and I wished I had taken the time to set up my little mixer. If I have no choice I will ask the engineer to send me the click at a much higher level in my mix so that I know the music will never cover it. This can be very annoying if you have to listen to a loud click the whole time you are playing.

But do what you have to keep your tempos steady.

I use a click for everything. Besides always using it “on the job,” I use a click when practicing rudiments, snare and drum kit studies, and even when I’m soloing. At least 95% of my work out is with a metronome or drum machine.

Try different ways of using the click. I’ll set up only a ¼ note pulse for some exercises. If I’m mixing the subdivisions of the beat I don’t want the machine playing them for me. It might be interesting to hear triplets against 1/16^th notes, but sometimes I really want to focus on just the main pulse.  If the primary feel is heavy with a certain subdivision then I will allow that to keep playing.

For the opposite approach try playing with a click only on the “off beats.”

Rather than hearing the ¼ note pulse, only hear the “and” of the beat (for 8^th notes) or the “and ah” part of the beat if you playing a 1/16 note feel. Try other variations of this concept. If you use a drum machine, program a pattern that accents the notes you “don’t” play. When you do this you really get a feel for how well you are grooving around the time, because you can hear the other notes. The ones that you’re “not” playing. You should think of the machine as another player and begin to relax as you play along with the click. Again let me emphasize the word RELAX! Stay loose!

Other tricks that are fun would consist of leaving beats out. Have the machine click 1, 2, 3, but rest on 4. Try any variation of this you’d like. You could also count the clicks as only sounding on beats 2 & 4 and you have to place the 1 and 3 in the gaps along with all the patterns you are trying to play. I got that idea from my friend Don Harris; an outstanding bass player with impeccable time. By the way he always practices with a metronome too.

If you play with a basic click on ¼ notes try keeping the volume of the machine down. When your time is perfect you won’t even hear the click. We call that “burying the click.”  This is also a great way to tell when your playing “on top” (a little ahead of the click) or “laid back” (slightly behind the click). Mentally you almost feel like the machine is rushing or dragging, but believe me it’s you, not the click, that’s moving. Don’t become tense when you hear this. Concentrate and become aware of your feel of the time. There are musical settings when you want to change where you feel the tempo. The key is to learn what it feels like and to be able to control it at will. A little pushing and pulling can be very musical, but keep it smooth. Never let it feel like you’re jerking the time around. Again, RELAX!

If you start using a click everyday you should notice your time improving.

Hopefully all the musicians will start doing this as part of their routine as well. But even if no one else does, do it for yourself and for the sake of the music. Your team will notice the difference.

Maybe you can suggest that everyone use a headphone monitoring system and listen to the click with you. Even if they do just at rehearsals it will help. I know several groups that have gotten so comfortable with it that they use it all the time.  It’s amazing how the whole band will improve their time as you all play along to your friend the click track.

 

 

I’ve always loved jazz. I was part of the founding jazz program at Webster University in St. Louis. It started the burn I have for that genre, and the fire never went out. You learn so much about pouring out of your heart & soul, and I believe this relates so much to what I feel in worship music. Even John Coltrane commented that his classic recording “A Love Supreme” was worship to God. Those early inspirations are firmly planted in me. The value of my Bachelors of Music degree is not in the plaque on my wall, but in the passion that it stirred in me as a young musician.

Here’s a clip recently recorded at Belmont University in Nashville with my friend, Professor David McKay, for his faculty recital. This is David’s tune “Colori.”  Our band, Quad Venti, is the outlet for the love of this music. You can check out more  QV songs at itunes. To book the group for your event contact my office. (615) 851-2850, or email LMAlbrecht@aol.com.