The official video of Christos Asonitis as an endorser of Gabriel Drums and Vic Firth.
Eleven different products of Vic Firth for ten different voices, which are produced at the same pitch on the Gabriel MG Series 13’‘x11’’ Floor Tom (Handmade in Greece).
A unique imitation of samba school’s instruments (surdo de primeira, surdo de segunda, surdo de terceira, repique, two tamborims, caixa, agogo, ganza and chocalho).
Watch the video

Recorded at Lizard Sound Recordings, Athens-Greece
Sound Engineer: Dimitris Karpouzas
Video Making: Mandy Espenhayn
http://www.christosasonitis.com
http://www.gabrieldrums.com
http://www.vicfirth.com
http://www.lizardsound.com
http://www.mandyespenhayn.com

http://www.youtube.com/watch?v=pmlwf60lIkQ

http://www.youtube.com/watch?v=zdsZAAnx7I0

2002 USF Warmup/Shopping Spree Exercise:

http://www.youtube.com/watch?v=6NUkKUfOWPE

Does anyone share the same or similar type of problem?  plz, any advice is worth enjoying development in speed without the fear of a potential hospital bill. 

Yours truly,

Gunnar Drummin’ Jesus!

Hi, I’m a recording “engeneer” (I’m not super pro at it). Each time I record a drummer, I allways have the same worry: will there be too much hi-hat bleed. I meen, mixing a song with sampled drums is WAY easier than mixing one with a real drum, the reason being hi-hat bleed in the snare track manely.  Are you drummers aware of the general hi-hat bleed issue? Is hi-hat bleed a problem on live gigs also, I meen when micing a drum for a show, you get pretty much the same problems as in the studio don’t you? Another issue about hi-hat bleed is that mixing a good drum sound is so hard, and the standards so high (with all the quality drum samplers around) that when a musician thinks of hireing a drummer for a studio gig, he will think twice, cause there is a good chance the the sampler track (if well programmed) will turn out better results in the mix than an actual drum. This, without all the trouble dealing with the hi-hat bleed. If you put all of this together, one could conclude that hi-hat bleed is actually killing the drummer profession (in studios at least). Does this make sense?

My name is Tony Rothschild, and have been teaching how to play the drums since 1974.

In those long ago days, the technology was not around to do what we have just achieved.
It has always been my intention to teach in the simplest way, start with the basics and give every child, regardless of age,sex or ethnic background,and finances,
the chance to learn music.

Here a link to the first complete lesson : - The Introduction of playing the drums!

No fancy production, no glitz and glamour, no high definition DVD, and no BIG payments of $100’s, that is why I say “play in a day Tony’s way” and that is exactly what the ‘2getdrumming’ project is all about, Happy Sticking!!”

p.s. People ask me, why advertentions on youtube??
- its easy to explain, the production (studio, rent, camera’s editing guy etc) cost a lot of money, and we have the crazy idea to make a complete course of 100’s of lessons. All the drumming styles you can learn! Its just to cover the costs, and we can get more professional equipement for the next lessons

In saying that, there are a number of “recognized” methods of tuning.

Both heads tuned to the same “tone or pitch”.
The Batter head tuned higher in “tone or pitch” than the reso head= Overall lower tone of the drum.
The Batter head tuned lower in “tone or pitch” than the reso head= Overall higher tone of the drum.
The overall tone of the drum tuned to one particular “Musical Note or Pitch”

Personally, I use a device called the Drum Dial but Tama makes their own version that reads in metric divisions and this is not about “hawking” any companies equipment…its just part of a professional method of tuning your kit that greatly speeds up the process and makes it “repeatable” anytime re-tuning is needed.

Taking the new head and seating it properly and then tensioning the tuning lugs so that there are no wrinkles is step one.

At that point I take the Drum Dial, attach the distance gauge and check the enclosed chart that comes with the Dial.  For my own snare, I use a tension of 84 on the batter and 74 on the reso.
Once I obtain the same reading on the batter head, I slightly muffle the center of the head and then lightly tap about an inch away from each tuning lug to hear the harmonic “Tone” of the drum at that point.  There will most always be a slight difference in tone between some of the lugs so I pick the one tone I prefer above the rest and tune them all to that one particular tone.

For those who prefer to tune their drums to one particular musical note, here is where you use your tuner to obtain the correct Note at each tuning lug and finally the overall tone of the head.

Flip the drum over and repeat the process.

Once thats done…you have your drum “in tune” with Your Ear~ OR with a Tuner.

As we know, unless we have Lug Locks of some sort, every drum will have tuning lugs that will “loosen off” from the vibration caused by hitting the drum, especially the snare drum.  Tuning as mentioned above will make re-tuning or rechecking your tuning a breeze.

I check my entire kit tuning (Minus the Kick Drum) at the end of each set to make sure all is as it should be and it takes a very short time to tap at each lug position and listen for the tone and re-adjust if needed.

This method is a precise and repeatable method of tuning and or re-tuning your kit. 

I wish I had known these tricks and had this tool way back when I first started playing…and so would the bands I worked with back then haha~