'Cause sometimes you don't know what you're going to get..
The last few shows on this European trip have been kind of an adventure one might say. I flew out merely with sticks, a click track, and some tuning keys. Everything else has been provided by the venue or promoter.
Uncharted territories. Unnerving. I've honed in on some quick remedies..
Let me share..
Because I haven't been sure what equipment to expect, I lean heavily on my minimalist set up. Crash, ride, and hi-hats will do. A rack and floor, snare and single kick. Anything else is a plus.
Most cases, there hasn't been a lot of time to check so I focus on tuning snare and toms. I don't leave out the
kick drum, I just leave it to check toward the end because it's usually a quicker fix. Unless it totally sounds out and the tension on both heads aren't too tight, I make sure there is enough punch and the heads are padded with a towel or pillow of sorts, touching both sides. I then check on how it sounds from out front of the kit. I'll wait until another drummers playing it to give it a final tune. Oh and if I really don't have anything else.. a hoodie sweatshirts come in real handy.
With all the drums, I treat
tuning heads like a guitar player would his strings. Loose to tight.. That is if I'm having to start over from scratch. I'm noticing most guys who have lent me their kit, crank their snares so high that there is barely any sgnificant 'crack' or depth left. So I've found myself de-tuning often.
Gaff tape has become my greatest ally. It's been hard to get a hold of moon gel consistently, which I prefer. Its easy to run out of it. But usually sound men have gaff tape lying around and cheap to buy. It usually takes a small strip to take the edge off a tom or snare that has loads of ring. I still try and let the drum resonate. If it's an old head that is beat to death, it will need more tape. Those drums can sound like a dying child without 'deadening' them first. Hope you understand the seriousness of that redundant statement.
By the way, I've been borrowing a certain female guitar player's PINK gaff tape... whatever works!
I try to grab the
largest cymbals because even if I don't hit them super hard I want them to wash out well. I do a fait amount of cymbal rolls and washing in the set and that just doesn't sound good on a smaller high pitched crash that are the size of my hi-hats. If a crash or ride has been cracked I can't do much with it. If the top hi-hat are broken I'll flip them around.
The other night I received a snare and the throw-off was held down by a girls hair band... so I grabbed another available snare, then 16" then 12" toms. The snare and toms were black with a sparkle kick drum and the hi-hats were practically two separate splashes put together.
Build-A-Kit!
On a side note, I've been becoming accustom to smaller lower set toms and crashes. In a small club or venue I don't have to play as intense and I'm usually more relaxed with my grooves and fills. In this particular pop rock setting, its been important to stay agressive, but also know how to get the same sound without overplaying. The band isn't overpowered, and that's importnat for a vocally strong band.. It usually means less arm for me.. more wrist.
So that's possitive.
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