Gavin Harrison here!

I learnt to play "Donna Lee" on the bass by friends showing me how it goes...(and I still play it pretty badly).


That's alright, I don't think Jaco really knew what he was doing when he played it either. I heard the podcast interview that you recently did, and there were a couple things I could definitely relate to (the discouraging teenage years, the habit of making lists, and the disturbing curiosity to tinker with sounds for hours). Has this curiosity to explore for you only become stronger over time, or has it been fairly constant? I just need to know so I can try to prepare myself financially.

Thanks,
Brian
 
Hi Gavin,

I read about your 40s A Ride having a split that you're worried about worsening (that's a word, right..?). There's a very talented guy in the UK who could repair that for you - Bejamin Camp with Cymbal Magic. A quick google search will point you to him.
 
Gavin,

Looking forward to seeing you with King Crimson in New York!

I was looking at Tony Levin's pictures from the recent rehearsals and it appears that you have some kind of double headed "Octoban" type drums to your left. I'm guessing its your job to handle the old Bruford parts!

They don't look like the standard 6" size. Are they 8"? What led you to add these drums to your arsenal?
 
it appears that you have some kind of double headed "Octoban" type drums to your left.

lond3_8.jpg
lond3_3.jpg
 
Hi JimFiore

Perhaps a bit of an odd question, nothing to do with technique or gear, but if it was possible to trade your proficiency and fluency on the drums for an equivalent proficiency and fluency on any other instrument of your choosing, would you, and if so, which instrument?

Piano - really the most complete instrument. I wish I'd studied it when I was young.

Hi K_HiHats

Just a quick question about this thing you do. For one, it's a main component to the chorus patterns in your tune with 05Ric "Illusion," but you're probably not a psychic (OR ARE YOU?!?) and would like me to further explain what I'm after, so the thing I'm describing can actually be seen and heard at 1:49 in your Killer Joe video.Killer Joe - 1:49 is where I speak of.http://www.youtube.com/watch?v=KWI0l4I2RaE


basically it's this pattern in fig 2.(ride cym, BD and then flam across the tom to snare drum - but with a hi hat note played with the left hand in between the ride and bd note) .fig 1 is a much easier version to understand - so it's that extra hi hat note that gives it the unusual twist.
Triplet lick.jpeg

Hi Illusion1409

I've watched the Anesthetize live DVD a bunch of times, but have noticed something very curious only now. I saw that in Sleep Together you lead with your left hand in the verses, yet everywhere else you led with your right hand as normal. Was there a reason for this? It seems very specific that you'd only do it in the verses, yet I can't discern what that reason is.

because I wanted to play 16th (and occasional 24ths) ghost notes on the snare drum throughout the whole section. It seemed the easiest way to do it.

Hi GregP

I've been using the Sensaphonics custom earplugs for several years, and love them (wish I would have had them years ago). Am now considering getting away from the heavy (and loud) stage monitors, and getting the Sensaphonic 2X-S wired IEMs....but I worry about how they will hold up longer term with the sweat, wax, etc...? The IEMs are quite expensive, and I worry about their life-expectancy in the presence of moisture, etc...Have you experienced any such issues? If so, how much life do you get out of your IEMs before experiencing problems?

it kind of depends how much you sweat. I have had to send mine back twice now as I've damaged the mics (on the 3D Ambient model) due to moisture. Just be really careful how you store them and make sure you have a good way of extracting the moisture in the storage box.

Hi formula428

In Sound of Muzak (album version), there is a bell / chime sound that is different than your cup chimes. Do you remember what it was? Thanks!

At the very beginning of the song I hit an A Zildjian 6" splash cymbal.

Hi SnareSpectre

I know you use Speed Cobra pedals, but with Sonor hammer-style beaters instead of the stock ones. Why is this?

I just preferred the sound, balance, and plastic surface of he Sonor beaters. The weight, profile and length of the beaters dramatically changes the feel of the pedal.

Hi BrianBjur

I heard the podcast interview that you recently did, and there were a couple things I could definitely relate to (the discouraging teenage years, the habit of making lists, and the disturbing curiosity to tinker with sounds for hours). Has this curiosity to explore for you only become stronger over time, or has it been fairly constant? I just need to know so I can try to prepare myself financially.

I think I've become more curious as I've got older.

If anyone out there is interested here's a link to the Podcast that I did recently. https://soundcloud.com/mikedolbear-com/gavin-harrison-podcast-life-stories

Hi Netz Ausg

I read about your 40s A Ride having a split that you're worried about worsening (that's a word, right..?). There's a very talented guy in the UK who could repair that for you - Bejamin Camp with Cymbal Magic. A quick google search will point you to him.

thanks very much. A interesting site to know about. http://cymbalmagic.com/index.html

Hi gongbass

I was looking at Tony Levin's pictures from the recent rehearsals and it appears that you have some kind of double headed "Octoban" type drums to your left. I'm guessing its your job to handle the old Bruford parts!


Yes they're Sonor Prototypes (all 8" diameter) and all double headed. Nothing to do with Bill Bruford's parts though. I had the idea for these a few years ago and finally worked out the logistics of having them made recently. They're still in the development stage.

Cheers
Gavin
 
Perhaps a silly question with an embarrassingly simple answer but, I'm having a lot of trouble figuring out the chinas at 5:34 and hearing the the double bass rhythm that follows at 5:36 in the live performance of Way Out of Here.

A link to that particular section:
http://www.youtube.com/watch?v=95QS3c_Tei4&t=5m34s

I was wondering if you could tell me what's going on. It sounds like there's more than just steady notes on the double bass once it starts (but maybe my ears are just bad.)

I'd also like to add that you're a great source of knowledge for the drumming community, so thanks for taking the time to contribute as you do.
 
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Hi formula428

In Sound of Muzak (album version), there is a bell / chime sound that is different than your cup chimes. Do you remember what it was? Thanks!

At the very beginning of the song I hit an A Zildjian 6" splash.

Cheers
Gavin

I apologize Gavin, but I was actually referring to after the end of the first chorus, at about 1:06. It sounds like a Zil-Bel, but much higher pitched. Thanks in advance, I've always wondered about this cymbal.
 
Hi Raavus

I'm having a lot of trouble figuring out the chinas at 5:34 and hearing the the double bass rhythm that follows at 5:36 in the live performance of Way Out of Here.
http://www.youtube.com/watch?v=95QS3c_Tei4&t=5m34s
I was wondering if you could tell me what's going on. It sounds like there's more than just steady notes on the double bass once it starts (but maybe my ears are just bad.)


It is a lot easier than it sounds. Basically I'm playing the Afro Cuban 6/8 pattern across the two the china cymbals on my right side (the pattern in this first bar). Then I just just slip in some Hertas on the bass drum underneath that pattern (the second bar in the example below). Towards the end I start to play some of the ghost notes from the 6/8 Afro-Cuban pattern on the left china.

Scanned Image.jpeg

Hi formula428

I apologize Gavin, but I was actually referring to after the end of the first chorus, at about 1:06. It sounds like a Zil-Bel, but much higher pitched.


Not a Zil Bel but one of my many prototypes that I made. That one was from a very thick cymbal (probably a hi hat top cymbal originally) and it had an unusual "ping" to it.

cheers
Gavin
 
Hey Gavin,

I was just wondering how you approach linear drumming. Do you think of it like, say, a left flam triplet where you can move a set pattern around the kit, or is it more structured as to what exactly you're hitting on each 24th note? They've always fascinated me, and I'm just wondering how I should go about learning them.

Hope your day is going well!
-Brian
 
Hi Gavin,

I recently received your latest book from burnigshed and was fortunate enough to get a signed copy. I'm thrilled about the accuracy of the notations and about the explanations you gave for every piece. It's very enjoyable to listen to the songs and follow the notations in the book although I will never be able to play this stuff. A great book about wonderful music. Usually I listen to PT on my way to work or back home. Quite loudly, I have to admit, and I already killed the speakers in my car and had to get better ones. This bass drum of yours is unbelievable, as is the overall sound of your kit :). I encorporated some of your tuning techniques into my own kit's tuning and am now quite happy with the sound.

I'm really looking forward to seeing you perform with PT or 05Ric live sometimes. Unfortunately I couldn't visit your and 05Ric's concert in Cologne last year but hopefully there'll be other occasions. I'm not having any questions. Just wanted to stop by, say "hello" and "thanks" for the autograph.

Cheers
Tom (Germany)
 
Hello again,

I noticed that the fill before Fear of a Blank Planet's pre-solo is similar in time and structure to that of the break in Rush's By-tor and the Snow Dog, just before the 4-minute mark Is this a coincidence, or did you take some inspiration from Mr. Peart?
 
Hi BrianBjur

I was just wondering how you approach linear drumming. Do you think of it like, say, a left flam triplet where you can move a set pattern around the kit, or is it more structured as to what exactly you're hitting on each 24th note? They've always fascinated me, and I'm just wondering how I should go about learning them.

Usually I just think of it as a melody between one or two of the elements (let's say the bass drum and the snare drum accents). The melody might be quite simple and I can fill in all the other notes semi-automatically. However - to make it sound smooth you need to be able to think pretty fast. Other times it might be a pre-designed sticking pattern that I'm just moving around the drums so it sounds quite random but actually it's just re-voiced.

Hi Illusion1409

I noticed that the fill before Fear of a Blank Planet's pre-solo is similar in time and structure to that of the break in Rush's By-tor and the Snow Dog, just before the 4-minute mark Is this a coincidence, or did you take some inspiration from Mr. Peart?

I guess it must be coincidence. I didn't have any Rush records when I was growing up - so I'm sorry to say that I don't know the songs you're referring to. I do know Mr Peart though - and he's a jolly nice guy!!!

Meanwhile here's a couple of Podcast interviews if anyone is interested in hearing them:
http://gtdspod.wordpress.com/2014/07/03/episode-61-gavin-harrison/
https://soundcloud.com/mikedolbear-com/gavin-harrison-podcast-life-stories

Cheers
Gavin
 
Hi Gavin
I've ashamed to say I've only recently found out about Porcupine Tree, and your fantastic playing. I don't have a question as such, just wanted to suck up a bit and say thank you for taking time to participate in this forum and being so accessible, I'm just really sorry I missed your clinic tours you did here in South Africa!
Actually, I do have a question: Did you enjoy your time here in our country and do you plan on coming again, either with PT or on a clinic tour?
Many thanks
 
hey Gavin,

I just watched this video http://www.youtube.com/watch?v=HHeXwSun69s of you talking about how music has changed from when you were a kid to nowadays. I was just curious if you have any other ideas on how young musicians like myself can change how things are now, and make people more aware of how important music is and that it isn't just background noise.

Thank you,
Dan
 
Hey Gavin,

Thank you for answering my question about the linear stuff. My latest question is less technical, I was curious to know if you have any "pet-peeves" when it comes to musicians. Personally I find it hard to deal with guys that feel like they have to show off everything they've got on their instrument in the middle of every conversation.

Also, I've recently rewatched your DVDs (everytime I get something new out of them), and I just wanted to say you've gotten even better since then, not that you had room for improvement. I'm not quite sure what it is, maybe something about your comfort level when executing your perhaps "unconventional" ideas.

Enjoy your day,
Brian
 
Hello Mr. Harrison,

I understand that your first progressive rock gig was with Renaissance in the the early 1980s and I believe also your first US tour(?).

Do you have any good memories of that tour or lessons learned you'd like to share (things to do or to avoid)? I liked Terry Sullivan's drum parts but Annie Haslam's voice was just other worldly (saw them a couple times in the late 1970s).

Thanks, and best regards on the upcoming Crimson tour. Tried to get seats at the Albany, NY gigs but no luck.
 
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Hello Mr. Harrison,

I understand that your first progressive rock gig was with Renaissance in the the early 1980s. Is this you, May, 1983 in Chicago?
http://www.youtube.com/watch?v=PDLCdH9ojI0
http://www.youtube.com/watch?v=OsLBM0Uudx4

In any case, do you have any good memories of that tour or lessons learned you'd like to share? I liked Terry Sullivan's drum parts but Annie Haslam's voice was just other worldly (saw them a couple times in the late 1970s).

Thanks, and best regards on the upcoming Crimson tour. Tried to get seats at the Albany, NY gigs but no luck.

Same question got asked a year ago. See post no. 6119.
 
Thanks. Didn't see that.
 
Hi Gavin!

I'm a huge fan of your work, and I've been learning your stuff like crazy. I came across "Bonnie the Cat" the other day. To me it didn't sound like an odd time, I learned it pretty fast and I can now play it note-to-note with ease. And then I saw your solo performance of it, where you actually count in. Mind-blown. I got it all wrong. I somehow thought that the hi-hat accents were off the beat, and snare on the beat, with the riff starting at the second eight-note of the bar, and "1" being the little 1/8-note pause that you leave after most fills. Does my explanation make any sense?

I now know that the whole song (apart from the more obvious 4/4 heavy parts in the middle of the song) should sound entirely different, but after learning it the wrong way, there seems to be no way for me for it to sound like it is supposed to. I have tried playing it with a click, but my stupid brain just assumes that even my talking click "one-two-three-four" is simply off the beat. Any tips for trying to listen/play it right?
 
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