Gavin Harrison here!

Fox, while I don't know exactly what you are talking about, I suppose it must be about metric modulations or some rhythmic illusions like that, as Gavin calls them.
You don't play independent tempos from each other, but you group existing subdivisions differently to get the impression of another tempo, another pulse.
If your band doesn't keep up with that, that would surely be the definite clue for you to stop doing it with them;)!
It should be about the music, about tension and release, not about some kind of technical artistry like "who can follow me with this", IMO.
 
Fox, while I don't know exactly what you are talking about, I suppose it must be about metric modulations or some rhythmic illusions like that, as Gavin calls them.
You don't play independent tempos from each other, but you group existing subdivisions differently to get the impression of another tempo, another pulse.
If your band doesn't keep up with that, that would surely be the definite clue for you to stop doing it with them;)!
It should be about the music, about tension and release, not about some kind of technical artistry like "who can follow me with this", IMO.

No, no, I was talking about playing behind (like Gavin usually does) or ahead of the beat. It's not about what you play, but how you play it, in perfect synch with a metronome is not necessarily the best/only way to play something.

Fox.
 
Hey Gavin, hope everything's going good.
I wanted to ask about the playing behind the beat thing you've mentioned a couple of times. In my band, while after a minute or so the rest of the band stops following me and we start playing together, they'd still try to keep up with me if I raised the tempo or lowered it, so I don't see how it would work in this setting (unless I didn't get the concept right!). I mean, does the drummer need to play independantly from the others tempo wise? as in not having them follow him for this to work?
And why do you still use the DW drop clutch, don't you use a Cobra Clutch now?
Oh and by the way, I read about your influences and was surprised to not see Peter Erskine in there! I mean, while both of you are very different players all in all, you share that great touch with the instrument so that's why I expected to see him there.

All the best, Fox.

the dw drop clutch make your top hihat cymbal to fall on the bottom.but you have a opened hihat sound when you play it.The cobra clutch is useful because it work directly on your hihat pedal, and you can keep it closed without a feet on it.The cobra clutch keep the foot pression on the pedal.
 
Hey Gavin! Glad to know that you're busy with the new music, September can't come soon enough for me. I'll be grabbing the new PT release then motorcycling from Atlanta to Chicago to catch PT at the Vic on Sept. 22nd. The adventure doesn't end there though; in October, I'm flying over to catch your show at Colston Hall in Bristol. It'll be my first trip to England and I couldn't think of a better reason to finally come. Despite all of that, I had really hoped PT would make it to Atlanta, or nearby, this tour so I could see the band without having to be on the road myself. I'm sure you're not actively involved in bookings, but I'm wondering if you have any information about possible plans to book shows in the southeastern U.S.

It's not just for myself that I ask. You see, my thirteen year old daughter, an aspiring and inspired musician herself, is completely hooked on PT and finds you all to be amazing musicians and composers. Her enthusiasm for PT is infectious, as she has gotten a few of her friends interested in your work, as well. I can only imagine that the thought of thirteen year old fans "getting it" has to be somewhat encouraging for you, given the underlying theme to FOABP. She was really disappointed when no local area show was scheduled because I'd promised to bring her to see you when you came around this tour. Although she's seen many shows with me already; Rush, U2, Sisters of Mercy, Aerosmith, Lucinda Williams, plus many more, PT is THE show for her! So we're keeping hope alive that some more dates will be scheduled and they'll be in our neck of the woods.

Alright, I'm going to have to stop here and get back downstairs to my kit and Rhythmic Visions. Great DVD btw, Horizons is next. Keep up the good work.
 
Who's ready for the new OSI album 'Blood' to hit the stores?

Preview clips on the website sound nice to my ears already!

I got it through the letterbox from Burning Shed today!! Of course, excellent production and the drumming, well, bloody brilliant really as always. Lots of similar sounds used from the previous two albums, and some more power-rock type riffs on the guitars.

I won't say no more, -enjoy!
 
Circles

Gavin,,

I was impressed with your guitar skills on Circles. How long have you been playing guitar? Also, did you find that recording/producing/mixing Circles to be easier with your and Ric in complete control of the entire process? Still working on figuring out those tricky time signatures for Scar, Break, Last Call and Beyond the A.

Cheers

Eric
 
Hi miha

Hey Gavin, over the years did you develop any tinnitus & hearing loss? Is there anything you can do to protect the ears 100%?

I've probably lost some of my high frequencies (that goes with age anyway) but I don't have tinnitus. I can feel my ears starting to ring quite quickly these days - so I almost never play the drums without headphones. At home I have the studio and I'm listening to all the mics (plus a bit of reverb) so it's very comfortable - but I try not to crank up the volume too much. On stage I use IEM (in ear monitors) and I noticed from the first night I started with them that my ears weren't not badly ringing after a show. Unfortunately I did do at least 20 years of loud shows before I got them - so there may be some long term damage in there already. I know how strange and unenjoyably it can be to wear normal ear plugs on stage - I was lucky that when I started with IEM I was already in a band that were 'mic'd up' and had a monitor desk - my early experiences of playing live were usually without mics and certainly no monitors for the drummer.

Hi SantBanks,

But as connecting to the FOH is concerned, I was wondering what you send out to them? Just a stereo mix output of the backingtrack (with or without effects?) or do you send a multitrack output?


I just send them a stereo mix (with effects).

Hi ItalianRicky

i'll edit this post to show you my last bricolage opera...a tingle cups holder!It isn't wonderful and super professional like yours...but it seems to work!
http://img209.imageshack.us/img209/230/24042009258.jpg


Looks really good - you might want to try hi hat size felts on those cymbals because they are so small. I've been doing this recently and it does really help.

Hi Fox622003

I wanted to ask about the playing behind the beat thing you've mentioned a couple of times. In my band, while after a minute or so the rest of the band stops following me and we start playing together, they'd still try to keep up with me if I raised the tempo or lowered it, so I don't see how it would work in this setting (unless I didn't get the concept right!). I mean, does the drummer need to play independantly from the others tempo wise? as in not having them follow him for this to work?

It's more of an attitude really - and you don't need to slow down to get it. You can try it when you play to a click to see if you can play slightly (and I mean a few milliseconds) behind it. Of course that sounds like a strange concept - because it's really just a subtle feeling. In terms of playing to a click - most people have a default place that they feel comfortable to play. I just try to play on the back edge of it. It's the difference when you listen to Jeff Porcaro - or Stewart Copeland. Both are correct - but JP tends to sound 'laid back' and relaxed with the time - and SC sounds excited and edgy. I think if you spend a long time listening to laid back players you'll start to 'hear it' - and then when you analyze your own playing you may hear that it doesn't feel the same as the drummers you've been listening to. That's what happened in my case anyway.

And why do you still use the DW drop clutch, don't you use a Cobra Clutch now?


Because they are two different sounds. The Drop Clutch gives you a semi open 'slosh' sound that sometimes I want when playing double bass pedal. The Cobra Clutch can give you a totally tight closed sound (that the drop clutch cannot) and sometimes I need that sound when playing the double pedal.

About the BeatNik, how does it work for you, is it worth it getting it?


Yes I really like it.

Hi stikzNskinz

I'm sure you're not actively involved in bookings, but I'm wondering if you have any information about possible plans to book shows in the southeastern U.S.


We plan to make a much bigger more extensive tour of the US next year - so there's a very good chance we'll be down your way.

Hi euphoric_anomaly

I was impressed with your guitar skills on Circles. How long have you been playing guitar?

A very long time - but always badly. Most of my guitar playing on the album is just picked or tapped rhythmic parts.

Also, did you find that recording/producing/mixing Circles to be easier with your and Ric in complete control of the entire process?


Yes it's great - it's as close to our pure idea as possible.We're both very pleased with how it turned out.

Still working on figuring out those tricky time signatures for Scar, Break, Last Call and Beyond the A.

The good news is that Terry Branam is transcribing the whole of the this new record AND the previous one too - we have a book/DVD project planned for release. All I can tell you for now about "Beyond The 'A" is that it's all in 4/4 but subdivided in unusual ways.

cheers
Gavin
 
Hey!

Do you use your 13" k-hats on the new osi record? I'm conscidering to buy one of those! i love the sound, and the stick defenition.

Great work with osi! Shows that you can be a really hardcore metal drummer aswell! great as always!

cheers!
 
Yep, great drumming & drum sound on the OSI album, congrats. Bass drum notes on the album's last track (Blood)... man, those were very nice and innovative.
 
Hi Gavin,

I've been listening to GH05 and you guys are really awesome. Are you guys by any chance influenced by Allan Holdsworth? Something about your music just reminds me of some of Allan Holdsworths stuff.
 
Hi Gavin, just want to say how much I'm enjoying your playing on the OSI album. I'm figuring out how to play around with the 'Radiologue' groove so much use of headphones, what a great track. I discovered the sweetest bass drum moment between 05:26 and 05:30...wow! Am I correct in thinking that you're continuing with the hi-hat pattern, omitting the snare and simply playing doubles? A true jaw dropping moment. Do you have a favourite from the album?
Loving the 'Christian Brothers' cover, never heard you play so straight but faultless as always. Thank you for the continuing inspiration.
 
Hi DTrocks

Do you use your 13" k-hats on the new osi record? I'm conscidering to buy one of those! i love the sound, and the stick defenition.

Yes - and they're great hi hat cymbals

Hi SantiBanks

I noticed your myspace blogposting with the video from the Modern Drummer fest. That rack where your macbook sits on, is it just some rack/flightcase (for your drums) or do you have it filled with other equipment (and if so, what's in the box)?

Ah yes Ric posted that video - it's just a spare flight case that I found backstage - I needed something to put the powerbook on.

Hi AronMapex

I've been listening to GH05 and you guys are really awesome. Are you guys by any chance influenced by Allan Holdsworth?


Thanks - yes we both love Allan Holdsworth.

Hi Ogg

I'm figuring out how to play around with the 'Radiologue' groove so much use of headphones, what a great track. I discovered the sweetest bass drum moment between 05:26 and 05:30...wow! Am I correct in thinking that you're continuing with the hi-hat pattern, omitting the snare and simply playing doubles? A true jaw dropping moment.

Thanks - that moment is three notes on the bass in between the hi hat.

Do you have a favourite from the album?

I like all of the album I guess "The Escape Artist" and "False Start" were great fun to play.

Cheers
Gavin
 
Hi Gavin!

Been a long time admirer of PT, and I've only just started on your book, Rhythmic Illusions.

Wanted to ask, the part before the main chorus, in 'Open Car', is that a very basic Illusion, or just displacing the back one note ahead?
 
Hi Gavin!

Been a long time admirer of PT, and I've only just started on your book, Rhythmic Illusions.

Wanted to ask, the part before the main chorus, in 'Open Car', is that a very basic Illusion, or just displacing the back one note ahead?

Gavin could probably explain this a lot better than I could, but I spent years obsessing over every note in Deadwing.

Are you talking about the main riff, where the vocal pattern matches the rhythm of the guitar pattern?

If so, the way I hear that part is as in 17/8, or one grouop of 9/8 followed by one group of 8/8. Because it is an odd number of beats to the bar, when he plays the basic 4/4 rock pattern--with the kick on 1 and the snare on 3--after the group of 9 the pattern would displace and the kick would land on 2 and the snare on 4. To avoid this, he displaces the rhythm at the start of the group of 8 to keep the kick and snare notes in the same position that they are in during the group of 9.

Hope this helps...
 
Back
Top