Gavin Harrison here!

Hello, Gavin (again)!

I was always interested in your pedal settings. How do you set-up your spring tension, beater angle, beater height...?
 
Hi Gavin,
Wow the last question I asked was probably back at like page 10 or so when you first joined when I bought you dvd ? glad to see you are recognized for your contributions to the drum community...

My question is I still enjoy your Letterman performance and always wondered what you had in your in-ear - was it a just a straight click or did you use a bar counter? I imagine its a little tricky to play a long solo where the band will still come in after?

I'm very curious what was the process with those arrangements?

Thanks
 
Hi Warrenoids

was just wondering, what does your rack system consist of?

basically it's two V pipes, two curved bars, and two straight legs. There is a little bit of pipe cutting involved because the V pipes need extra support and they are a little bit too long for my purpose. At the top of each V pipe is a "3 way platform" and they hold the Sonor tom arms and a cymbal arm behind the 12" tom. The rest of it is just cymbal arms.

IMG_9965.JPG

Hi Pavel Ljubicic

I was always interested in your pedal settings. How do you set-up your spring tension, beater angle, beater height...?

It's very hard to describe exact settings - but I can tell you that the beater height is 11cms (from the underside of the beater down to the pedal) - and from the centre of the beater to where it hits the drum head is 18cms (so that will also give you the angle of the beater). I would say the spring is pretty low tension.

Hi LinearDrummer

My question is I still enjoy your Letterman performance and always wondered what you had in your in-ear - was it a just a straight click or did you use a bar counter? I imagine its a little tricky to play a long solo where the band will still come in after? I'm very curious what was the process with those arrangements?

When I was asked to play that show my only instruction was that it needed to be 3min 20secs long and that I had to include the band. So I worked out a tempo that I felt comfortable playing a solo at - and an arrangement of "The Chicken" that would fit into that format. So basically it is the head of the tune - followed by four solos (of 15 bars each and then on bar 16 the phrase with the band) and then the head of the tune again. I played to a straight quarter note click. The musical director of the show thought it would be safer if he counted through the solos for the band so no matter what I played they wouldn't get lost. I didn't hear his counting. I think the hardest thing was the vast amount of pressure I felt. To perform well - knowing how many millions of people would be watching it - and with only one chance of doing it - the pressure was enormous. When I rehearsed it for the first time with the band in the afternoon (and with not that much pressure) it went extremely well (probably better than the live version). Everyone was very pleased - including me. I had a plan of what I wanted to play in the four solos (I hadn't worked out every note but just an "idea chart" that I followed). Then the director wanted to do a second rehearsal - so I thought to completely improvise my second rehearsal run through. They didn't go nearly as well - as I soon dried up my solo ideas under the circumstances. Then that was the end of the rehearsal. Then I had a few long hours of sitting around getting extremely anxious. So I just said to myself "stick to the plan" - and it worked out (despite dropping a stick in the middle of it). The whole thing was very surreal.

cheers
Gavin
 
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Hi Warrenoids

was just wondering, what does your rack system consist of?

basically it's two V pipes, two curved bars, and two straight legs. There is a little bit of pipe cutting involved because the V pipes need extra support and they are a little bit too long for my purpose. At the top of each V pipe is a "3 way platform" and they hold the Sonor tom arms and a cymbal arm behind the 12" tom. The rest of it is just cymbal arms.

View attachment 96990

Hi Pavel Ljubicic

I was always interested in your pedal settings. How do you set-up your spring tension, beater angle, beater height...?

It's very hard to describe exact settings - but I can tell you that the beater height is 11cms (from the underside of the beater down to the pedal) - and from the centre of the beater to where it hits the drum head is 18cms (so that will also give you the angle of the beater). I would say the spring is pretty low tension.

Hi LinearDrummer

My question is I still enjoy your Letterman performance and always wondered what you had in your in-ear - was it a just a straight click or did you use a bar counter? I imagine its a little tricky to play a long solo where the band will still come in after? I'm very curious what was the process with those arrangements?

When I was asked to play that show my only instruction was that it needed to be 3min 20secs long and that I had to include the band. So I worked out a tempo that I felt comfortable playing a solo at - and an arrangement of "The Chicken" that would fit into that format. So basically it is the head of the tune - followed by four solos (of 15 bars each and then on bar 16 the phrase with the band) and then the head of the tune again. I played to a straight quarter note click. The musical director of the show thought it would be safer if he counted through the solos for the band so no matter what I played they wouldn't get lost. I didn't hear his counting. I think the hardest thing was the vast amount of pressure I felt. To perform well - knowing how many millions of people would be watching it - and with only one chance of doing it - the pressure was enormous. When I rehearsed it for the first time with the band in the afternoon (and with not that much pressure) it went extremely well (probably better than the live version). Everyone was very pleased - including me. I had a plan of what I wanted to play in the four solos (I hadn't worked out every note but just an "idea chart" that I followed). Then the director wanted to do a second rehearsal - so I thought to completely improvise my second rehearsal run through. They didn't go nearly as well - as I soon dried up my solo ideas under the circumstances. Then that was the end of the rehearsal. Then I had a few long hours of sitting around getting extremely anxious. So I just said to myself "stick to the plan" - and it worked out (despite dropping a stick in the middle of it). The whole thing was very surreal.

cheers
Gavin

I'm so glad you described the Letterman performance (which was great btw). I really wondered whether pros feel the pressure of something like that, or whether it was just another day in the office. I get nervous playing my run of the mill dive bar shows, Just thinking of performing on live TV makes me come out in hives! It's good to know that we're all just human after all :)
 
Wow thanks Gavin for that insight on Letterman.
I'm sure that was something you will always cherish - that was quite an accomplishment to pull off on national TV as successful as you did...

If I may ask one more question about the event - how did you get picked? word of mouth....Letterman was a fan?
 
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If I may ask one more question about the event - how did you get picked? word of mouth....Letterman was a fan?
The way I understand it was that Paul Shaffer (Musical Director of the Dave Letterman show) was collecting his son from his regular drum lesson with Lou Caldarola and mentioned to him that Letterman was doing another "Drum Week" on the show. Lou (who I believe was a Porcupine Tree fan) suggested that I might be a suitable candidate. It all came as a big surprise to me when Porcupine Tree's manager called me around 6 weeks before the show. Then I got an email from Paul Shaffer to discuss what to play.

cheers
Gavin
 
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Hey Gavin,
Time to recommend: Can you tell us five good Jazz bands (any subgenere) that you like listening to, please? ?
You the best, thank you for the music!
Remember the crew here in México can't wait to have you back ????
Cheers, Betsi
 
Time to recommend: Can you tell us five good Jazz bands (any subgenere) that you like listening to, please? ?
You the best, thank you for the music!
Remember the crew here in México can't wait to have you back ????

Hi Betsi

here are some I enjoy listening to...

Steps. Smokin In The Pit, Step By Step, Modern Times, Steps Ahead
Yellowjackets. The Spin, Run For Your Life, Blue Hats
Weather Report. I really enjoyed the period with Jaco Pastorius on bass. Heavy Weather, 8:30
Chick Corea. The Mad Hatter, Friends, Three Quartets, My Spanish Heart
Art Farmer. Big Blues, Crawl Space

cheers
Gavin
 
The way I understand it was that Paul Shaffer (Musical Director of the Dave Letterman show) was collecting his son from his regular drum lesson with Lou Caldarola and mentioned to him that Letterman was doing another "Drum Week" on the show. Lou (who I believe was a Porcupine Tree fan) suggested that I might be a suitable candidate. It all came as a big surprise to me when Porcupine Tree's manager called me around 6 weeks before the show. Then I got an email from Paul Shaffer to discuss what to play.

cheers
Gavin

I'm glad they got you on there, that solo was the moment that made me finally buy some drums :)
 
Hi Gavin
I'm interested to know, if you don't mind sharing that is, how you might deal with a producer asking you to change a drum part that you are quite invested in, especially if there is a huge departure from the feel you were after for the song.
Many thanks
Dan
 
I'm interested to know, if you don't mind sharing that is, how you might deal with a producer asking you to change a drum part that you are quite invested in, especially if there is a huge departure from the feel you were after for the song.

Hi Dan
to arrive at that point there would have been some miscommunication or misunderstanding along the way. If I'm making a session for a producer - I would ask them up front "how close would you like me stick to the demo?". If they have asked me specifically to "do whatever I like" and I have free reign - then I do whatever I think suits the music (from my personal perspective). If the producer then came back to me saying that it was completely wrong - I'd be interested to know why and see if I can understand their perspective.

Then comes an interesting dilemma. How much do I really want to do this job?- or shall I just pull out and politely tell them "I believe you have the wrong drummer". Some of this of course comes down to reputation, trust and experience. The chances are - if they have specifically wanted me to 'do whatever I want' they probably have a reasonable expectation (based on things they have heard me play before) about what it might sound like. Sometimes producers have asked if I would play something similar to a thing I have done in the past.

As most sessions happen remotely these days - when you might want to try play something unusual - you don't always have instant feed back. Sometimes it takes a day or so before they respond as they might be on the other side of the planet. In the old days of being in a studio together with the producer/artist they would hopefully guide you as you were doing it.

Recording a session in my own studio I will usually record about 4 takes of the song and then edit from there. I pick the best feeling one - but might edit any special moments in from the other 3. If they come back to me and say "I didn't like the pattern in the middle section" - I might already have (on previous takes) something different I could edit in. Maybe they didn't like one or more of the fills - and again I probably have others already recorded. In any case - if they get back to me a day later - I still have the drums all set with the same sound - and I could easily drop something in. If it's more of an overall artistic decision that what I played was completely wrong - then perhaps I wasn't given enough specific information about what they were really after - and invite them to go and find a different drummer. Learn from the experience and be more insistent to get the details of exactly what a producer wants before the next session.

cheers
Gavin
 
Thanks for such a detailed reply Gavin.

So has it ever come about that a producer wanted to alter the parts that you have written for a band you are a member of, forgive me as I'm not sure who produces Porcupine Tree's albums? Or that the producer has a different vision for the song to you, albeit your band's song?

I hope you don't mind me asking.

Thank you
Dan
 
So has it ever come about that a producer wanted to alter the parts that you have written for a band you are a member of, forgive me as I'm not sure who produces Porcupine Tree's albums? Or that the producer has a different vision for the song to you, albeit your band's song?

no - actually it never happened. Porcupine Tree produced itself.

cheers
Gavin
 
Hi Gavin,
I hope you're fine despite the catastrophic circumstances of this year!

Some days ago I renovated my Designer kit and bought + installed some new parts for the "AcoustiGate" system.
I'm a former mechanic but I have to admit that I don't really understand how this "AcoustiGate" should
have an impact on the resonance of the shells.
I know you've played Designer kits for a long time and I would be happy to hear about your experiences
with this system.

Thank you very much and all the best! Hope to be able to see you live soon again!
Chris
 
I have recently gotten into his drumming with Porcupine Tree, and discovered that this guy has major chops, skills and groove. What do people know about him, his equipment, and technique. Any and all information is a good thing.

He's my favorite drummer.
 
Gavin is my favorite drummer. There's something about his playing that is just magical.
 
Some days ago I renovated my Designer kit and bought + installed some new parts for the "AcoustiGate" system.
I'm a former mechanic but I have to admit that I don't really understand how this "AcoustiGate" should
have an impact on the resonance of the shells.
I know you've played Designer kits for a long time and I would be happy to hear about your experiences with this system.

Hi Chris,
The "AcoustiGate" is very subtle indeed - and I usually leave mine wide open.
I believe the "AcoustiGate" was designed as a way to control the amount of ring a drum might have. In the old days when tom mounts were physically attached to the shell and the tom arm went inside the drum - there was a noticeable difference in how the shell was vibrating. It's very obvious once you are used to a 'new style free floating' tom mount and you back to one of the old-style drums. The "AcoustiGate" allows you to direct some of the shell vibrations into the hardware (if that's what you want) and shorten it's sustain. I still have my old Yamaha 9000 recording custom drums and it dawned on me a little while ago why I could never get a good tone from the 12" drum (until I put a RIMS mount on it). It seems to affect certain sizes more than others.

@satisfiedwimp @jiklass @TOMANO thanks for the kind words.

cheers
Gavin
 
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