This afternoon was band practice. One of the guitar player told me something that really floored me. We play all original Americana music. I usuaally play a four piece kit with an 18 or 20" bass drum. Anyway, sometime back, we played an acoustic gig and I used the Cocktail Kit and nothing was ever really said about it. Anyway, tonight Sean told me that he really liked the Cocktail Kit, and that it was just where it was at. I really didn't think that the guys paid a whole lot of attention to it , but I guess they did.
I really don't know where I'm going with this, just thought it was cool and wanted to share it with you guys.
MyCocktail Kit
Cool!
Hey Mango,
That's cool!
I remeber the first time I brought the Cocktail Kit into a rehearsal and everyone was like, uh... neat....kind of... and then after working out the kinks and gigging with it, I did a rehearsal on regular kit and the band really didn't like the regular kit for the music anymore! Pretty cool, and job security!
- John
That's cool!
I remeber the first time I brought the Cocktail Kit into a rehearsal and everyone was like, uh... neat....kind of... and then after working out the kinks and gigging with it, I did a rehearsal on regular kit and the band really didn't like the regular kit for the music anymore! Pretty cool, and job security!
- John
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PM
Hey John,
re: working out the kinks: did you find that you had to re-write a lot of your parts to make them work on the cocktail kit? I find it no problem to come up with parts from scratch, but translating them from a regular kit is often a bit strange - i feel it's more like editing (cutting out) than re-working them.
as for the topic at hand - I've observed that more than once that a group will come into contact with a cocktail setup & after the usual "uhhhhh....." hesitation, they get into it pretty quickly. Speaking from a recording end (which is what I do, I'm just a beginner drummer), I find that bands sometimes enjoy my using kit because the sound is lighter & it fits better in some situations.
PM
re: working out the kinks: did you find that you had to re-write a lot of your parts to make them work on the cocktail kit? I find it no problem to come up with parts from scratch, but translating them from a regular kit is often a bit strange - i feel it's more like editing (cutting out) than re-working them.
as for the topic at hand - I've observed that more than once that a group will come into contact with a cocktail setup & after the usual "uhhhhh....." hesitation, they get into it pretty quickly. Speaking from a recording end (which is what I do, I'm just a beginner drummer), I find that bands sometimes enjoy my using kit because the sound is lighter & it fits better in some situations.
PM
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mangorockfish
- Posts: 182
- Joined: Wed Jul 14, 2004 10:23 pm
- Location: arkansas
Hey PM,
In the case I was describing, it wasn't so hard. The band was the now famous (in my mind!) Cocktail Angst:
http://www.cocktaildrum.com/media/video/cocktail-lg.mov
In the early days we were still doing more swing stuff and keeping it kind of campy so I was already doing a fair amount of straight ahead stuff with brushes and sticks. Where the Cocktail Kit REALLY kicked in was once I got the bongos and cowbell hooked up. We were already doing latin stuff but suddenly I could ermulate a latin percussion section much better. With this setup it is also really easy to transition between all of the instruments so the orchestration got really interesting. I like switching textures on different sections of the songs such as bongo/cowbell on verse, and snare bass drum on the chorus. Sometimes just triangle, or cymbal/drum rim as a ride and cross stick. It works out really well.
Like you were saying the subtlety of the drum works really well for a lot of situations. Finding all of the various sweet spots on the snare, rim, and shell of the drum can create a similar effect as many drums and cymbals... if you play it with the right attitude! This also translates to the percussion part of my kit. I have played percussion in some groups before so it wasn't too much of a strech to to play cowbell/bongo/bass drum patterns as the sole drum part (it also nice if the singer plays shaker!). It's just a different world sonicly.
ASsfar as other people liking it, I have also found that most people are into it. The only nay sayers I have run into are the occasional jazz purists or fusion bass players that need 'THE' sound of their obsession to be satisfied. If they only knew!
- John
In the case I was describing, it wasn't so hard. The band was the now famous (in my mind!) Cocktail Angst:
http://www.cocktaildrum.com/media/video/cocktail-lg.mov
In the early days we were still doing more swing stuff and keeping it kind of campy so I was already doing a fair amount of straight ahead stuff with brushes and sticks. Where the Cocktail Kit REALLY kicked in was once I got the bongos and cowbell hooked up. We were already doing latin stuff but suddenly I could ermulate a latin percussion section much better. With this setup it is also really easy to transition between all of the instruments so the orchestration got really interesting. I like switching textures on different sections of the songs such as bongo/cowbell on verse, and snare bass drum on the chorus. Sometimes just triangle, or cymbal/drum rim as a ride and cross stick. It works out really well.
Like you were saying the subtlety of the drum works really well for a lot of situations. Finding all of the various sweet spots on the snare, rim, and shell of the drum can create a similar effect as many drums and cymbals... if you play it with the right attitude! This also translates to the percussion part of my kit. I have played percussion in some groups before so it wasn't too much of a strech to to play cowbell/bongo/bass drum patterns as the sole drum part (it also nice if the singer plays shaker!). It's just a different world sonicly.
ASsfar as other people liking it, I have also found that most people are into it. The only nay sayers I have run into are the occasional jazz purists or fusion bass players that need 'THE' sound of their obsession to be satisfied. If they only knew!
- John
Hey All
I've been rehearsing with a singer-songwriter who's assembled a group for a CD release concert. I was called in as a drummer (I played kit and percussion on the album) and decided to go cocktail for a) a benefit in rehearsing logigistics and b) more importantly, a unique twist to the arrangements and sound.
This artist has a folksy-blues approach and some of the songs have a simple sameness to them. I think that the cocktail kit approach is pushing me to create more interest in the parts - and therefore adding a layer of variety to all of the song arrangements. Everyone seems totally pleased with the visual and the sound, especially considering the generally unplugged nature of the band.
I'm using a new cocktail kit I've built and am in the very interesting position of reworking my own parts from the CD. Very inspiring. I'm viewing the cocktail kit as a total replacement for a full studio kit PLUS some of the additional hand percussion I overdubbed. Having my left foot free from playing hats has provided an additional challenge to fill in rhythmically, but to no a detriment - I'm totally revamping parts in the new context.
One issue I've noticed in going cocktail is that even in this context, I will have to be mic'd. Also I've noticed that tuning the kick is more critical since it occupies a different frequency range than usual and that in my case (it's a nice boom) pitch can be an issue.
All said, I'm a new convert. It's realy bringing some new drumming concepts out in me that I hope to apply back to the traditional kit. Cocktail drumming is it's own thing - essentially a new instrument for me, but one that I already know how to play!
I've been rehearsing with a singer-songwriter who's assembled a group for a CD release concert. I was called in as a drummer (I played kit and percussion on the album) and decided to go cocktail for a) a benefit in rehearsing logigistics and b) more importantly, a unique twist to the arrangements and sound.
This artist has a folksy-blues approach and some of the songs have a simple sameness to them. I think that the cocktail kit approach is pushing me to create more interest in the parts - and therefore adding a layer of variety to all of the song arrangements. Everyone seems totally pleased with the visual and the sound, especially considering the generally unplugged nature of the band.
I'm using a new cocktail kit I've built and am in the very interesting position of reworking my own parts from the CD. Very inspiring. I'm viewing the cocktail kit as a total replacement for a full studio kit PLUS some of the additional hand percussion I overdubbed. Having my left foot free from playing hats has provided an additional challenge to fill in rhythmically, but to no a detriment - I'm totally revamping parts in the new context.
One issue I've noticed in going cocktail is that even in this context, I will have to be mic'd. Also I've noticed that tuning the kick is more critical since it occupies a different frequency range than usual and that in my case (it's a nice boom) pitch can be an issue.
All said, I'm a new convert. It's realy bringing some new drumming concepts out in me that I hope to apply back to the traditional kit. Cocktail drumming is it's own thing - essentially a new instrument for me, but one that I already know how to play!
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PM
Hi again John,
thanks for the clip & the informative answer. Do you guys have CD available? If so put me down for a copy & let me know how to order one.
You bear a suspicious resemblance to "Fearless Leader" from the old Rocky & Bullwinkle cartoons. Will this happen to me if I practice my cocktail drumming long enough? javascript:emoticon(':D')
javascript:emoticon(':D')
Best wishes & thanks again,
Pat
thanks for the clip & the informative answer. Do you guys have CD available? If so put me down for a copy & let me know how to order one.
You bear a suspicious resemblance to "Fearless Leader" from the old Rocky & Bullwinkle cartoons. Will this happen to me if I practice my cocktail drumming long enough? javascript:emoticon(':D')
javascript:emoticon(':D')
Best wishes & thanks again,
Pat
Cocktail Angst
Hey All,
Thanks for the kind words!
The Cocktail Angst CDs are available at cdbaby.com:
http://cdbaby.com/found?allsearch=%22co ... mit=Search
'Our Big Top Parade' is the most recent CD.
Funny you should mention Rocky & Bullwinkle, I am an old fan!
Believeit or not I actually do have hair. Just had fun shaving my head for a while and turning into 'Boris' (Badenov?) for 'Angst' gigs. The moustache was a one time thing! I tell you, it's hard playing with an eyepatch! Especially when you are trying to hit those little bongos!!
- John
Thanks for the kind words!
The Cocktail Angst CDs are available at cdbaby.com:
http://cdbaby.com/found?allsearch=%22co ... mit=Search
'Our Big Top Parade' is the most recent CD.
Funny you should mention Rocky & Bullwinkle, I am an old fan!
Believeit or not I actually do have hair. Just had fun shaving my head for a while and turning into 'Boris' (Badenov?) for 'Angst' gigs. The moustache was a one time thing! I tell you, it's hard playing with an eyepatch! Especially when you are trying to hit those little bongos!!
- John
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Pat McNeil
- Posts: 15
- Joined: Mon Feb 20, 2006 9:20 pm
Hello again John,
Wonderful - thanks for lead, will pick up a copy ASAP.
I bet the eyepatch was a pain. There's a funny story about composer Iannis Xenakis and Le Corbusier, who were both blind in one eye. As you've no doubt found out, it plays havoc with stereoscopic vision (depth) to have only the one eye active. Anyway, over dinner, Xenakis is about to pour the wine & can't tell if he's over the glass, so he asks Le Corbusier who reportedly answered "how the heck would I know?"
Pat
Wonderful - thanks for lead, will pick up a copy ASAP.
I bet the eyepatch was a pain. There's a funny story about composer Iannis Xenakis and Le Corbusier, who were both blind in one eye. As you've no doubt found out, it plays havoc with stereoscopic vision (depth) to have only the one eye active. Anyway, over dinner, Xenakis is about to pour the wine & can't tell if he's over the glass, so he asks Le Corbusier who reportedly answered "how the heck would I know?"
Pat
