Hey Will
I'll try to answer your questions - and thanks for the interest! Kinda weird but fun trying to remember all these details from so long ago.
I remember using both bass drums in double-kick fasion for one figure, in one song, only. As a young drummer I had little interest (and none of the resources) in doing double bass figures, and therefore never spent the effort to get very good at it. Drummers who do that stuff well, bless 'em because it can be a powerful voice - but only if done well. So my intention was not to approach this as a double kick set. I used the Simmons kick in these ways: as a second kick (as an alternate voice to the main kick), as a boom kick (only for accents), for clap/noise/ding accent hits, and if the stage I was on permitted, as a reinforcement to the snare; in that case, I set the sensitivity to trigger from sympathetic vibrations from the heaviest snare hits (and having a heavy deeper snare helped that happen), although I never counted on that working consistently since every stage was different.
The 18x20 bassdrum was odd for its time. Prior to building the one in the picture, I had a Slingerland 18x20 floor tom that I used as a bass drum at a gig (I was building a new kit and that's all I had available). That drum was hands down my favorite sounding bassdrum ever. So I build the one in the picture using a maple shell. I've since used other sizes, but my current studio kit is GMS and the kick size - 18x20!
The octoban thingy, I considered as a 'ride' tom of sorts. I used that little ride tom for afro/cuban patterns instead of on the traditional ride/bell. I used this approach sparingly, I should add. Other times, it was a simple ride pattern on the rim! I used the K ride cymbal only for big washy stuff and huge crashes - generally where it was good to add an undercurrent of noise. As a good contrast, the ride tom added lots of texture and opened up lots of space in the arrangements.
The cup chims are so left field and colorful you could use them in lots of ways. The Academy had an aggressive, high energy, quirky and somewhat dark sound, so having the ability to go extreme with earthy crashes and brilliant crashes was a plus. I used the cup chimes to extend that in several ways; figures off the Simmons pads, specific accents, actual crashes (they were small crashes!) or otherwise incorporated into beats. The ice bell was my punkass reaction to the function of the traditional ride cymbal (although I used one in this kit). I used the icebell whenever I needed an unexpected surprise accent and also to spoof the ride bell sound! It creates the most obnoxious hard ride patterns ever - how freakin annoying!
These were all very conscious musical and aesthetic decisions way back when. I do realize you're looking to lampoon an entire musical and stylistic genre. So take all this for what it's worth and realize it was very real for me it at the time, as you can imagine.
I wouldn't wish those riot shield playing surfaces on anyone. The clubs usually had a decent enough monitoring system and the kit was mic'd, so balance wasn't an issue, but for some reason, I felt it necessary to play those pads with the same force that I played acoustic drums. And at that time, it was pretty hard. I didn't suffer any injuries, but my hands, arms and back usually hurt afterwards. The newer pads, and those I think you have are more forgiving and also not as threatening to your hearing. So look at those advantages.
I love your take on the mirrored bassdrum head. Very very clever. Also, there's nothing stopping you from building an 80s iconic 'Simmons' kick using wood or plastic and covering it with vinyl. Make it larger or smaller and with more sides or a different shape altogether. Since you're going somewhat Spinal Tap on this whole thing, you could make a semi-useful trigger and offer a hilarious spoof on the whole Simmons thing! Or maybe I'm going too far....
No I'm not!....I've never ever gotten glitter up my nose - at least not from bouncing off a drumhead! Holy glam, you've totally taken the cake with that one!
80's New Wave drums
Don't worry--I'd never make fun of your aesthetic or musical choices. It's more like I'm picking your brain to find out what's correct v. excessive, and then just assuming something like Duran Duran or Culture Club or Flock of Seagulls was inherently excessive and going overboard on that. I like the video for The Reflex by Duran Duran where they have more gear on stage than Manny's Music had in the whole store. Eight keyboards including a fairlight--just nuts. Andy Taylor had a full SDSV, a tama set with a full set of toms AND a full set of concert toms--just ridiculous. The crazy thing is as we're learning our set, I can find very few songs that require more than a floor tom, minus electronic tom sounds and sound effects. I remember growing up in that era and assuming that any drummer who played a four or five piece set must not be very professional, and at least in my first couple years of playing almost feeling guilty or embarassed that I only had a five piece with two cymbals and a hi hat. Any time I got twenty or thirty dollars, I'd get a cowbell or a woodblock or something just to make the set look bigger and have more sounds. Almost everybody got roto toms because they were the cheapest way to double the amount of toms on the set. Then the hilarious thing was everybody put pinstripes on their toms, detuned them, and deadened them with duct tape and paper towel, so on the one hand, you could only get one tone from any given drum, which meant you needed a lot, but on the other, that all your toms sounded the same anyway--they all went thud.
I get why people are just now returning to bigger drumsets, even if on a very conservative level--a seven piece instead of a 15-piece. After going so far in the gigantic drumset direction, everybody felt embarassed by that and went down to four-piece kits. I think the idea was get the most out of the least. But I think people threw the baby out with the bath water there, too. I like four piece sets and three piece sets, I love cocktail sets, but I don't like the puritanical attitude that it's indecent to use more than two toms, a snare, a bass, two cymbals, and a hi hat. Really talented people could do very interesting things with unusual set ups, and they shouldn't be mocked for deviating from the standard. I think with cocktail drums, we worry that people will judge us for not using our left foot on the hi hat when they should look at how we can make the set sound good even though we've eliminated 75% of the sonic capacity of the hi hat. I think a cool thing about playing a four or five piece set is that doing that is going up against a standard--you set yourself up for even footing with everyone else who plays a traditional set up, and that's gutsy. I think people who can play musically or push the preconceived notions of what music is on a larger drumset are doing a real service to drummers in general, too. And really, is it so bad that all those cheese metal bands in the late 80's had ninety-piece drumsets and only played five pieces? It was excessive, but so was the music, so form met function.
So here's the real question--I think the hardest thing to bring back from that era is the make-up. I'm just really uncomfortable with the whole mascara/rouge/eyeliner thing. Any suggestions?
Ha ha ha.
Will
I get why people are just now returning to bigger drumsets, even if on a very conservative level--a seven piece instead of a 15-piece. After going so far in the gigantic drumset direction, everybody felt embarassed by that and went down to four-piece kits. I think the idea was get the most out of the least. But I think people threw the baby out with the bath water there, too. I like four piece sets and three piece sets, I love cocktail sets, but I don't like the puritanical attitude that it's indecent to use more than two toms, a snare, a bass, two cymbals, and a hi hat. Really talented people could do very interesting things with unusual set ups, and they shouldn't be mocked for deviating from the standard. I think with cocktail drums, we worry that people will judge us for not using our left foot on the hi hat when they should look at how we can make the set sound good even though we've eliminated 75% of the sonic capacity of the hi hat. I think a cool thing about playing a four or five piece set is that doing that is going up against a standard--you set yourself up for even footing with everyone else who plays a traditional set up, and that's gutsy. I think people who can play musically or push the preconceived notions of what music is on a larger drumset are doing a real service to drummers in general, too. And really, is it so bad that all those cheese metal bands in the late 80's had ninety-piece drumsets and only played five pieces? It was excessive, but so was the music, so form met function.
So here's the real question--I think the hardest thing to bring back from that era is the make-up. I'm just really uncomfortable with the whole mascara/rouge/eyeliner thing. Any suggestions?
Ha ha ha.
Will
Thanks for the sentiment, Will, but I'm honestly not concerned about anyone making fun of musical tastes or choices - it was what it was, when it was. My point is that our band wasn't doing any mainstream music at the time (in fact it pretty dramatic and dark), even though my kit could have been up to the task had I needed to cover Duran Duran or Kajagoogoo or Thomas Dolby, etc. So I do hope that the info is inspiring or at least a point of reference for you.
Don't sweat the makeup (eyeliner is easily as much glam as it is new wave), but if your lifestyle can support it, and if you still have the hair, the spikey poofey doos scream 1982 MTV. Don't forget the silly single dangly earrings if you have any old piercings still alive. If any in your band have put on extra pounds (we all do), the most ridiculous approach to addressing the fashion thing with humor and grace would be to squeeze into some (undersized) 80s-wear and let the junk hang out a bit! My wife rolls on the ground laughing when considering how I might look now donning those size 30 screaming blue nylon parachute pants...and an equally non-fitting striped shirt! Hmmm this is not the place nor my place to discuss fashion....
Your drumkit philosophies are intriguing and worth a post and discussion of its own. I find that a particular selection of drums cymbals and percussion instruments, as well as the positioning of each element, affects and inspires different playing from me. I have several kits set up (including my newest cocktail kit). Each kit, of course, sounds different, but my playing as well is very different on each. And I do think this happens with many drummers; the configuration of the instrument inspires very different results.
Perhaps others might respond with some ideas about where cocktail drumming fits in and how it's affected the definition of the drumset as we see it evolve.
Don't sweat the makeup (eyeliner is easily as much glam as it is new wave), but if your lifestyle can support it, and if you still have the hair, the spikey poofey doos scream 1982 MTV. Don't forget the silly single dangly earrings if you have any old piercings still alive. If any in your band have put on extra pounds (we all do), the most ridiculous approach to addressing the fashion thing with humor and grace would be to squeeze into some (undersized) 80s-wear and let the junk hang out a bit! My wife rolls on the ground laughing when considering how I might look now donning those size 30 screaming blue nylon parachute pants...and an equally non-fitting striped shirt! Hmmm this is not the place nor my place to discuss fashion....
Your drumkit philosophies are intriguing and worth a post and discussion of its own. I find that a particular selection of drums cymbals and percussion instruments, as well as the positioning of each element, affects and inspires different playing from me. I have several kits set up (including my newest cocktail kit). Each kit, of course, sounds different, but my playing as well is very different on each. And I do think this happens with many drummers; the configuration of the instrument inspires very different results.
Perhaps others might respond with some ideas about where cocktail drumming fits in and how it's affected the definition of the drumset as we see it evolve.
Luckily I've had spiky hair since 7th grade--except that I shaved it off last month! It's almost long enough again, though. I've never gotten my ears pierced, but luckily my character is the biggest poseur in the band, so a clip on would be perfect--especially if it looks like he stole it from his grandmother or something. I used to have green hair for a while and purple hair for a while, so I'm not adverse to that sort of thing. I like the weight joke idea--I have a black rubber shirt leftover from the old days when I weighed like 150--now that I'm about 190, it should look super hot!
I like your idea about set ups influencing the way you play. I haven't heard many drummers who sound the same on any kit they play. Maybe guys who tour and have the kit provided have figured out how to play any kit their way--I always find the kit shapes what I do with it--even when I go from two drumsets of nearly identical sizes and configurations. The 80's set makes me play Roger and Zap/Gap band beats all the time, for instance. On my Ludwigs, I tend to play most like what I'd consider myself, which is kind of Mitch Mitchelly. My cocktail set made me play a lot of rudiments and a lot of bossa nova, which I then took back to my main set and mutated. I ended up getting a popcorn snare to the left of my hats as a result of playing cocktail drums.
I like your idea about set ups influencing the way you play. I haven't heard many drummers who sound the same on any kit they play. Maybe guys who tour and have the kit provided have figured out how to play any kit their way--I always find the kit shapes what I do with it--even when I go from two drumsets of nearly identical sizes and configurations. The 80's set makes me play Roger and Zap/Gap band beats all the time, for instance. On my Ludwigs, I tend to play most like what I'd consider myself, which is kind of Mitch Mitchelly. My cocktail set made me play a lot of rudiments and a lot of bossa nova, which I then took back to my main set and mutated. I ended up getting a popcorn snare to the left of my hats as a result of playing cocktail drums.
Hey Will
Thanks for thinking of The Academy (way back when) and letting me know! I perused over to that site and did a search - looked like the name for the Tshirts is 'The Academy Is...' instead of simply 'The Academy'. If a newer band picked the name up though, I think I'd be honored - kinda nice when there is a tradition through the eras of sorts, don't you think?
How's the project coming along? You've probably been creating and rehearsing some real fun (and maybe funny) arrangements. How's the kit shaping up? Can't wait to see what zaniness you've dreamed up.
Thanks for thinking of The Academy (way back when) and letting me know! I perused over to that site and did a search - looked like the name for the Tshirts is 'The Academy Is...' instead of simply 'The Academy'. If a newer band picked the name up though, I think I'd be honored - kinda nice when there is a tradition through the eras of sorts, don't you think?
How's the project coming along? You've probably been creating and rehearsing some real fun (and maybe funny) arrangements. How's the kit shaping up? Can't wait to see what zaniness you've dreamed up.
You're right--it is the academy is--I thought that was an album title or something.
Do you guys have any recordings? It dawned on me that as people start getting a hunger for more and more authentic, less corporate music, there might emerge a group of collectors who want garage band tapes recorded on boom boxes--like, music that captures the zeitgeist rather than the corporate stars. I wonder if we all might be able to make some money off our dusty old band recordings.
As far as the project goes, we're having a hard time getting together for rehearsal, but the ideas are coming together well and we get along really well--good band chemistry. The backstory is coming along well, too. Like, our female vocalist, for instance, is the illegitimate sister of Molly Ringwald. And if the band were a medieval morality play, we would each represent the following sins of the 80's: entitlement, self-pity, pretense, faith in technology, and greed. So the allegory is coming along well.
I saw a set of 12 and 14" rotos on ebay, too. I think I'll get those.
I figured out a cheap way to make an electronic cymbal--I taped a trigger to a compact disc and hung it from a cymbal stand. Maybe I should change it to a record.
Talk to you later!
Will
Do you guys have any recordings? It dawned on me that as people start getting a hunger for more and more authentic, less corporate music, there might emerge a group of collectors who want garage band tapes recorded on boom boxes--like, music that captures the zeitgeist rather than the corporate stars. I wonder if we all might be able to make some money off our dusty old band recordings.
As far as the project goes, we're having a hard time getting together for rehearsal, but the ideas are coming together well and we get along really well--good band chemistry. The backstory is coming along well, too. Like, our female vocalist, for instance, is the illegitimate sister of Molly Ringwald. And if the band were a medieval morality play, we would each represent the following sins of the 80's: entitlement, self-pity, pretense, faith in technology, and greed. So the allegory is coming along well.
I saw a set of 12 and 14" rotos on ebay, too. I think I'll get those.
I figured out a cheap way to make an electronic cymbal--I taped a trigger to a compact disc and hung it from a cymbal stand. Maybe I should change it to a record.
Talk to you later!
Will
Cripes! Again you have me rolling on the floor laughing. Molly, the sins of the decade, faith in technology! Too freakin funny for words. Lansing area is in for a treat, Will - I truly hope your fanbase is gets it and eats it up!
First, go snag those rotos - a very nice find indeed. Paint em an 80s color (match your hair!) And I had to stop myself with another suggestion to you (to glue the trigger onto a plexi disc, THEN glue a 12" vinyl to that) so the vynil won't break (and a CD is too futuristic)...BUT, as I'm sure, you DO want the vinyl to shatter. Duh.
Hope you all can work your way through the schedule conflicts as best as possible - you can tell your bandmates about a 12 piece funk band I played with just a few years ago, The Logistical Nightmares! It was often more about whether we could pull it all together than the pure joy of grooving that big ass funk boat. Lucky me - as the drummer, I got the driver's seat in that monstrosity!
Interesting you ask about old recordings. The Academy did some recordings (1/4" 15ips, not portastudio) that were relatively decent given the era. We also had some decent live board recordings, which were much more vibrant in comparison. I've remastered one of the live tapes, but obviously would need consensus from the rest of the band to release it. It's not likely that we would, but If that ever happens, I'll be sure put the word out.
First, go snag those rotos - a very nice find indeed. Paint em an 80s color (match your hair!) And I had to stop myself with another suggestion to you (to glue the trigger onto a plexi disc, THEN glue a 12" vinyl to that) so the vynil won't break (and a CD is too futuristic)...BUT, as I'm sure, you DO want the vinyl to shatter. Duh.
Hope you all can work your way through the schedule conflicts as best as possible - you can tell your bandmates about a 12 piece funk band I played with just a few years ago, The Logistical Nightmares! It was often more about whether we could pull it all together than the pure joy of grooving that big ass funk boat. Lucky me - as the drummer, I got the driver's seat in that monstrosity!
Interesting you ask about old recordings. The Academy did some recordings (1/4" 15ips, not portastudio) that were relatively decent given the era. We also had some decent live board recordings, which were much more vibrant in comparison. I've remastered one of the live tapes, but obviously would need consensus from the rest of the band to release it. It's not likely that we would, but If that ever happens, I'll be sure put the word out.
Hey!
I don't know...everyone's dragging like crazy. Supposedly we'll have our first practice some time next week. I'm hoping we can revitalize the project...if not I might go get another band. I haven't been in a band for over a year now and I'm going nuts...I've spent all this time woodshedding and my ideas are better than ever, and only my basement walls get to hear them. I'll let you know how the first rehearsal goes.
Will
I don't know...everyone's dragging like crazy. Supposedly we'll have our first practice some time next week. I'm hoping we can revitalize the project...if not I might go get another band. I haven't been in a band for over a year now and I'm going nuts...I've spent all this time woodshedding and my ideas are better than ever, and only my basement walls get to hear them. I'll let you know how the first rehearsal goes.
Will