Q & A

The following are some answers to frequently asked questions. Feel free to e mail any that you might have and I'll do my best to promptly post a response.

e mail ohmay@aol.com and please include Q & A in the subject header.

Below is an email that i received through the Q & A section of my site. I replied to it, expecting my reply to be posted on the site from where it came. For whatever reasons, it was decided not to post it... So, to set the record straight, here it is.

Dave: "Hi all, I remember watching Jonathan with Joe on The Satch Tapes doing The Feeling at MTV... Anyway, somebody asked on the Talk To Joe section on satriani.com whatever happened to Jonathan so I came on over to jonathanmover.com to see if there was anything there and read the Guitar Chef article. I posted small snippets on satriani.com, saying that I saw Joe in a whole new light after particularly two of these snippets - mainly the stuff about Joe wanting to be more commercial, and that I now saw Joe in a different light (I've always been a huge fan). Joe responded by saying...

Joe: <<Date: Sun May 5 10:25 Joe Satriani: PhrygianDominant, j.m. never understood my music. he was a talented musician who had no experience playing blues, rock'n'nroll, r&b, jazz or early rock. he had never been in a cover band. his lack of musical experience was a problem in the band. he was a friend and we had some good times together on stage, but what he did to get himself fired from the band is a lesson in how the music business works. i will leave it up to him to tell you the details...joe... >>

Dave: so I thought I'd ask if Jonathan would like to embellish? I always got the impression that Joe and Jonathan were "old friends" and best of friends at that, so all this has left me kinda confused! I know this might end up tears (hopefully not mine!) but if someone's saying something that isn't true then the other should have the right to put the record straight. Thanks in advance Dave

JM: hi dave, thanks for the email and info regarding the above comment. I'm not sure where it came from, as I've never been to the satriani site, but I can say that I doubt that it really came from joe. even though we don't speak anymore and unfortunately are not really what I would call 'friends', I've never known joe to be a liar and whoever wrote the above was obviously lying by saying that I got fired. maybe it was someone's interpretation from something that joe had alluded to...? however, there is some truth to the above statement as well. in any case, whether it was from joe or not, I do have a response to it and your question.

I guess the comment that I never understood joe's music is somewhat correct, although to me it's more of I never really liked the music (not completely, as I remember liking echo and rubina), rather than not understanding it. but the fact is, I never listened to his records for enjoyment, although I did enjoy playing some of the stuff live. don't get me wrong though, that does not in any way mean that I did not like or appreciate joe as a guitarist. as a guitarist/composer, not a vocalist/lyricist, I respect him a great deal, it's just that if I was going to listen to instrumental guitar music for pleasure and/or inspiration, david gilmour, jeff beck, frank zappa, adrian belew, steve lukather, al dimeola, john mclaughlin, mike stern, narciso yepes and django are who I put on the player first. joe also has one of the most diverse backgrounds in music and does encompass quite a catalog. so yes, there were times when joe might have called out an old cover that I was not familiar with, but on the other hand I remember a night of improv where joe broke into gnossiennes by satie and we just smiled at each other because he saw that I knew where he was going. but, I don't blame joe for being angry with my attitude toward his music. I felt bad on a few occasions when joe would call to give me a set list and there would be songs on it that I had never even heard of, only to find out that they were on some of his records. In saying that though, I also want to say that just because it wasn't my favorite cup of tea musically, I did still give 100% and played my ass off for him and the audience every night. which is evident by joe calling me back for so many years. just because I don't think that a particular artist (or song) is the next led zeppelin or pink floyd, doesn't mean that I don't give it my all and love every moment when doing so.

it's also true that I never did play in a cover band, although I find the comment about having no experience playing blues and the other genres listed quite amusing. I may not have gone out and sweated it out in the bars playing freebird, but all those hours practicing to my favorite records (including blues, r&b, country, jazz etc. etc) certainly has paid off with all the other gigs that I've done, including aretha franklin, fuel, mike oldfield, oleander, steve lukather, elton john, frank gambale, steve marriott and many many others, as well as playing on hundreds of jingles in which I'm called on weekly to authentically play all of the above mentioned styles in all time signatures, shapes and forms.

now, as for why I left the gig (which I believe, was the third time). there were a few reasons, of which I don't mind explaining. but the deciding factor was that one of my cats was very sick and needed me home to take care of him (stu understood). so I chose to do just that and nurse him back to health, rather than continue doing something that wasn't a very successful, happy or fulfilling situation for any of us involved. no regrets for sure, as my little guy is very healthy once again and I've done many gigs since, that have sold/charted far higher and toured/played to much larger audiences, which is what I prefer.

IÕve always been a freelance player/hired gun, so it was just another gig to play from time to time. you see, joeÕs gig was never a full time band situation and I was never led to believe that it was ever going to be more than that. joe and I met strictly by accident, which led to our playing together for a couple of gigs. that in turn, led to a bit of touring when the 'surfing' record came out and started climbing the charts. one thing led to another and it was a world tour and year and a half later. at that point, there was talk of recording and continuing with more, but that was unfortunately not to happen due to joe's dad passing (or being ill, I donÕt remember) right at the beginning of our tracking for 'blue dream'. at that point, understandably so, joe was unsure of the schedule and his near future plans, so I moved on to other work. that other work was a full tour of the USSR with a south african tribal pop band and then straight into working with alice cooper for 'trash'. from what I heard, joe had auditioned quite a few drummers and was having trouble filling the chair. he called me several times while I was out with alice and I finally agreed to come back for the blue dream tour, as soon as alice had a break. the blue dream tour was fun, but it was not a situation that I wanted to continue or play in full time. so, at the end of the tour, I stated that it would be my last and it was time to move on. you can read all about that it in my cover issue of 'drums and drumming' magazine, where I broke the news about my departure and, as they called it, the end of the trio. I then went on to very happily work with aretha franklin (and others) for a few years. joe and I kept in touch throughout as friends and he called me back in to track and tour for time machine. I accepted only because he assured me that it was not long term and at that point, I was starting to do a lot of session work in nyc and didn't want to lose my footing by splitting for another year on the road. I actually enjoyed that tour a lot, playing with phil ashley and taking out the 4 piece kit, but unfortunately, that tour was a bit of a disaster and ended on such a bad note, that joe went home without ever saying good-bye to any of us, of which, had I been in his shoes, I probably would have done the same. i'll leave it up to joe to tell you the details on that, if he so chooses.

so, off I went once again back to my sessions and now with the thought of doing my own project, called einstein. I was well into my first recording of einstein when joe called again in 95 to possibly record and then go back out for yet another tour. my first response was, no thank you, don't you remember what happened last time...? but, joe reassured me that things would be different and to give it another shot. begrudgingly, I agreed to try it again, with the door left open that I might not make the entire tour due to my plans for other things that I was involved with. unfortunately, right from the start, it was everything we both feared and then some. as well, there were train wrecks on stage nightly with a newly taught guitarist, along with the record selling poorly and the attendances were even worse. no one was happy, especially joe. so, a few months into it, I gave my notice and said that I would be leaving at the next break in the tour, in order for joe to have time to replace me. as I said, my cat was very sick, no one was happy and the tour was spiraling downward, so with a combination like that, it made sense to attend to other needs.

but... joe and management convinced me to stay by offering me the opening slot on the G3 tour with my band einstein. I thought about it and decided it was worth staying on the tour to make that happen. so I stayed another 4 or 5 months playing to half and quarter audiences, with a cut salary due to the poor sales, only to find out that for whatever reasons never explained to me, einstein was not a part of G3 plans and I wasted a lot of my time and money expecting something different. so, plain and simple, I quit in order to move onwards and upwards, which was not where joe's gig was heading. remember spinal tap... well, we were playing to a Ômore select audienceÕ at that time, and it kept on getting more and more select, if you know what I mean.

now, to answer your question of what have I been doing since (ItÕs all listed at www.jonathanmover.com). I'm happy to say that I work/record more than ever and I also own one of manhattan's finer recording studios known as skyline studios nyc (www.skystudnyc.com), with a clientele that includes steely dan, sting, blondie, paul simon, madonna, santana, the corrs, the go-gos and many others. I've also had great gold and platinum chart success, recording and/or touring with a variety of new and classic artists such as fuel, oleander, cyndi lauper, elton john, doobie brothers, tm stevens, delmar brown and many more. check out this new band called 'july for kings' on mca/universal. I just recently did their debut cd and it should be released this fall.

in closing, I would like to reiterate that I hold no grudges and have absolutely no animosity towards joe or the gig. I was pretty pissed at the time with him going back on his word regarding einstein and G3, but everything has worked out so well for me, that all I can do is look back and smile at all the other great times we had. and believe me, there were many. thanks for the opportunity to set the record straight.

Q: How did you develop your single bass drum speed and technique?

A: The single bass chops came about from two different areas. The speed end of it came early on when after hearing and getting into John Bonham (along with Newmark, Mattacks, Gadd & Jordan), I decided to drop my second bass drum and dive head first into just the one. The real test for me was practicing to a song called "Space Boogie" from Jeff Beck's "There And Back" album. It's Simon Phillips playing a much faster 7/8 version of Billy Cobham's famous "Quadrant Four" double bass shuffle. It was my deathwish to be able to play it entirely on one bass drum with only a single pedal... The technique and control side came from two areas of study with Gary Chaffee, fat back exercises and linear drumming.

Q: Any advice on playing to a click?

A: Most important is to not let the click intimidate you. Try not to think of it as "a perfect machine" that will magnify your mistakes or prove your inability to be "perfect". Rather, think of it as a great percussionist that you'll be playing/recording with. I prefer to use a cowbell sample on the 1/4's or 1/8's, sometimes with a shaker underneath on the 1/16's. One way is to play with that pattern at a medium to low volume and then when you're not hearing the cowbell, you know your dead on the click. The other way is to play with it at a fairly loud volume, using it as a guide line that's heard all of the time. The latter is my choice, as I like the comfort of hearing it throughout whatever I'm doing.

Q: What approach do you take to tune your drums?

A: I don't tune my heads in the normal "star" fashion, which is tuning from lug to lug across the head in the shape of a star. I finger tighten all of the lugs around the rim first and then go around the drum clockwise, giving a quarter turn on each lug until I reach the desired pitch. This is similar to screwing on the lid to a jar, which I find to be much more consistent and balanced.

Q: How did you develop your left hand to equal your right?

A: Very simple... I just used it more, or as much as my right!. If you take a one measure bar of 4/4 time with an eighth note hihat pattern, you're playing 8 notes with your right hand, and on the average, 2 notes with your left. That's a 4:1 ratio of building your right over your left, and after so many years of playing that way, it's easy to see why our 'lead' hand is so much stronger. I suggest using your left as much as possible to compensate for that. For example, using your left as your 'lead' hand for playing grooves, your 'lead' hand for fills, as well as practicing your stickings/rudiments now left handed. Even if you don't end up playing as a left hand lead or ambidextrous player, (i.e. Simon Phillips, Billy Cobham, Phil Collins, Lenny White, Mark Craney) you will end up with a much stronger, if not equal, left hand.

Q: Is reading music important?

A: Let's put it this way, it can't hurt, and it definitely can help. Although there are many gigs and situations in the music business where you might not need to read music, there are so many advantages in being able to. When I got the call to play for Aretha Franklin, it was 4:00 pm one afternoon in New York City with someone on the phone asking me if I could get on a flight to Boston for a show that night at 8:00 pm. Had I not been able to sight read that gig, I would have had to pass on the opportunity of a life time. I was able to play so many songs that night, including ones that I had never heard before as well as familiar ones, but with different arrangements. Being able to read has also opened up the world of jingles to me. On a jingle session, you literally find yourself with a chart being written in front of your eyes, as the client is dictating what they're looking for. You then have about 2 or 3 minutes to look it over and the tape starts rolling. No one is going to give you an afternoon to learn and play a drum part for a 30 second clip, it's that simple. Lastly, there's such a wealth of information out there via books and magazines, that if you can't read, you're missing out on so much and cheating yourself.

Q. I just heard your band Einstein's CD for the first time,and I am completely knocked out - not only by your drumming (which I think is the perfect cross between the styles of John Bonham and Neil Peart), but by your compositions too. My first question is about the many odd-time grooves on the record. Although I'm enjoying playing to most of them, I'm not really sure what time I'm playing in, and how to count it. Could you tell me the break down of time signatures for "Tear My Heart Out," "Between The Cracks," "Steep Under Stone," and "Into The Void"?

A. Thank you very much for your letter. I'm glad you're enjoying einstein. And regarding your Bonham/Peart remark, to say that I'm flattered would be a severe understatement.
When it comes to the time signatures you asked about, with the exception of the odd fill or extra bar, the basic outline for each song is as follows: On "Tear My Heart Out" the verse is in 11/8. The chorus is primarily in 6/8 with turn arounds in 3/8, 6/8, 9/8,and 12/8 (along with a 4:3 left-hand hi-hat pattern). The solo section is in 12/8. On "Between The Cracks" the verse is in 15/4, the bridge is in 6/4, the chorus is in 27/8, and the solo section is in 7/4. On "Sleep Under The Stone" the verse, chorus, and solo sections are all in 7/4 -although they sound very different- while the bridges are in 11/16. On "Into The Void" the verse is in 6/4, the bridge is in 5/4, the chorus is in 13/4, and the solo section is in 4/4. (How did that get in there?)
To make it easier to understand and play in odd time, try taking a full measure and subdividing it into smaller rhythmic sections and/or phrases. For example, 7 can be subdivided and counted as 4 + 3; 15 can be counted as 8 + 7, and so on. For the verse of "Tear," instead of counting from 1 to 11, try counting it as 4 + 4 +3 - that is, as: 1 2 3 4, 1 2 3 4, 1 2 3. For the chorus of "Cracks," you might try counting it as 7 + 7 + 7 + 6 instead of from 1 to 27.

The following are from my 'ask a pro' column at www.marsmusic.com

Q. I read Modern Drummer religiously and it seems that I always see the same names popping up in regards to who is touring with whom? I would love to develop a career as a freelance drummer but that "inner circle" of players that get the good gigs seems so small. How do I get in?

A. The name of the game is getting yourself out there and visible. Most importantly to the artists, management companies and agents involved with the gigs/tours. There are a few different approaches that you could take, from quick and simple to much more involved. The quickest and simplest way would be to solicit yourself to the industry, quite easily done these days by the internet and the posting of your own website or page. That way, artists could take a look at your background and what you have to offer, without the hassle and expense of flying out and auditioning prematurely. Another approach would be trying to contact particular management companies and booking agents to let them know that you're interested and available. Just be prepared to have a package (resume, tape, bio, and/or photo) ready to send off. Beyond that, the ultimate sacrifice would be to make the move to a major music hub, (i.e. Los Angeles, New York, Nashville, etcÉ) and make yourself visible by playing out and/or recording with other industry individuals involved in the picking and choosing of players for various sessions and/or tours. I'm a firm believer that great talent will not go unnoticed.

Q. I am the drummer in a Ska Metal band. We play a lot of very up-tempo tunes and I get a lot of blisters on both of my index fingers and also my thumbs. What can I do to help eliminate this problem?

A. I have a few suggestions for you. 1. Wait for the blisters to turn into hard calluses. It might be a painful time period, but once you're at that point, those areas won't blister anymore. 2. You might want to try playing in gloves, which although it might take some getting used to the new feel, will alleviate the problem and allow you to play blister-free. 3. I also suggest trying a different stick. Not only a different weight and/or size but texture as well. My choice for sticks is 'Kit Tools'. Not only for their quality regarding weight, balance and straightness, but also the coating that seals their sticks is a wax solution and not a lacquer. This causes a slightly tacky feel as you heat up, which in turn allows you a more relaxed grip. The result being fewer blisters.

Q. I have been playing the drums for about 5 years now and feel fairly comfortable playing a solid groove. My problem is with fills. Can you give me some suggestions on how I can be more creative playing fills?

A. The quick fix to this problem would be to extrapolate and embellish the vocabulary of fills that you already have. Here's how to do this. 1. Pick a fill that you like, simple or complicated, it makes no difference. 2. Play the rhythmic structure of that very fill in a variety of ways using the four different directions around the kit; being left to right, right to left, from the center outward and inward toward the center. 3. Embellish!!! For example, substitute kick drum and/or hi hat stepping for notes played with the hands, add 32nd notes, use dynamics, play two voices at once, open and close the hi hat, etc. etc, and most important, don't forget to use every voice in your kitÉ drums, cymbals, rims, percussion and whatever else you can hit! Next would be acquiring new fills and building up your vocabulary. Easily accomplished by listening to a variety of players and checking out some study materials. I highly recommend the 'Patterns' books by Gary Chaffee. They're easy to understand and the results should be very personalized. In other words, you won't sound like everybody else.

Q. I love all of the work you have done with Joe Satriani. I'm curious as to what the environment is like working in that type of band. How much creative freedom do you have? Also, I know that you do many other projects as well. How do you manage to schedule gigs so that you can keep everyone happy?

A. Playing in a high caliber environment is a wonderful experience and opportunity. I'd much rather play with artists that I feel the need to 'keep up with' rather than have it easy and not have to work so hard. Gigs like Satriani, Aretha Franklin, and Frank Gambale allowed me this opportunity. As for the creative freedom... I always try to be creative within my confines, but it varies. The early days of Joe were much more loose and open to spur of the moment creativity, which I was very happy to be a part of. But that was also because we started out as a small club band and weren't necessarily trying to get the music across to a large audience. Once the popularity factor hit, we had to rethink our approach and consider how to make it work for a greater audience. This of course meant tightening everything up and trimming the fat. In other words, less spontaneity and cutting a lot of the 'extra notes'. As for keeping everyone happy... I just try to do what's right for the artist and their music. If that makes them happy, I continue to work. And since my personality always comes through in my playing, I'm happy too.

Q. We record our band often when we rehearse. We listen back to see how everything from harmonies sound to the way the tempo feels. Usually we are fairly happy with the outcome. The problem is we recorded a live show and the tempo sped up like a run-away train. I didn't feel this during the performance at all. How can I control the tempo better in a live situation?

A. A common problem for sure! Adrenaline is the culprit here and can most definitely be cured without the use of heavy medication. The most important thing here is that you already know the problem exists, so you've taken your first step towards treatment. Now it's just a question of how to remedy it. One way is to consciously pull back and keep it steady when that particular chorus or section comes up. At the time, you might actually feel that you're probably playing a little too slow, but that's ok. When you have a listen back, it should all sound a little steadier than before. At that point you just need to get comfortable with it feeling that way, then fine tune it from there. The other way would be to play to a click or make use of something like a 'Beat Bug', which I love. It's a small metronome-like device that attaches to your snare drum and gives you a numeric reading as you're playing. As long as your numbers are consistent, you know your train is on the right track.

Q. My teacher keeps telling me how important it is to learn my rudiments. Why are they so important?

A. Rudiments can be and are important for many reasons. Just a few examples of what they'll do are: discipline you, build up your chops and technique, help you read, add to your vocabulary of fills and grooves, make you comfortable with both odd and even groupings and more. They're basically a great stepping stone to get you to where you want to go and you'll always be able to find new ways to use them. Just have a listen to Phil Collins, Steve Gadd, Stewart Copeland, Simon Phillips, Manu Katche, Andy Newmark, Stephen Perkins, Vinnie Colaiuta, Jerry Marotta, Neil Peart, Steve Jordan, Matt Cameron (I could write a book here) and you'll hear what your teacher is talking about.

Q. Do you know of a material or a method to sound proof my drum room so as not to rattle my neighbors?

A. Contingent on how much money you plan on spending, there are a few different measures you can take with regard to soundproofing. Least expensive would be going with your typical mix of materials such as egg crates, basic foam, cardboard and/or heavy cloth/carpet. A step up from that would be to perform some minor construction with more professional materials such as sound proofing foam and/or chalk board, usually with a layer of air in between. Lastly, and of course the most expensive would be to purchase a prefab professional 'sound proof booth'. It actually serves as a room within your room and is amazingly quiet. Being an apartment dweller myself with the same problem, I chose to purchase a set of Acupads from Hart Dynamics. With those and a pair of headphones, you're definitely on your own.

Q. I really enjoyed your work on Joe Satriani's "Flying in a Blue Dream." I know this was done some time ago, but I was wondering what time signature the intro to "The Mystical Potato Head Groove Thing" was in. Thank you for your reply.

A. Thanks for the compliment. But in all fairness, since I was out with Alice Cooper at the time of that recording, the real praise goes to Mr. Mac Hine, a.k.a. la machine. With exception to "I Believe", which has Simon Phillips playing real drums, the rest is basically Mr. Hine. The 'Potato Head' intro time signature is actually in 4/4, it just sounds a bit odd due to the displacement of the snare hits, which fall on the 'and' of 2 and the 'e' of 4.

Q. I've been drumming for about twenty years now, but still have a hard time "tuning" my drums. What is your take on the tuning issue? I know there are many methods and techniques, but can you give any advice as to what the pitch of certain drum sizes should be. i.e. A 12 inch tom should be tuned somewhere between middle C and a middle E, etc...???

A. I don't tune my heads in the normal fashion, which is tuning from lug to lug across the head in the shape of a star. I finger tighten all of the lugs around the rim first and then go around the drum clockwise, giving a quarter turn on each lug until I reach the desired pitch. This is similar to screwing on the lid to a jar, which I find to be much more consistent and balanced. As for the theory that a particular drum, be it size, thickness or shell material, should be tuned to a particular note... I don't buy it. Every drum offers many different characters and has multiple notes available to it. I recommend taking your 12" tom and experiment by using different weight heads and various tensions, keeping in mind that 'feel' is another important factor (the tighter the head, the livelier the feel, as well as the higher the pitch). See how the drum sounds from the low register (Gadd) through to the high register (Copeland). You may even want to try taking the bottom heads off, a la Phil Collins, as I've done for the "einstein" recordings. It's all available from every drum.

Q. I have a small studio in my basement. I want to make a CD, but first I want to find out the best way to record drums. I have a Pearl Export 6-piece drum kit and I really want to find out the best way to record them. What types of mics? Dynamic vs. condenser, also where to place the mics? Another thing is that I can only use 8 tracks to record my drums. What should I do?

A. There are so many factors involved in miking and recording that experimentation is the key here. Without knowing the type of room that you're in and the equipment you'll be tracking/mixing with, it's hard to get specific. What I suggest is to try as many different possibilities of microphone choice and placement/position, recording each one and then listening back for what you think works best. One example would be trying a Senn 421 on a tom, angle it across the head and over the rim about 2 or 3 inches, pointing it towards the center of the head at a 45 degree angle. Then try angling it down towards the head and pointed just an inch or two inside the rim. Next, if possible, try the same approach with a Shure 57, then an Audix D4 or whatever is available. The same with overheads, room, snare and kick micsÉ i.e. inside the kick drum through a hole in the front head, close to & far from the batter, in the middle or off center, outside the drum with a solid head, next to the kick pedal on the batter side. Also, take into consideration padding/muffling inside the kick drum, going single or double heads with the toms, miking individual drums or the kit as a whole, like Bonham. If you don't have the opportunity to try all that, I would suggest talking to a competent local engineer who can take a look at your recording environment and advise accordingly. Having only 8 tracks is plenty, even if you are trying to use individual mics on everything. A typical layout for 8 tracks would be (1) hi hat, (2) kick, (3) snare, (4) toms left, (5) toms right, (6) overhead left, (7) overhead right, (8) ride or sempte track for sync. Remember, even if you have 6 toms, you can still spread them across using 6 inputs, then send them to 2 stereo tracks for recording. If you still need another track for percussion, combine the snare and hat to one channel.

Q. I want to buy a double bass pedal and I can't decide whether to get an Accelerator pedal or the Turbo pedal. Which style would you perfer? I can't decide whether the accelerator feature would be better or annoying. Also, what type double pedal would you recommend out of all of them? Thanks.

A. As for myself, I really do prefer playing with two kick drums. But on the occasions where that's not possible, I have been known to pull out my double, which is a modified strap-drive pedal made for me by Joe Hibbs, formerly with Tama. The reason I had that made was to get a double pedal with as close a feel as my single, which at the time was the flexi-flyer strap. Pearl is now doing the same for me with their Eliminator. So my preference is the strap over the chain. Maybe you can go to your local drum shop and play around with a few different makes and models to find out what will work best. Also, don't worry about the brand names or logos, just worry about your feet, hands and ears!

Q. I have been drumming for 4 years and still have the same fundamental problem. Separation! Can you share any tips that might help me learn how to truly separate different times (or beats) across different limbs? For instance, how can I stop my right arm from wanting to play the same exact thing as my right leg? This is the single biggest hurdle I have to overcome since it limits severely what I can do musically.

A. Four way independence is not as difficult as it sounds or seems, it's just a question of starting out simple and progressing from there. What I suggest is to first concentrate on having a single limb able to play against the other three, individually and as a group. Then do the same for two against two, three against one and lastly, all four on their own. Here's an example how to start this procedure. You're set up to play a groove with your right hand on the ride, left hand on the snare, right foot on the kick and left foot on the hi hat. Come up with a fairly simple 4 measure snare pattern using various quarter, eighth and sixteenth notes so that you're left hand on the snare is playing the pattern against your right hand on the cymbal playing straight eighths as an anchor. Now play that very same line, only use your right foot on the kick against your right hand on the ride. Do the same for the left foot on the hi hat against the right hand ride. Now, you can take it to the next step by using another limb as the anchor voice, with the other limbs playing against it. Example: your left foot on the hi hat plays the straight eighth pattern and the ride cymbal, kick and snare play against it. From there you can combine voices and limbs until you've achieved total independence. If all that sounds too confusing, try locating a book, which if I remember correctly is called, "Four Way Independence and Coordination" by Dalgrin and Fine.

Q. I'm getting a "dribble" from my right foot and I've tried everything to eliminate it, from adjusting the head to playing with springs and beater angles. I've narrowed it down to when I raise my foot to play the note, I push down with my toes causing the "dribble". Do you know of any technique or exercise to help cure this?

A. I believe the dribble that you're talking about is the beater hitting the head multiple times as you're 'winding up' to strike the head. If that's it, there are two ways to eradicate the problem. It sounds like you're a 'heel-up' player, as am I. If this is true, then you've got to get used to pulling your entire foot (toes included) up and off of the pedal as you're getting ready to strike. That way your toes will not be pushing down on the pedal and causing the beater to move forward unintentionally. Another remedy for a heel-up player is to make sure that the beater is always against the head and only comes off when your foot has moved back for the next strike. That way, your toes are still down until the last second, giving your foot a single motion and no chance of the extra hits.

Q. I need some advice on choosing cymbals. I've been having a lot of trouble getting my cymbals to mix. I know you play Sabian, but I thought you might know a little about Zildjian. I want to go with all Z-customs but I didn't really like the rides and hats to much. I was thinking of Z-custom crashes (I already own all of the crashes I want) and A. Zildjian rides and hats. I'm in a band and we play quite a few live shows around town, so I need something that will really project. I really hope you can help me out by giving me some advice.

Q. This is a tough one to answer regarding Zildjian, as it's the main reason that I made the switch to Sabian. I was in a situation where I was always carrying such a variety of cymbals to each session to pick and choose from, in order to make a complete set. I also wanted to use one series of cymbal. So, working with Sabian, the concept was to try and develop one cymbal line, with a complete range, that would cover all genres, styles and musical situations. The result was the Sonix line and I use them exclusively for all my recording sessions and live gigs. If you're fixed on staying with Zildjian, you might want to try and request a special order of Z-Custom hats and ride to match your set, being specific about size and weight. I know Sabian will definitely do that for anyone.

Q. My son is 9 years old and has shown real natural ability for drums, so I am about to start him in lessons with a well respected local teacher. My problem is his first set. Which is better to start, 4 piece or 5 (He loves Jazz)? How important is lacquer over wrapped? Mapex Mars and Premier Cabria are the least expensive lacquers out there, what can you tell me about them? And finally, how does Mapex (on the Mars) put out a lacquered shell with maple inners and outers at such a low price? Should I be suspicious? I would really appreciate any help you could give. Thanks so much for your time.

A. I can't really say that a four-piece kit would be better than a five, as they are both pretty similar, with just one drum difference. However I am a total advocate for the four piece kit for two reasons; 1) it's basically set up to "groove" and keep time, which is what we drummers are primarily hired to do. A multi-tom or double bass kit can often be too enticing for a beginner (and some pros), making it impossible to not want to hit everything in sight. 2) Having only the two toms for fills, it forces the player to get more out of less. If you're comfortable on and can really play a four-piece, then you can easily play any kit, which doesn't always work the other way around. Now for the companies in question... Being a former Tama player and now presently very happy with Pearl, I'd feel fine talking about them, but since I'm really not that familiar with Premier and Mapex, I don't feel it very fair for me to assess their equipment or specific lines. However, I can answer your questions about the lacquer and shells. The lacquer on a shell serves two purposes, one being the obvious, which is color and the other being the outer sealant on the shell. The cheaper line of kit is usually less expensive for a few reasons. A lighter grade of hardware, a cheaper wood or shell material and a lesser grade lacquer or outside covering. There are some that believe that a wrapping stifles the sound a bit, but I've not experienced that with any of the top lines of kits that I've played. With that in mind, I personally think buying a great second-hand kit (which quite often is less expensive than a brand new economy kit anyway) is the way to go. Look for a great older used Pearl, Tama, DW, Yamaha etc. etc. Who knows, you might even come across an amazing vintage set of old Gretch, Ludwig, Slingerland or Rogers for a fraction of the money you were initially prepared to spend. If your son sticks with it, (no pun intended) you can upgrade from there.

Q. It's not really a question, I just wanted to comment and let you know how what an awesome drummer you are and how you inspired me. I loved your stuff with Satriani. I picked up your project 'Einstein' and was blown away a few years ago (still am). I never heard any drumming like that before in my life. How technical you are, I would sit there with head phones on and try to play along (I must have listened to this album at least 100 or 200 times all the way through). After a while I finally got really into it and could play it. All that helped me learn a lot about different time signatures and counting. Because of that album, I love Progressive Rock today. And if you ask me I think 'Einstein' is very progressive. So I just wanted to say thanks man! What other projects do you have out?

A. Wow, receiving a letter like that means more than you can imagine. What can I say other than thank you very, very much. I've been keeping very busy lately with a variety of activities. Quite a lot of studio work, with lots of new projects and CD's coming out, as well as recently finishing 'einstein too', which will be out in August. My new studio here in Manhattan is just about complete, which will house an 80 input API Legacy, fully automated and complete with flying faders, as well as a full blown 24 track pro tools mix plus system and two Avid rooms. I'm also composing for a film called "Kamikaze", due to start shooting this Fall. All that and more can be found at www.jonathanmover.com in the news and discography links. Thanks again.

Q. I am a pretty experienced drummer and am trying to improve my ability, but am having trouble making up fills when I am playing. What are some of your favorite fills to use and how do u think of them?

A. I'm not sure I can say what my favorite particular fills are, but I do like to use linear ideas, polyrhythms and subdivisions quite a bit. As for 'thinking of them', once a fill becomes part of your everyday vocabulary, it'll just be another weapon in your arsenal and not necessarily something you will have to consciously think of. Listening and copying my favorite players, along with studying with Gary Chaffee is what led me to where I am now. For a quick and simple routine, refer back to one of the previous questions that I answered with some ideas on expanding your ideas through direction and embellishment.

Q. What skill level does it take to be a session musician. I'm a guitarist, but I'm asking more about general abilities which all session musicians should have?

A. That depends a lot on the type of sessions that the musician might find his or herself on. Reading music well is a very good start. Most jazz, orchestra & symphonic, theater, TV, film soundtrack and jingle work require reading. And even though you may find yourself doing mostly rock, pop and/or alternative recording sessions which don't require reading, if you can read music... then you can write music... and therefore, you can make your own charts to help get you through any session much quicker and easier than without. Another session skill is being able to pick up on things very quickly. Not only being able to tackle what's put in front of you straight away, but also to be able to take ideas from an artist or producer and change directions on the spot while continuing to feel comfortable and creative. Whether you're a sight-reader or 'sight-listener', you have to be able to interpret what's being presented to you quickly and be able to deliver it back convincingly. Another area of being prepared is to make sure you have capable and problem-free equipment. Personality is also a big factor for getting hired and rehired. No one wants to work with or deal with a bad attitude or big ego. Lastly, always, and I do mean always, SHOW UP EARLY.

Q. I'm an old guy (44), and getting back into drumming after taking about 20 years off. I used to play in drum corps (Boston) so my chops are still fairly intact and I am finding myself playing well! I have, however, purchased an electronic kit with rubber triggers because I can practice more and disturb people less. My concern, however, is if there's a difference on body and joint wear and tear (especially arthritis) between the electronic 'pads' and the 'heads' of traditional drums? I haven't noticed any, but I don't know about long or short term problems. Do you?

A. Not being a doctor, I can only answer this from my own experience and personally, I have had no problems with playing electronic drums in the past or the present. The drums that I use most frequently are the Hart dynamic Acu Pads, which have a very tight mesh head that feels great and is very forgiving on the hands, wrists and arms. I also occasionally use my old set of Simmons SDS 7's, once again without any problems. However, I do recall Jeff Porcaro many years ago telling me that he had experienced a few aches and pains from playing the old style electronic kits. Then again, playing as many sessions as Jeff did, it didn't surprise me at all! Regardless, you should always be stretching out before and after you play (acoustic or electric) in order to prepare your body for the workout.

Q. I was a self taught drummer at the age of 14 and bought my first set of drums when I turned 18. I was always very good at mimicking other drummers. I always tried to pattern my style after Peart (but I have my own at present). I haven't played in 18 years and recently bought another set. I have noticed I lost my speed on my fills. What kind of exercise can I do to regain my speed? What is the best way to become known? I've just released my first solo album and I'm crossing my fingers that someone will notice me. I want to make sure when I submit my cd to different clubs-they don't toss it into the trash. How did you become known and who 'discovered' you?

A. Don't be so concerned with speed as much as playing correctly and building your muscles the right way, the speed will come from that. Playing an exercise repeatedly for an extended period of time is a good start. Whether it be for hand or foot, rudiment or sticking. Set a metronome tempo and play the exercise repeatedly for a good solid amount of time. Make sure that it's a bit of a workout and not too easy. Then gradually increase your speed as well as the duration. I also recommend practicing on the kit as much as possible, but when youÕre not on the kit, a pad without much response, such as the Moon Gel, will give you a great workout. I believe the best way to become known is to solicit yourself in every way possible, i.e. playing out, posting a web page, sending out tapes, doing local sessions, etc. I'm a firm believer that great talent will not go unnoticed. I guess I was 'discovered' by Phil Spalding. He's a great English bass player, who after playing with me on a session in London, recommended me to Marillion, which turned out to be my first major gig and big break. I later returned the favor, by bringing Phil into GTR. That all came about from my decision to move to London in pursuit of a professional career.

Q. What kits and hardware do you prefer?

A. My Pearl mahogany kit, along with their rack system suits me just fine.

Q. What is the difference between wood snares and metal snare drums? Are Pearl Forum drums good drums?

A. The main difference between wood and metal snare drums is the general characteristic of the sound they make when struck, as well as the overtone after the initial hit. Simply put, a metal snare is going to give you a more metallic sound with a metallic ring after you hit it. The wood snare will be a little earthier and 'woody' with its character and overtone. Regarding the entry-level Forum drums. I did have a chance to check them out while visiting the Pearl factory and they really looked great. I love the warmth and bottom end of Mahogany shells and even the entry-level hardware seems to work fine.

Q. I'm 13 and beginning to play the drums. I'm looking at a Pearl 5 piece set at Mars, and a 3 pack of cymbals by Zildjian with a ride, crash, and high hat. Money wise is this a good purchase?

A. It sounds like a good start to me. I think it's a wise idea to spend less at this point, then upon finding out that you're getting more serious about continuing to play, you can upgrade later on. I'm not familiar with the Zildjian 3 pack, but I certainly recommend highly the Sabian ProSonix pack for quality and price.

Q. Do you happen to know the dimensions on a marimba? I was thinking of building sort of a practice marimba out of some wood that we have lying around...I'm not really worried about how it sounds, I just don't have the cash to buy one at this point. I just need something to practice on because it's not even close to the same as playing a snare or a set. Thanks for your help.

A. Marimbas, kelons, vibes and glockenspiels can come in a variety of sizes, as well as being made out of a variety of woods, metals and synthetics. Since you're not at all worried about the sound it will produce, I would suggest picking a size that you'll feel comfortable practicing on and then just copy the format and layout (like the black and white keys of a piano) relative in size from larger (left side) to smaller (right side). For absolute dimensions, you should contact one of the many companies that make a set that you'd like to replicate, such as Premier, Adams or Musser.

Q. I'm looking to buy a new set of cymbals, and need some advice. I've looked at the Zildjian K series but I've had my eyes on the Sabian AAX series also. I'm a long time Zildjian customer, but I'm not sure which I should go with, or if I should go with something else. I'd like something that would hold up on stage as well as in the studio. Also, for the past two years I have been using Pearl hardware. Is there another company that makes better hardware for a reasonable price? Thanks a lot.

A. I think it's important to go with what you feel is the right and best choice for your situation, and not necessarily just what you've been accustomed to. If the AAX series does it for you, then by all means go in that direction, and the AAX will certainly hold up on stage as well as they do in the studio. Most of the companies out there make moderately priced hardware, it's just a question of whether or not someone's particular design suits yours needs. The Pearl rack by far, outperforms any other system I've used. So for me it was an easy decision.

Q. I just purchased a 16 channel mixer and an 8 channel compressor/gate for my kit. I plan on submixing my kit before it goes to the house sound system. I am looking for guidance on the 'preferred' settings for compressing and gating the bass drum. Thanks for the help.

A. There are no 'preferred' settings for compressing or gating, as it is entirely relative to the individual player. As you probably already know, people usually compress a particular voice to make it more consistent and even throughout the track. Gating is usually done to isolate the particular voice and cut out any extraneous sound or noise by setting a threshold, which allows the gate to open and close at a certain point. With that in mind, try to regulate it to your playing. For example, do not gate the kick to tightly if you're playing many quick notes (like 32nds), but sometimes at a lesser volume, or the gate will not open and allow them to be heard. On the other hand, if you are playing particular kicks at a lesser volume for dynamic reasons, be careful not to compress the kick too much or you'll lose that dynamic altogether. Once you've found the right settings, you can then send it out to the FOH.

Q.I'm looking for a drum machine to use live in our church's Praise Band. I can't find a drummer, any suggestions, and do they come with a footswitch? I'm not a pro but want good sound.

A. Most of the machines out there have a variety of great sounds and presets built in. I suggest you look into purchasing the one that you find most user-friendly. Personally, I like the Alesis machines for sound and ease of programming, but have also worked effortlessly with Yamaha, Korg and Roland. Machines come both with and without foot switches, as well as many other features, so make sure you choose one that has all that you're looking for.

Q. With electronic drums recorded to a VS-1668, I've noticed that the sound does not really jump at you. Should I use a tube pre-amp to get a bigger, warmer sound? I've also notice the same with my vocal tracks. Thanks!

A. First off, I believe that there's built in compression that is always used in their recording process, which could have something to do with it (except for maybe using SPDIF). Second, most drum samples from the electronic kits are small files and are not really done up for professional recording or great reproduction of sound, as a professional sample would be. So you have to ask yourself if the electronic drums really do jump at you normally, even before you try recording them? Probably not, but if so, then I would try recording them in a variety of ways to see which works best; with and without a pre-amp, compressed and uncompressed, with and without effects. As well as totally dry and then treated afterwards. For vocals, you can't beat a great mic pre, along with a great microphone. With that, I would record them direct, then treat them afterwards with EQ and effects, such as compression, reverb, chorus and/or delay.

Q. I have noticed that a lot of drummers use some type of sequencer or additional ancillary equipment for live performances. Could you please fill me in on some of their applications and your personal recommendations. I would like to incorporate some of these 'gadgets' in my own performances.

A. The two main reasons for running a sequence in a live performance would be to have a 'rhythm track' or click to play along with, or to have other voices or instruments playing without the actual player(s) on stage. Peter Gabriel does it quite a bit by running a full percussion track under each song with Manu playing on top of it. With Satriani I did something a little different by using two Roland Octapads to trigger two Akai S1000 samplers in order to run various samples and sequences, covering all of the secondary guitars, keyboards, sound effects and percussion.

Q. What is a good way to improve my 'chops' with my left hand. I'm in a marching band with percussion galore and I need to strengthen my left hand. Thanks.

A. In a nutshell... just use it more! Try using your left hand as your lead hand while practicing rudiments, stickings or whatever you work out with on your pad. If you're playing a kit, then try moving your ride cymbal to the left side and lowering your hi hats so you're not crossing over any more to play them. That will definitely take care of the problem and open you up to a variety of new ideas that you would not have had access to before.

Q. I was wondering how much practice you think is needed to be really great? If you don't have the natural talent, is it worth the time you spend? Are there any really great musicians that became so only thru hard work? Thanks Mr. Mover for any advice.

A. That's a tough one to answer because there are so many drummers/musicians out there who possess either or both and 'make it', as well as the greater percentage who don't. I don't think you can compare Eddie Van Halen and Angus Young technically, but I enjoy them both and they've both made it to the top of the rock world in their own ways, through their own hard work. You never know how you're going to get your big break, but hard work is usually a factor in some way. Whether it's practicing for years or playing out in local clubs, it's still hard work and everyone has their share of it. Also, there are plenty of drummers out there these days who didn't have 'the natural talent' or 'groove', but have carved out careers for themselves in other ways, such as clinicians and/or teachers. So I do believe it's worth it to spend time practicing, even if you don't think or feel you have the 'natural talent', as long as you're enjoying what you're doing and growing from it.

Q. I want to learn how to play salsa. What do you recommend to use to learn how to play, a video or a book, and which kind? Thanks for your time.

A. Although I'm not that familiar with all of the Latin material out there via book and video, I do know that there are many available, and judging by the players who put them out, well worth checking out for sure. I would also recommend going out and buying a few salsa CD's. What better way to learn than to hear the real dealÉ