In this article, we’ll guide you through the ins and outs of insuring your beloved drum set (and more).

Get an instrument-specific policy

Before you start your search, check if your existing homeowners or renters insurance includes coverage for musical instruments. Some policies may include musical instrument coverage as part of their standard package, but make sure you understand the limitations and whether it meets your gear’s value and needs.

According to Laura Donelan, VP Program Manager at MusicPro Insurance, “the most popular misconception about instrument and equipment insurance is that it is covered on a homeowner’s or renter’s policy.”

It’s worth looking for a policy that’s tailored to musicians. Your current all-around insurance might be invalid the second you remove your gear from your home or car.

Specialized policies often provide coverage for theft, accidental damage, and even loss during gigs or while in transit. They’re designed to meet the unique needs of musicians: your gear might be stationary, or you might fly with it around the world. You might also regularly borrow or rent equipment – and what then?

Make sure you understand what’s included in your coverage and where you might need to purchase an add-on. Does the policy only cover a fixed location, or does it protect your gear at gigs and with questionable airport baggage handlers?

Shop around for quotes

When looking for drum insurance, you should compare quotes from multiple insurance providers. Rates can vary a lot based on factors like the value of your gear, your location, and the type of coverage you need.

But according to Donelan, it’s not as expensive as you might think – for example, MusicPro’s insurance starts at $175 per year.

Reach out to different insurers, online or locally, to get a sense of what your options are and find the best deal for your specific situation. You might find that the first one you call isn’t necessarily the best.

What’s an insurance premium?

Your premium is the monthly or annual fee you pay to keep your insurance valid.

The cost of drum insurance can vary depending on several factors, including the total insured value of your drum kit, your location, and the type of coverage you choose. Donelan confirms that at her agency, “premiums are based on the exact total of the itemized list provided by the client. My rates are just a little over 1%, and yes that’s per year.”

What’s a deductible?

A deductible is the amount you need to pay out of pocket when you file a claim before your insurance coverage kicks in. While choosing a higher deductible can lower your premium, it also means you’ll need to cover more expenses in the event of a claim.

Strike a balance that aligns with your budget and risk tolerance.

Check the coverage limits

Examine your insurance policy for any coverage limits. Some insurance plans might have a maximum payout per item or per claim. Make sure these limits align with the value of your drum kit and your expectations for coverage.

If the value of your equipment exceeds these limits, you might need to upgrade your plan.

Find out what isn’t covered

There are a ton of situations that insurance doesn’t cover, so make sure you know exactly where coverage ends. For example, normal wear-and-tear and manufacturer defects aren’t your insurer’s responsibility. And if you lend your gear to a friend and they lose or damage it, well, unfortunately your insurance won’t likely cover that either.

Climate damage that could suggest neglect (like mold or rust) is also on you.

Make a list of all your gear

When discussing coverage with your insurance provider, you’ll need to itemize and document everything. This means listing each piece separately, including drums, cymbals, hardware and accessories, along with what each piece is worth.

Make sure you’re maintaining good records, keeping receipts, taking photos, and writing down serial numbers of your drum set and its components. This documentation provides evidence of your gear’s value and helps you receive fair compensation in the event of theft, damage, or loss.

Keep your insurer up to date

As your drum kit evolves or increases in value due to upgrades or additions, don’t forget to regularly review and update your insurance coverage accordingly. Keeping your policy up-to-date ensures that your gear remains protected, and you won’t find yourself in financial trouble in case of a mishap. Your insurance provider might have a section on their website where you can go in and make changes to your inventory.

As musicians, we have a lot of precious and expensive equipment we need to protect, whether it’s the instrument itself or auxiliary technology like computers and other electronic devices we use to make music.

If you’re reading this, you’re already thinking about instrument insurance – don’t put it off. Better safe than sorry!

Believe it or not, playing games like Rock Band can be enough to pull off beats and fills on a real drum kit.

That’s because one of the core tenets of drumming is muscle memory and coordination – so it doesn’t matter what surface you’re hitting, as long as you’re, well, hitting.

Learning to play the drums can be a fun and rewarding experience, but buying a drum set isn’t always in the cards. Luckily there are multiple ways to learn and practice drumming without literally sitting down on a kit.

Try these for yourself!

1. Practice on a pillow

Any surface is drummable! Grab a pair of drumsticks (or some long cooking utensils) and practice on a pillow.

It’s softer than a drum head, so it’ll tire you out more quickly because you’ll be using mostly wrists. Think of it like a workout but if and when you do sit down on a drum kit, the rebound will make playing it much easier!

if you want something with a little more bounce, you can drum on the side of a couch

If you want to experiment with different sounds, you try other household items – like a ‘snare drum’ made of a plastic container filled with rice or beans.

What should you practice? Start with a few drum rudiments – the building blocks of all drumming – and you’ll develop major skill with your hands.

2. Get a practice pad

If you want to find a surface that’s a bit closer to a real drum, get a practice pad (shop practice pads in Europe): a flat, portable surface that mimics the feel of a drum head. You can find them in various sizes and you can use them to practice basic drumming techniques like sticking and rudiments.

While these products are more commonly used to practice hand technique, you can also set up for foot practice with a kick pad (like the Drumeo QuietKick, also available in Europe).

3. Try air drumming

If you’ve never air drummed that famous Phil Collins fill…I don’t believe you. In fact, you’ve probably air drummed it so many times that if you had to play it on a drum kit, you could.

So if you want to learn or practice songs without gear, pretend you have an invisible drum set and go to town. But make sure you practice deliberately; try to tap your legs and move your arms in time along to music.

You can even pick up a fun piece of tech like DrumPants — a wearable drum machine that lets you get real drum sounds by tapping your legs — or Aerodrums (shop in Europe) — a special set of drumsticks and camera so you can drum in VR).

4. Think about beats

Stay with me here. Just thinking about practicing beats can improve your rhythm – even if you aren’t physically moving your arms and legs.

Studies have shown that mental training can be just as important as physical training. And even athletes like Kobe Bryant used to practice without a basketball in his rookie year.

The next time you’re lying down on the couch or have a few minutes to spare, close your eyes and run through rhythms in your head. Focus on imagining yourself playing them, making sure every beat is perfectly on time. Rinse and repeat.

5. Try a virtual drum kit

Practice your rhythms by tapping them out on a drum machine or virtual drum kit.

Whether you’re using a piece of hardware (like this AKAI MIDI controller, also available in Europe) or software (like the EasyBeats Drum Machine app), creating beats with buttons teaches you what sounds good and where you should drop that kick or snare.

You can also try a virtual drum kit, which you can play on a computer, tablet or phone. The software (check out the REAL DRUM app) simulates a real drum set that you can practice by tapping it with your fingers.

(Tech Deck fans, rejoice!)

6. Tap dance

Back in the day, tap dancers battled drummers – and many drummers were also tap dancers!

It might seem like a stretch, but tap dancing is one way to get better at rhythm and coordination. Think of it like drumming with your feet. Learning to tap helps your brain better understand timing, which is the foundation of drumming.

Tap dancing also teaches you how to move different parts of your body at the same time, and drumming involves using your hands and feet in tandem. The more you rehearse your dancing, the smoother and more precise your movements become – and the same goes for learning drums.

While it might mean tackling a whole new skill – one that honestly deserves a mainstream resurgence – just getting the basics of tap will help you become a better drummer before you even sit down at the kit.

7. Listen to music

Listening to music isn’t just enjoyable; it’s secretly helping you improve your drumming skills. Not only can it help you better internalize time, if you listen actively to the rhythms in your favorite songs, you’ll start picking up on new ideas and hear how the drummer puts beats and fills together.

You could listen to a metronome and tap your legs on the beat…or you could have more fun tapping your legs while you listen to your favorite tunes.

Sound like a familiar tip? Here’s a reminder that muscle memory is everything, and merely thinking about playing drums – or air drumming, or tapping along – will help you improve if you do it enough.

As a bonus, listening to music can reduce anxiety and lower stress. The more relaxed you are, the better you’ll perform. Keep that in mind!

Bonus tip: Practice regularly

It’s all about muscle memory; no one is born good at drums. It takes repetition to get there. It doesn’t matter what you’re hitting; it’s that you know when to hit.

The most important aspect of learning to play the drums is to practice regularly. Even without a physical drum set, there are many ways to practice and improve your skills.

With enough motivation, anyone can learn to play the drums. Yep…even you!

*This article contains affiliate links, which means we might earn a small commission from the product seller if you make a purchase. For more info, check out our privacy page.

With an electronic drum kit.

These modern drums use touch-sensitive pads that trigger a sound sample when you hit them, which means you just need a pair of headphones to enjoy jamming out. They’re easy to set up and don’t require as much space as acoustic drums – another big win for apartment-dwellers.

In this quick how-to guide, we’ll show you how to set up electronic drums like a tech-savvy rockstar – no soundproofing required.

Exact instructions are unique to each model (so read the user guide, damnit!) but most electronic drum kits have a similar setup – and we’re here to walk you through the basic process.

1. Set up the rack

It may look like a lot of pieces, but the rack is surprisingly simple to set up.

Loosen and tighten the wing nuts to expand the rack pieces and/or connect them together. Make sure the rack can stand on its own and that you position it around where you’ll be sitting. It should frame you like a cage!

Even though electronic drums are very quiet, it’s still a good idea to build the kit on a thick carpet or mat to absorb any vibrations or thumping from your kick.

2. Add the kick tower and pads

If your e-kit comes with a kick tower, set it in front of your right foot and clamp your bass drum pedal onto the bottom. Make sure that your leg can rest at slightly more than a 90 degree angle.

If your kit includes a hi-hat pedal, set that up so your left foot can access it just as easily.

Now add the pads to the rack. If they’re too high or low for you to comfortably strike them, you can make big adjustments by moving the top rack bar up or down.

Everything should be within easy reach – and this is actually one big advantage of electronic drum kits. The pads are typically smaller than acoustic drums, so it’s easier to condense your setup.

3. Add the cymbals

Twist off the cymbal toppers, add the cymbals, then replace the toppers. If the kit didn’t come with a hi-hat stand or a bar for the hi-hat pad, you might need to add your own.

Just like your tom and snare pads, make sure the cymbals are within reach. If you’ve ever set up an acoustic drum kit, the same rules of ergonomics apply when setting up an e-kit. You shouldn’t have to strain your arms or legs to play!

4. Mount the module

Connect the module (a computer interface sometimes known as a ‘brain’) to a spot on the rack where you can easily see and reach it. Most drummers keep it on their left side.

5. Plug it all in

Follow your e-kit’s instructions and make sure each labeled cable is connected to the right piece. Then plug the other end of the cables into the brain.

Your product’s user guide will tell you about all the useful settings that come with your e-kit and how to use features like the built-in metronome, sound samples, practice tools and more.

You’ll likely have the option to adjust pad sensitivity (how hard or light you have to hit to trigger the sound), so play around with this if the default settings don’t work for your playing style.

Setting up electronic drums can take time if you’ve never done it before. And you might have to do it a number of times before you get faster. It also might take multiple tries before you figure out what’s comfortable for you.

But what matters first and foremost is having that drum kit in front of you. Once it’s ready to play, play away!

What’s next?

Before you set up your drums, map it out in your mind:

• Where do you want everything to go?
• Will the drums fit there?
• Which direction do you want it to face?
• Will you be able to get behind the kit comfortably, and are you in a spot where you won’t disturb the neighbors?
• Do you need a rug underneath to prevent the drums from slipping or damaging the floor (it’s also a sound dampener).

Every body is different, so every drummer has different needs. Bob is 6 feet tall. Jimmy has short legs. Stephanie has limited movement in her right knee. All of them will probably set up their kits a little bit differently, and what’s comfortable for them might be your ergonomic worst nightmare.

If you need to remember one thing, it’s that when you’ve finished setting up, you should be able to reach every piece of the kit easily. No over-extending your arms or legs, and you should never have to twist or contort your back.

These are instructions for a traditional right-handed drum kit setup. If you’re left-handed, reverse the instructions (or betray your people and learn how to play like a righty).

How to set up acoustic drums

So you’ve decided to become a noise machine – and what a beautiful thing it is. Here’s how to set up a simple traditional drum set.

1. Set up your throne and bass drum

Start by opening up the legs of your throne (seat) by loosening the wing nut and pulling the legs outward. Adjust the height so you can sit comfortably with your feet flat on the ground.

Next, put down the bass drum (aka the “kick drum”). Think of this as the centerpiece of your kit. Once the bass drum is in the perfect spot, you’ll build everything else around it.

If your bass drum has spurs (legs), make sure they’re extended and angled slightly forward to prevent the drum from moving when you play.

Keep in mind that when you sit down, your body shouldn’t face in the exact same direction as the front of the bass drum; you should actually position the drum at a slight angle.

Set the height of your seat so you can sit comfortably with your hips slightly higher than your knees, and set the seat far back enough that your right foot can just reach the bass drum without overextending or cramping.

2. Attach the pedal to the bass drum

Place the pedal in front of the drum and slide it forward so the clamp fits nicely onto the hoop.

Tighten the clamp (usually under the pedalboard) to firmly attach the pedal to the drum.

If the beater is too close or something else doesn’t feel right, check out this pedal guide for instructions on how to adjust it.

3. Set up the snare drum

Open the three legs of the snare stand the same way you opened the legs of the seat. Put it in front of and slightly to the left of the bass drum, then place the snare drum into the basket (where the three rubber-tipped ‘arms’ cradle the bottom of the drum).

If the drum doesn’t fit nicely on top of the stand, you might need to loosen the metal piece beneath the basket so the arms can open wider.

Once you’ve got the drum sitting nicely in the basket, give it a tighten. Adjust the stand’s height so the top of the snare drum sits a little below your bellybutton. You may need to play around with your seat height as well!

You can also give the snare stand a slight tilt so you don’t accidentally hit the rim. The goal is a comfortable playing position where you can easily strike the drumhead with zero tension or awkward movement.

3. Set up the hi-hat

Open the hi-hat stand’s legs fully so the feet and hi-hat pedal all touch the ground evenly.

Screw in the rod and make sure it goes up and down when you press down on the pedal.

Take the bottom hi-hat cymbal (it’s usually the one without the logo, and it might feel slightly heavier) and slide it down the rod with the outer bell facing down.

Now take the clutch – the small piece of hardware that looks like a collection of felts and nuts – and remove the bottom nut and felt. Thread it through the top hi-hat cymbal so the outer bell is facing up. Replace the felt and the bottom nut.

Place the cymbal-clutch combo onto the rod, loosening the wing nut on the clutch if it won’t go down. And voila!

To activate the stand’s open-close motion, use your hand to raise the clutch and top hi-hat up the rod about an inch, then tighten the clutch’s wing nut. Now you can press down on the pedal to control the height of the top hi-hat!

We’ve launched a course to make getting started on the drums easier than ever.

4. Set up the toms

If you have a standard five-piece kit, you’ll probably have two mounted toms and one floor tom. Some toms are built to attach to your cymbal stands, but most beginner drum sets have a piece of hardware that connects them to the bass drum – and that’s what we’re going to show you.

Mounted toms: Attach them to the bass drum using the provided hardware. Try to avoid angling them too much! If the toms are too deep to fit over your bass drum without tilting them to the extreme, try changing their height or moving them to the left or right.

Floor tom: Position it to the right of your right leg. You can remove and/or adjust the legs to change the height and angle; make sure they’re even (or almost even) so the floor tom doesn’t wobble.

Now play the kit from left to right, hitting each drum one after another. You want to be able to move around the toms smoothly. If you can’t, it’s time to re-adjust.

5. Set up your cymbals

It’s time for your kit’s crowning glory: the crash and ride, and any other cymbals you might’ve picked to give your drums that final flourish.

First, assemble and position the cymbal stands. Remember how earlier you read about loosening and tightening wing nuts? You’ll be very good at it after this step. Cymbal stands are basically telescoping tubes: you can make them taller or shorter.

Open the legs, give them some height, then remove the cymbal topper by twisting it off. Remove one of the felts, place the cymbal on the stand, then replace the second felt and topper.

Adjust the height and angle of each cymbal. Once the cymbals are on the stands, you might end up changing their placement or height. They should be angled ever so slightly toward you so when your drumstick makes contact it feels like cutting through butter.

Final tips for setting up your drums

Once everything is set up, sit down and make sure everything is within reach and feels comfortable. Move things around if you need to.

A couple of final thoughts:

• Drums sound best when they’re properly tuned. Use a drum key* to adjust the tension rods on each drum so they all have an even pitch.
• Invest in proper ear protection, especially when you’re playing an acoustic kit. You can’t reverse hearing damage!
• Change your drum heads regularly and maintain your kit so it always sings.

*New drum kits often come with a drum key, but if you don’t have one, you can pick up a key from your local music store or online for a couple bucks.

Remember, the exact setup might vary based on personal preferences and your specific gear. The goal is to make it comfortable – and to make it you.

The news seems to have broken the prog metal internet due to the circumstances under which he left – along with Mike Mangini’s successful tenure after a rigorous public audition process back in 2010.

To commemorate his surprise return to DT, here’s everything you need to know about Portnoy.

How did Mike Portnoy start drumming?

Born on April 20, 1967 in Long Beach, New York, Mike Portnoy learned about music at an early age from his radio DJ father. “He’s the reason I became such a music fan.”

Discovering his love for bands like The Beatles, The Who, Led Zeppelin and KISS, he got his first drum set on his 11th birthday, and he immediately taught himself how to play along with his favorite records. He can also play bass and keys.

It was rare at the time for a self-taught drummer to develop the technical prowess Portnoy later demonstrated in adulthood, but his love for music compelled him to challenge himself, and he eventually received a scholarship to Berklee, a music school known for its strict entry requirements.

Who are Mike Portnoy’s influences?

Ringo Starr, Keith Moon and John Bonham were early drumming influences for Portnoy.

“You won’t meet a bigger Beatles fanatic than me,” he said in an interview with DRUM! Magazine. “Half my leg is tattooed with Sergeant Pepper and Yellow Submarine images. They just mean more to me than any band did in the history of music and my love and respect and admiration for them goes incredibly deep, and that applies to Ringo as well.”

Neil Peart and Terry Bozzio eventually moved to the top of his list as he started to take a liking to more challenging progressive music, and looked to Frank Zappa as a non-drummer inspiration. As his notoriety grew, Portnoy became known for his groovy patterns, odd time signatures and linear drum fills.

How did Dream Theater start?

On a scholarship to Berklee in 1985, Portnoy met fellow students John Myung and John Petrucci (who were childhood friends). The classmates bonded over bands like Rush and created a group called Majesty, inviting Petrucci’s friend Kevin Moore to play keyboard and Chris Collins on vocals.

The original trio soon left Berklee to focus on the project when their school schedules began to get in the way of their growing band. When another band called Majesty came forward with a cease-and-desist, they changed their name to Dream Theater – the name of a small California theater.

It wasn’t until 1991 – after the launch of their debut album, a brief record contract, and multiple short-lived vocalists – that James LaBrie came into the fold as Dream Theater’s current singer.

Mike Portnoy was inducted into the Modern Drummer Hall of Fame in 2004.

Who writes the songs in Dream Theater?

It’s not the case in many bands for the drummer to have a heavy hand in songwriting and lyric writing, but Portnoy has taken a primary role in composition and has contributed backing vocals to the band.

“John Petrucci and Jordan Rudess will be the most hands-on with the notes, riffs, runs, and chord progressions,” he said in a 2003 interview with Blabbermouth. “They kind of mold the song. I tend to be the grand architect, working out the form using a blackboard behind the drum kit and directing. We write something and then start recording it. We focus on one song before we start another.

“Once the music is done, the lyricist will have the biggest part in writing melodies. Usually, we’ll discuss the melodies, but on the new album we left the melodies solely up to the lyricist. John, James and I take turns writing the lyrics.”

Why did Mike Portnoy leave Dream Theater?

In 2010, feeling burned out from 25 years of constant writing, recording and touring with Dream Theater, Portnoy proposed they take a hiatus so he could take some time off and explore other creative outlets. He never intended to make this break permanent, and in the meantime was filling in with Avenged Sevenfold after their drummer, Jimmy “The Rev” Sullivan passed away.

But his bandmates pushed back, so he stepped down from the band entirely. His last show with Dream Theater was in Chiba, Japan on August 8, 2010.

While he enjoyed playing less “mathy” music (“My brain just needed a break“), he was only set to work with Avenged Sevenfold until the end of the year. The media explosion surrounding his Dream Theater departure also made things messy for the A7X camp – especially while they were grieving the loss of their bandmate.

When he tried to come back to Dream Theater shortly after, it was too little too late: they’d already invited Mike Mangini – a seasoned world class drummer and Berklee professor – to fill the role following an extensive and well-publicized audition process.

What other bands has Mike Portnoy played with?

After leaving Dream Theater, he burst out of the gate with new bands Adrenaline Mob and Flying Colors (members include alumni from Deep Purple and Spock’s Beard) and stayed busy during the years that followed.

In 2020, he tracked drums on John Petrucci’s solo album and would appear live with the project on tour dates in 2022, causing fans to speculate about a possible return to Dream Theater.

Both before and after his DT departure, Mike Portnoy has enjoyed a huge roster of bands with whom he’s either collaborated, played live/recorded with, or which he’s co-founded. Many have been supergroups that have given Portnoy the chance to work alongside some of the top musicians in metal, prog, and rock:

• Sons of Apollo
• The Winery Dogs
• Transatlantic
• Flying Colors
• The Neal Morse Band
• Metal Allegiance (With Alex Skolnick, David Ellefson and more)
• Liquid Tension Experiment
• Avenged Sevenfold
• Twisted Sister
• Adrenaline Mob
• PSMS (With Tony Macalpine, Billy Sheehan, Derek Sherinian)
• Bigelf
• BPMD
• Hail! (With ex members of Megadeth, Judas Priest, Slipknot and more)
• Stone Sour
• Fates Warning
• OSI
• Overkill
• Haken
• G3 (Joe Satriani)
• Yellow Matter Custard (Beatles tribute band with Paul Gilbert)
• Hammer Of The Gods (Led Zeppelin tribute band with Paul Gilbert)
• Amazing Journey (The Who tribute band with Paul Gilbert)
• Cygnus & The Sea Monsters (Rush tribute band with Paul Gilbert)

With over 50 albums under his belt, Portnoy has had the chance to flex his creative muscle in a ton of projects across multiple genres.

13 years later, Mike Portnoy is back with Dream Theater, set to record with the band for the first time in 15 years (and with a 40th anniversary just around the corner!).

Mike Portnoy’s drum kits

A TAMA, Sabian, ProMark and Remo artist, Portnoy has had a number of epic drum kits over the years – especially when playing with Dream Theater.

Naming many of them “monsters”, he originally had a few identical kits in the ’90s meant for touring in different regions: the “Green Monster” in Europe, the “Red Monster” in Asia, and the “Purple Monster” (1996-2000) in North and South America.

Outside of these, his most notable kits were the “Siamese Monster” (2001-2004), the “Albino Monster” (2005-2006), the “Mirage Monster” (2007-2008) and the “Black & Silver Monster” (2009-2010):

Most recently, he’s been touring with a clear acrylic TAMA Silverstar Mirage, a smaller configuration of his “Mirage Monster“. It’s the kit he was playing with the live John Petrucci dates and with The Winery Dogs:

Here’s one of his setups according to his TAMA.com profile, which features a variation on his “Black & Silver Monster” (a Starclassic Bubinga kit in Black Clouds & Silver Linings):

Portnoy takes you on a tour of some of his more recent kits here:

With a cymbal setup as diverse as his ever-changing kits, Portnoy has used a variety of configurations over the years. He typically uses a combination of AAX/HHX series crashes and chinas, Max Stax and Max splashes.

Mike Portnoy’s best drum beats with Dream Theater

Portnoy composed the drum parts for many of Dream Theater’s biggest singles before his 2010 departure. Here are a couple of cool sections you should learn.

“6:00”

A drummy, technical solo somehow still packed to the gills with groove, the song’s intro includes 32nd notes on the hi-hat, barks, Octoban rolls and more.

If you’re a longtime Dream Theater or Mike Portnoy fan, you’re probably familiar with this drum solo where you hear a version of the “6:00” intro about halfway through:

“The Dance Of Eternity”

A cool proggy riff with constantly changing time signatures and off-beat hi-hats, this intro features one of Portnoy’s most memorable parts:

“The Glass Prison”

This section right before the outro (at the end of ‘revelation’) has a cool snare and tom part over constant double bass:

“The Count Of Tuscany”

This section has Neil Peart written all over it, from the open-close hi-hats to the tom rolls and syncopated snare.

If Mike Portnoy is one of your favorite drummers, the best way to channel his energy is by learning the parts he’s written! There are over 30 Dream Theater songs (along with 5000+ other tracks) in the Drumeo members area – with options to practice along without the drums, slow down and repeat sections and more.

Just like in this example:

What are you waiting for? Try Drumeo free for 7 days. Let’s go!

(Feature image credit: “MIKE PORTNOY @ Teatro ABC” by www.factormetal.com is licensed under CC BY 2.0.)

Since Taylor Hawkins passed away on March 25, 2022, the future of the Foo Fighters was unclear. Who could replace one of the most beloved rock drummers in the world?

“Without Taylor, we never would have become the band that we were — and without Taylor, we know that we’re going to be a very different band going forward.”

Fans have long been speculating about who the new member would be, and Freese’s name quickly came to the forefront of conversation. A longtime friend of Dave Grohl and one of many top-tier drummers who performed with the Foo Fighters at their tributes to Taylor Hawkins, he makes perfect sense.

When the music community realized that Freese had recently “cleared his schedule” – backing away from prior commitments with Danny Elfman and The Offspring – the jig was up.

Who is Josh Freese?

Born on Christmas Day (December 25, 1972) and raised in Orange County, California, Josh Freese comes from a musical family. A drummer since first grade, his first paid gig was drumming for a Top 40 band at Disneyland at the age of 12. It’s been his only job ever since.

By his early twenties, he had toured with Paul Westerberg (The Replacements) and joined The Vandals, among other big gigs. By the time he turned thirty, he had over 150 albums under his belt.

Freese has taken lessons with drum giants like Terry Bozzio and Gregg Bissonette, and had Vinnie Colaiuta as a mentor of sorts when he was young. Some of his favorite drummers include Steve Jordan, Jeff Porcaro and Jim Keltner.

Influenced by artists like Frank Zappa and Devo, the prolific drummer has become a well-rounded player sought out by a variety of top acts around the world.

“Get into country music, punk rock music, everything – Willie Nelson, The Ramones, Elvis Costello, Tom Petty. It’s so important to be open.”

Josh Freese – Modern Drummer Magazine, March 2003

Who has Josh Freese drummed for?

Josh is the ultimate sideman, playing on over 300 recordings (up to 500, according to some sources). His resume features countless top bands and artists like The Offspring, Devo, Nine Inch Nails, Guns N’ Roses, The Vandals, A Perfect Circle and Billy Gibbons.

He’s gigged and/or recorded with Weezer, Sting, Paul Westerberg, Meredith Brooks, Paramore, Good Charlotte, Chris Cornell, Puddle of Mudd, Avril Lavigne, 100 gecs, Sublime with Rome, Ween and many more. He’s even worked with Danny Elfman.

Like many top session players, Josh Freese has been somewhat of an unsung hero in the drumming world, often operating behind the scenes as he jumps between gigs. But he’s the drummer behind massive hits like Michael Buble’s “Just Haven’t Met You Yet”, “Bitch” by Meredith Brooks, and “Bring Me To Life” by Evanescence.

With the new Foo Fighters gig, he’ll finally become a household name outside of the drumming community.

Did Josh Freese play on the new Foo Fighters album?

Dave Grohl played drums on the new Foo Fighters album But Here We Are, which came out on June 2, 2023. It’s the first to be released after Taylor Hawkins’ death.

Produced by the Foo Fighters and Greg Kurstin, it was initially up in the air on whether Grohl laid down the drum tracks, or if the album would be the first to feature Josh Freese.

Prior to the album launch, the Foo Fighters released singles and lyric videos for two singles: “Rescued” and “Under You”:

The band was understandably quiet for some time following Taylor Hawkins’ passing. It’s challenging to move forward after losing a bandmate. Avenged Sevenfold brought in Mike Portnoy after The Rev passed, and Todd Sucherman took the seat for Styx’s John Panozzo.

The Foos’ previous release, Medicine At Midnight, came out in 2021 while the COVID-19 pandemic was still raging.

When they announced the new record, fans wondered if it might be easier to just have Dave Grohl lay down drum tracks while taking time to invite a new member into the fold.

Foo Fighters albums have featured Dave Grohl’s drumming before (notably Foo Fighters and The Colour And The Shape).

Some thought the heavy grooves featured on the new track, “Rescued”, are quintessential Grohlisms:

What gear does Josh Freese play?

Josh Freese plays DW drums, and was the face of DW’s limited edition 50th anniversary collection.

His setup typically includes at least one rack tom and two floor toms. During his May 21 live stream with the Foo Fighters, Freese’s setup consisted of two bass drums, two suspended toms and two floor toms, with an additional floor tom and a pair of piccolo toms on his left side.

He’s also a longtime Paiste cymbals artist. Here’s the setup listed on the Paiste website:

Freese is a Remo artist and has his own signature drumsticks with Vater (the H-220s).

When and where are the Foo Fighters touring in 2023?

You can find the full list on the Foo Fighters website here.

05/24/23 – Gilford, NH, US – Bank Of New Hampshire Pavilion

05/26/23 – Boston, MA, US – Boston Calling Music Festival

05/28/23 – Columbus, OH, US – Sonic Temple Festival

05/30/23 – Washington, DC, US – The Atlantis

06/02/23 – Nurburgring, DE – Rock Am Ring

06/04/23 – Nurnberg, DE – Rock Im Park

06/14/23 – Rogers, AR, US – Walmart AMP

06/16/23 – Pelham, AL, US – Oak Mountain Ampitheatre

06/18/23 – Manchester, TN, US – Bonnaroo Festival

07/08/23 – Quebec City, QC, CA – Festival D’Ete De Quebec

07/12/23 – Ottawa, ON, CA – Ottawa Bluesfest

07/15/23 – Milwaukee, WI, US – Harley-Davidson Homecoming Festival

07/29/23 – Naeba, JP – Fuji Rock

08/04/23 – Spokane, WA, US – Spokane Arena

08/06/23 – Big Sky, MT, US – Wildlands Festival

08/08/23 – Salt Lake City, UT, US – Usana Ampitheatre

08/10/23 – Lake Tahoe, NV, US – Lake Tahoe Outdoor Arena At Harveys

08/12/23 – San Francisco, CA, US – Outside Lands Festival

09/03/23 – Aspen, CO, US – Jazz Aspen Snowmass

09/07/23 – Curitiba, BR – Estadio Couto Pereira

09/09/23 – Sao Paulo, BR – The Town

09/15/23 – Chicago, IL, US – Riot Fest

09/17/23 – Asbury Park, NJ, US – Sea.Hear.Now

09/19/23 – Virginia Beach, VA, US – Veterans United Home Loans Amphitheater

09/21/23 – Louisville, KY, US – Louder Than Life Festival

10/01/23 – Dana Point, CA, US – Ohana Festival

10/03/23 – Phoenix, AZ, US – Talking Stick Resort Amphitheatre

10/05/23 – El Paso, TX, US – Don Haskins Center

10/07/23 – Austin, TX, US – ACL Festival

10/14/23 – Austin, TX, US – ACL Festival

11/26/23 – Abu Dhabi, UAE – F1 Grand Prix

FREE: Get drum music for 100+ Foo Fighters songs

You can absolutely “teach an old dog new tricks”. And learning new skills, such as picking up an instrument, comes with a ton of extra benefits.

Whether you’re bringing a drum circle into a retirement home or sitting down on a full kit for the first time, you’re never too old to learn the drums. You don’t even need to be able to hold a drumstick. If you can tap a surface with your finger or palm, you can play rhythms.

If you’re a senior, a caregiver, or have a friend/relative who would benefit from this info, spread the word!

Read: What Can Drumming Do For Your Health?

1. Drumming improves memory

Imagine if you could strengthen your brain’s abilities just by playing a drumming ‘video game’.

Well, this is exactly what happened in a new study, which found that musical rhythm training improved short-term memory (specifically facial recognition) in a group of people aged 60-79. You know how people talk about using word games to keep your mind sharp? Rhythm games came out on top.

Could this mean drumming could help those with Alzheimer’s reconnect with their loved ones?

Drumming has also been shown to make the brain of long-time players more efficient. Another study shows how drumming can also help people with Huntington’s Disease (progressive nerve cell degeneration).

Have fun, stay limber, and work your brain? Sign us up.

2. Drumming is a social activity

If we have one thing, it’s a strong sense of community. Drummers are incredibly supportive of each other – maybe even more than any other type of musician. It makes sense, considering drumming is one of the oldest known forms of music as well as a long-distance communication method, and rhythm is in all of us.

Drumming transcends languages and cultures. You don’t need to know music theory to play. You can also jam with others, whether that’s part of a drum circle or in a band.

Studies have found that group drumming can increase social resilience while reducing depression and anxiety. Seniors might feel isolated as they age, especially during and after the holidays. Joining a drum circle or participating in a drumming program could be a great way to connect with other people, even if no one says a word.

That brings us to the next major benefit…

3. Drumming helps with depression

Playing the drums is a natural antidepressant and painkiller. It may not be a silver bullet prescription for what ails you, but drumming has proven to have real physiological effects that we shouldn’t ignore.

It reduces stress and increases endorphins, which can improve your mood and increase pain tolerance.

Drumming can be used in music therapy programs and it’s even been shown to reduce symptoms of PTSD.

What do you have to lose?

Read: It’s A Fact: Playing The Drums Makes You Happy!

4. Drumming keeps you active

One of the most obvious benefits to drumming is that it gets your limbs moving, burns calories and increases your heart rate. Don’t let that scare you, though – you don’t need to play like Animal, John Bonham or Dave Grohl to see the health benefits.

Drumming improves your hand-eye coordination and motor skills (including in those with dementia or cognitive impairment), even if you don’t pursue it for years or get to an advanced level.

If you’re an older person wanting to start playing drum regularly, read this article first as it addresses ways to prevent injury.

5. Drumming is soothing

It might sound farfetched – especially when most people think drums are loud and jarring – but depending on how you play and what kind of drum(s) you choose, it can be calming.

A hand drum (like a djembe or cajon) is a quieter option than a full drum kit, but even slow, repetitive rhythms on a snare drum and toms can be a relaxing experience. Don’t knock it ’til you’ve tried it!

Read: Drumming: The Natural Painkiller

So what’s the consensus? Is drumming for you? You can sit down on a drum kit, join a group drumming session or tap out some rhythms on a table. Whatever you choose, be confident: you’re doing something amazing for yourself.

If you didn’t have access to the stems (individual files from the original recording), you’d have to resort to workarounds like using advanced production techniques to try and separate the drum frequencies, which is extremely difficult without compromising the rest of the song. Or you’d have to find a drumless re-recording of the tune.

How times have changed.

Whether you want to switch up your practice routine or use them for a performance, here’s why you should consider adding drumless tracks to your arsenal:

1. Drumless tracks let you hear everything better

“I can’t hear myself, so I’ll just pretend that’s me on the recording! Sounds great, me.”

While it might be tempting to hide behind the music or the original drummer’s perfectly edited parts, it won’t help you improve your playing. How will you know if you’re sloppy or tight, or rushing or dragging? Your bass drum can notoriously be difficult to hear over a full-bodied, mastered recording.

With a drumless track, it’s just you and the song now. You can hear exactly what you’re doing and fix issues if needed. And it’s a great way to test your timing and feel! Are you lining up with the rest of the band? Are your accents and shots tight with the guitar or bass or horns?

You won’t just hear your own drumming better – you’ll be able to hear what the other musicians are doing. Let’s admit it: as drummers, we often get caught up listening to what the drums are doing, which can be distracting when trying to learn a tune.

Before you sit down and jam to a drumless track, listen to it a few times. Now that the drums are gone, you might notice nuances in the other instrumental parts. This is one way to somewhat replicate what it’s like to jam with a band. The more you understand what everyone else is doing, the better you can do.

2. You’ll get better-sounding drum covers

If you want to make drum covers and share them publicly, you’ll want to make sure everyone can hear your parts. You could use the original track, but then you’ll have to turn up your drums, which means it’ll be harder to hear the rest of the song.

Replacing the drum part with your own also makes your video less likely to get dinged by the copyright gods on social media. Make sure you’re adapting the track enough that it’s yours (as in, doing more than miming).

3. You can write your own drum part

Ever wondered how “Smells Like Teen Spirit” or “Californication” would sound with a different drum part? Put on your creativity hat and try writing your own rhythms over famous tracks.

This exercise can help you develop your listening skills while encouraging you to write outside the box. Plus, if you’re also posting drum covers, this is one way to showcase your “pop goes punk” or “metal goes funk” version.

4. Get in the mindset of your favorite drummers

Imagine yourself as the top drummer in your world. How close can you get to playing like Phil Rudd or triplet-ing like John Bonham? You could record your performance and see how it compares to the original. The best way to nail a drum cover is to get into the original drummer’s head.

Where to find free drumless tracks

If you could learn any song – and play along to a drumless version – what song would it be?

Drumeo now lets you toggle the recorded drum track on or off on over 5000 songs in the members area. You can even activate the metronome to keep you on track during quiet parts.

You can also slow down the song, loop sections, and read the sheet music as you get one step closer to nailing the track.

The members area is also full of drum lesson videos, many of which break down famous songs, drum beats and fills so you never have to feel like you’re learning alone.

While the regular Drumeo membership costs the same as a few UberEats orders, you can try it free for 7 days and play along to as many drumless tracks as your heart desires. On top of that, you’ll also get:

• 2500+ drum lesson videos and courses from hundreds of the world’s top drummers (including ones from some of your favorite bands)
• Step-by-step learning paths
• Personalized feedback
• Live Q&As
• Dozens of drumming documentaries and shows
• Killer deals on Drumeo products (like the QuietKick, QuietPad, drumsticks and more)
• A supportive and eager community of drum students just like you

(We’re including some excerpts of the sheet music here, but with a 7-day free trial to Drumeo you can access the full notation for all of these songs and thousands more, plus practice tools, drum lessons and way more!)

1. “All I Want For Christmas Is You” – Mariah Carey

Yep – we’re starting with the diva herself. Most of the song is based on a simple four-on-the-floor rhythm peppered with a triplet fill here and there, so even a beginner drummer can make it through this modern classic.

2. “Last Christmas” – Wham!

A straightforward drum part with a dressed up hi-hat pattern give this track exactly what it needs.

3. “Santa Claus Is Comin’ To Town” – Michael Bublé

The Michael Bublé version of this Christmas classic has a great swung drum part. The beauty of this style is you don’t need to play it exactly like the recording; you can comp most of the song as long as you hit the accents and keep the dynamics true to form.

4. “Carol Of The Bells” – Trans-Siberian Orchestra

This high energy, epic instrumental rock tune has a metal edge – and it’s not just for viral Christmas light videos. Cool builds and tons of cymbal shots give it a rock orchestra vibe.

5. “Little Drummer Boy” – For King & Country

We all knew this one was coming, right? While the drum part in the traditional tune might seem a bit repetitive or uninspiring to the kit drummer, this version has cool cadences in more of a cinematic pop context.

Practice your snare drum dynamics and give it a shot:

6. “Holiday” – Madonna

A Madonna classic, the rhythms on the original “Holiday” recording are played by a drum machine, but that won’t stop drummers from trying to recreate it on the kit. Get that four-on-the-floor going before adding the hi-hat (don’t worry about the percussion, or get a friend to add those layers if you’re covering the song live).

7. “The Christmas Song” – Twisted Sister

Also known as “Chestnuts Roasting On An Open Fire”, this song has a heavy metal flavor thanks to Twisted Sister. Complete with a solid groove and tasty fills, it’s a fun one to play.

8. “You Make It Feel Like Christmas” – Gwen Stefani feat. Blake Shelton

The newest song on this list is a pop-country crossover with a fun, bouncy drum beat that’ll get anyone dancing. Here’s the chorus!

We have even more holiday tracks to learn in the Drumeo members area, which you can access with a 7-day free trial. Plus, you’ll get thousands of other songs, drum lesson videos, practice tools, mini documentaries and everything else a drummer could want for Christmas.

But if you need convincing, read on!

Many people start drumming later in life

You’ll see stories in drumming forums and online groups about how someone waited until their kids were grown before they bought their first drum set, or how they decided to finally pursue their drumming dreams in retirement.

One guy learned to play drums using Drumeo in his 50s and is now touring with a Queen tribute band. It’s absolutely possible.

Some people believe that the best age to learn a skill is in childhood, and this discourages them to even attempt it as an adult. In reality, neuroplasticity – the brain’s ability to create new connections – continues into adulthood. Some skills may actually be easier for adults to learn than kids.

As someone with more years behind you, you’ll have much more experience listening to music and likely a better grasp on technical concepts – such as theory – compared to a 10-year-old. You probably have easier access to a community of musicians as well, which means more people to jam with and trade ideas/knowledge with.

Another benefit to learning drums at an older age is having more discipline and patience than you might’ve had when you were younger – a great point raised by Steve Smith (Vital Information, ex-Journey) who’s 68 years old at the time of writing.

As a lifelong student of the instrument, Steve says he’s still on an upwards trajectory. He may have slowed down a bit over the years and positions his cymbals lower so he doesn’t have as far to reach, but he “makes up for it with musicality and phrasing ideas and rhythmic inventiveness.” It’s less about speed and playing hard.

Steve has been adapting to the aging process and says while he might require “a little more maintenance now”, he always tries to keep daily practice going.

Many drummers are over 50

If you’re worried about how your body will handle the physicality of drumming at an older age, just look to these active pro drummers:

• Todd Sucherman (Styx) – 53 years old
• Gene Hoglan (Legendary metal drummer) – 54 years old
• Dave Lombardo (Testament, Slayer) – 57 years old
• Terri Lyne Carrington (Award-winning jazz prodigy and educator) – 57 years old
• Tommy Lee (Motley Crue) – 59 years old
• Larry Mullen Jr. (U2) – 60 years old
• Chad Smith (Red Hot Chili Peppers) – 60 years old
• Danny Carey (Tool) – 61 years old
• Dennis Chambers (Legendary funk/jazz fusion drummer) – 63 years old
• Gregg Bissonette (David Lee Roth, Ringo Starr) – 63 years old
• Sheila E (Prince) – 64 years old
• Steve Jordan (John Mayer, Keith Richards) – 65 years old
• Simon Phillips (Judas Priest, Toto, The Who) – 65 years old
• Jonathan Moffett (Michael Jackson, The Jacksons) – 67 years old
• Steve Smith (Vital Information, Journey) – 68 years old
• Stewart Copeland (The Police) – 70 years old
• Nicko McBrain (Iron Maiden) – 70 years old
• Terry Bozzio (Frank Zappa) – 71 years old
• Ian Paice (Deep Purple) – 74 years old
• Jim Keltner (Legendary session drummer) – 80 years old
• Ringo Starr (The Beatles) – 82 years old

These drummers are going strong at 50+ whether they’re touring, teaching, or enjoying casual playing at home.

“But they’ve been drumming most of their lives!” you might say.

One 2013 study found that there was no difference in timing ability between non-musicians and trained musicians who started after the age of 7. So while there may be benefits later in life for those who started at a very young age, many of the pro drummers listed above took up drums after age 7.

They just have years of experience behind them. You could, too!

Drumming is great for your health

Whether they’re pros or hobbyists, we always hear stories about people playing drums for 30, 40, and even 50+ years. Not only can drumming can keep your mind sharp and improve mental health, but drumming can keep your body in great shape too.

You don’t need to already be in peak physical condition to start playing the drums. We see pros of all shapes and sizes doing incredible things behind the kit. All that matters is that you’re willing to put in the effort.

Kinesiologist Nadia Azar has spent the last few years studying pro drummers and how much energy they expend during live gigs. She found that these drummers consistently had an elevated heartrate and burned anywhere from 500-1200 calories per show. The conclusion? Drummers are athletes.

Do you need to play drums at that level of pro-stage-show-calorie-burning? No. But if you want to, you can.

Is it too late to learn the drums?

Maybe you tried drumming a few times and it felt impossible to get the coordination down. Maybe you told yourself that the reason you weren’t catching on was because of your age.

In reality, drumming can have a bit of a learning curve when you’re starting, whether you’re 10 or 60 years old.

The key is wanting to do it enough to not give up. And when everything locks in for the first time, the feeling of accomplishment is worth it.

In this video, Todd Sucherman (Styx) was asked how to approach learning the drums in your 50s compared to how you might learn the drums in your teens or 20s.

Todd gets asked this question a lot. Think about why you want to learn the drums.

“You do it because you love it and because you get something out of it. It’s good for the soul.”

“There’s nothing you can’t learn as long as you slow it down enough and for a long time. You’re not going to master any concept in a day. As long as you give yourself patience and kindness, you’re going to do great.”

It’s never too late to start playing the drums. Period!

While there’s no silver bullet that’ll make you a powerhouse drummer overnight, the best way to learn quickly is to identify your learning style and find lessons that support it.

In the VAK learning model, there are three core learning styles based on watching, listening, or doing. You can learn all of three ways, but one of the senses is usually dominant.

Some drummers learn by watching. Others learn by doing. Which one are you?

V = Visual learning

You learn best by looking at a picture/diagram or by watching others do it first. Most educational drum videos use a demo format where visual learners can see it performed by an expert before trying it themselves.

In this video, Brandon not only talks about how to play Taylor Hawkins’ best drum beats, but he shows you how to do it on the kit:

A = Auditory learning

You learn best by listening. This could include hearing how an instructor explains things in a video, but it’s even more effective in podcasts and conversations. People who learn music by ear fall into this category. Rather than read sheet music or watch someone else play it first, they’ll just put on the song and listen to what the drummer does.

For an example of how you could learn just by listening to a drummer, close your eyes and hit play on this video:

K = Kinesthetic learning

You learn best by picking up the drumsticks and actually doing the thing. Just watching or listening might not seem practical to you, and your ideal way to learn is to get your hands dirty.

Many online drum lessons (and even some in-person lessons) only help if you learn best by watching or listening. If you’re a do-er, you might get distracted or not retain the information.

Check out the video below. While it starts with a visual lesson, it goes into a 5-minute guided ‘workout’ intended for drum students to play along:

If you struggle with consistency or can’t seem to get motivated to drum every day, this is the perfect excuse to sign up for 30-Day Drummer: a program with a fun instructor that’ll have you playing along for an entire month. And it’s made for kinesthetic learners!

Hosted by Domino Santantonio (known for her energetic TikTok pop covers and positive personality), each daily workout is just 10 minutes long and will help you improve your timing, feel, endurance and more.

When you sign up for 30-Day Drummer, you’ll:

• Get a free practice pad ($79 value) and drumsticks
• Get access to a platform where you can connect with other drummers in the program and share your progress
• Get weekly live Q&A sessions with Domino
• Build better practice habits
• Improve your timing
• Boost your creativity
• Play more musically

30-Day Drummer runs from September 5 to October 5, 2022. For just $97, you’ll get to join the party and have lifetime access to these videos. It costs less than private lessons and you’re guaranteed to be a better drummer at the end of the month.

Set aside 10 minutes a day in your calendar and get ready to become a better drummer!

• It can be fun when you’re in the zone.
• It takes discipline and repetition to see progress.
• Progress feels awesome.
• It can take time to get into a regular routine.
• Sometimes you’d rather sit on the couch than getting sweaty and repeating the same thing over and over. But you need to do it to see results.
• It’s more fun to do it with a partner.

Studies say working out with other people helps you exercise for longer and more consistently. So why not apply this idea to the drums?

Even if you don’t have another drummer in the room next to you, a drumming workout video can make it feel like you aren’t alone. It can get you playing longer and even help you ‘trick yourself’ into practicing if you aren’t feeling motivated.

Most drum videos require you to first watch quietly, then jump on your kit afterwards.

But like an exercise video, drum workout videos have you following along with an instructor as they walk you through the motions and encourage you to keep going. The lesson is the practice!

Here are three workouts to play along with (on your pad or kit):

1. Improve Your Weaker Hand In 30 Minutes (with Heather Thomas)

3. 40 Minute Beginner’s Bass Drum Boot Camp (with Dave Atkinson)

Organized by none other than Dom Famularo and award-winning-musician-turned-lawyer Brian Resnick, the video now has over 135,000 views and the aim is to raise $100,000 for WhyHunger. The nonprofit promises that 90% of donations go directly to program work like supporting community initiatives and grassroots movements that improve access to food.

Legendary session drummer Jim Keltner is one of the first faces you see in the video. He’s appeared on hundreds of records, worked extensively with Ringo Starr, John Lennon and George Harrison, and has achieved a major legacy in the music industry. 

His connection to The Beatles makes him a frontrunner for a cover like this, and the fact that the three first drummers in the video are all linked to Ringo’s career – Jim, Gregg Bissonette, and Ringo himself – is no coincidence. 

“We all can agree that no kid should be hungry, and everyone should have access to nutritious food. This is a great cause that I’ve supported in the past and a great track – one of my favorite Beatles songs. So when Jim Keltner asked me to join all these other drummers I was happy to,” said Ringo. 

Harry Chapin, the late son of Jim Chapin, co-founded WhyHunger in 1975 and coincidentally Jim Keltner tracked drums for Harry Chapin back in the day.

We chatted about how Jim got involved with the Drum Together campaign and why the drumming community is so special.

How did you get involved in the video?

I got a call from Dom. He has a real special talent for talking with people and building things like this. It was Ringo’s idea to open up the video playing the bass drum part. He said “you can do the other bits” and I said “okay, I’ll do the hi-hat and let Gregg [Bissonette] do the tom”. Ringo had said he didn’t want to do the toms – that would almost be sacrilege for him; he did it that one time on the actual record and that’s it.

Gregg told me that if I wanted to play more they’d send me a chart. I got booked right around that time, which is crazy because I hadn’t done anything for so long. Back in the day – pre-pandemic – a week would go by and then you’d work again. Now it’s months. But as it usually works in my life, I get busy doing something. The thought of sitting down in my room with a chart and putting my iPhone up there or having an engineer come over…I couldn’t put that kind of time into it, which was unfortunate, really. If I had known it was going to be that cool, I would’ve taken the time to do it. Ringo said he would’ve liked to come back each time it came back to the head of the song with the bass drum. 

He called after he saw the video and said “man, I should’ve played some more!” Whoever put it together and edited it did a fantastic job. A couple of friends of mine who are real purists were upset that they did that to “Come Together” and they’re missing the point. I thought it was really well done. I didn’t recognize a lot of the drummers but they’re just all so badass. You know, really, really great chops. It always thrills me as a drummer to see how advanced somebody can be and how advanced they can take the art of our drumming language.

Have you participated in similar initiatives in the past? 

Not really – not since [The Concert For] Bangladesh. I’m sure there have been a few little things here and there. This one was spectacular. I think it’s a good thing for anybody in the music business or who’s got a platform to do. I think it’s important for us to jump on board for really great causes. There’s so much that we need to do. You really need people that are passionate and resourceful to get that kind of thing going.

Do you think drummers have a leg up when it comes to mobilizing the community for a cause? Is there something about our community or what we do that inspires people to take action?

Every drummer I’ve ever met seems to have a real sweetness to their demeanor. We’re a gentle kind of people. 

What I’ve always loved about our little community is something I used to say jokingly, but there may be something to it: My theory is because we beat the shit out of the drums, there’s no need for us to be that way in life as people. All my drummer friends, we have that in common. I think we have a special community. Guitar guys are not like that. 

I have always enjoyed meeting drummers, whether they’re amateur guys doing it for the fun of it with drums in the basement, or all the top pros – amazing guys and my heroes and all that. But I especially love meeting the drummers that play for the fun of it. Because I remember what that was like. It’s still fun for me, but when there are no high stakes involved, that’s just a wonderful thing. I would love to have more time to myself with my drums. 

What have you been focusing on since 2020? How have you kept moving forward during these strange times?

When all of this started happening, I had the idea that this was the time for me to work on my music. “This is going to be great. I’m going to be in my room, and make things work that I haven’t done in a long time.” That was my goal.

Time went by and I realized that I hadn’t done any of the things that I planned to do. What had I done? One thing that I don’t regret – but it did take up all my time – was I got really healthy. My wife is a great cook and she started experimenting with stuff. We both lost a lot of weight and I was shocked. For me, the biggest sacrifice was giving up the sweet stuff that I love. After you’ve eaten a nice healthy meal, who doesn’t look forward to a wonderful piece of key lime pie? Instead, I’ll have a fresh apricot – cut it in half and really savor it. 

I was going to donate all these nice clothes I couldn’t fit anymore – but now I can fit in them! I put on a pair of my 1971 jeans with all the patches and holes (that was embarrassing for my wife because nobody was doing that back then). I couldn’t bear to throw them away. But I got right into them a few weeks ago! 

There were positive things I did. Unfortunately, it wasn’t the music. My beautiful music room is a mess; it became the place where I stashed everything. So now my next venture will be to clean out the music room and make my way to the computer, turn on all my microphones, and start recording myself which is one of my favorite things in the world.

As far as working, the workload is tremendously down, which hasn’t been a bad thing for somebody like myself. It’s all I’ve done all my life, at least three or four times a week, so a nice break like this was okay. The few sessions that I have done have been really fun. 

I just love playing with great musicians. All you drummers out there, try to play with the best guys you can because that will improve your playing. That’s what happened to me. I got really fortunate early on and everybody that I played with was so much better than me. That helped me to get more musical and connect with the actual drums. It’s one thing to learn the details and the rudiments and the technical things about the instrument, but the music inside you is the most important part. That is what’s going to improve and really blossom the more you play with people who you consider better than you.

I love the idea of people starting a band because you never know what might happen. That’s exactly what happened with The Beatles, The Rolling Stones. We’re talking ancient times here now, but those two bands still are the template for everything that we hear today.

It’s great that we can still make music in times like these. Even so, the pandemic has made things even more challenging for people who were already struggling to put food on the table.

It’s tough out there right now. I have such a love for my country. I love Los Angeles, New York, Texas, Louisiana, Oklahoma where I was born…and who doesn’t love New Orleans? I spent a lot of time in the swamps in Louisiana living with my aunt and uncle when I was just a little kid and there’s just magic in all the places that I’ve been around this country. It breaks my heart to see the division amongst all of us now. Everybody has an opinion but nobody really has the answer. I wish there was something we could do to bring us all together and realize that we are one. 

You read about things going on around the rest of the world and you can’t help but feel fortunate to be here. We could’ve been born in some little village in a poor area of the world with not enough food. That could’ve been us. I just feel very grateful.

Check out the WhyHunger video and think about sending a few bucks in. It’s a really good cause. Think of people who are suffering compared to the way we live. Things may be rough for a lot of people here, especially because of the pandemic, but we don’t have it nearly as badly as people in other countries. 

It’s so heartbreaking to me to see Haitians going through what they’re going through. They live in this beautiful area of the world and have such problems with the leadership. And then to make matters worse, to have a devastating earthquake…it’s just heartbreaking. Everybody needs help all around the world. There are so many needs and this is one of them. Hunger is a serious one. Take that into consideration.

The pandemic has had a dramatic impact on hunger and poverty rates across the globe, exposing just how many millions of people are struggling to make ends meet. From underlying issues of social and racial injustice to the lack of true living wages, the need for resources and investment in systemic change has been magnified.  

“When it comes to impactful compositions, “Come Together” is at the top of the list. It was the perfect song to galvanize this community for such a critical cause,” said Dom Famularo. “Our hope is that WhyHunger’s Drum Together becomes the soundtrack for justice as we strive with one beat and one mission to end hunger.”   

How many drummers can you recognize in this epic video collaboration?

• Alan White
• Alex Acuña
• Andrew Marshall
• Angela Nelson
• Anton Fig
• Aquiles Priester
• Bernard Purdie
• Bill Burr
• Bill Stewart
• Billy Amendola
• Billy Cobham
• Bobby Sanbria
• Brian Frasier-Moore
• Brian Resnick
• Brit Turner
• Carmine Appice
• Chad Smith
• Cherisse Osei
• Christian Euman
• Cindy Blackman Santana
• Clayton Cameron
• Curt Bisquera
• Dame Evelyn Glennie
• Daniel Druckman
• Danny & Beth Gottlieb
• Danny Seraphine
• Daru Jones
• David Garibaldi
• Dave Weckl
• David Rozenblatt
• Debbi Peterson
• Dennis Chambers
• Dom Famularo
• Dom Moio
• Dorothea Taylor
• Fred Dinkins
• Gary Seligson
• Gene Hoglan
• Gerry Brown
• Gregg Bissonette
• Gregg Field
• Gregg Potter
• Howard Fields
• Jack DeJohnette
• Jared Falk
• Jeff Hamilton
• Jerry Marotta
• Jim Keltner
• Jim Riley
• Joe Bergamini
• Joel Rosenblatt
• John Riley
• John Roberts
• John Robinson
• Jojo Mayer
• Jon Fishman
• Jonathan Moffett
• Joseph Pereira
• Jules Radino
• Keith Carlock
• Kenny Aronoff
• Larry Lelli
• Liberty DeVitto
• Luis Conte
• Mark Schulman
• Matt Cameron
• Matthew Strauss
• Max Weinberg
• Meytal Cohen
• Michael Blair
• Michael Schack
• Mike Mangini
• Mike Portnoy
• Mona Tavakoli
• Nandi Bushell
• Nic Collins
• Nicko McBrain
• Pablo Rieppi
• Pedrito Martinez
• Pete Lockett
• Ralph Humphrey
• Ray Brinker
• Ray Luzier
• Rich Redmond
• Ringo Starr
• Rod Morgenstein
• Roxan Jurkevich
• Russ Miller
• Sarah Thawer
• Senri Kawaguchi
• Shawn Pelton
• Sherrie Maricle
• Simon Kirke
• Stanton Moore
• Steve Gadd
• Steve Jordan
• Stewart Copeland
• Todd Sucherman
• Tommy Igoe
• Valerie Naranjo
• Vinnie Colaiuta
• Virgil Donati
• Will Calhoun

WhyHunger’s Drum Together is made possible with the generous support from SONY and Apple Corps, and with sponsorship from Davis Polk, Cindy and Tom Secunda. Drum Together was arranged and co-produced by Randy Waldman; directed, edited and produced by Dakota Lupo and audio engineered and co-produced by Russ Miller.  

To learn more about this initiative and the organization behind it, check out WhyHunger.org/drum.

Feature Image: Off The Record Vol. 3 – Ross Garfield’s Jim Keltner Interview

How do you get gigs like this? MB talks about the importance of networking for session drummers, and why it’s a huge asset to have your own gear (and then some).

Can you describe your role?

One of two things happens: I am either in the percussion section as a section player, or principal percussionist for the section. In the first scenario, you show up and play whatever the section leader assigns you. In the second scenario, you are also playing, but you are assigning who plays what.

Speaking from my experience as a studio percussionist in Los Angeles – particularly if you are ever going to be acting as Principal – you need to own all of your own gear, and arrange to rent anything you don’t have. If you are playing drumkit, you would be on your own kit. We have cartage companies that haul all of our gear to the sessions and set it up. You then show up and do the refinement and carry on with the session.

As a percussionist, I could be playing pieces from start to finish or just sections, as well as creating effects and a mood. In my case, I am playing someone else’s music, but I also compose. However, the composing that I generally do is for production music libraries.

What does an average studio day look like for you?

I’m not sure if there is a typical studio day. There are similarities with every session, of course, but they all vary as well. I may work directly with the composer in the studio to play what was written, as well as create parts from a basic chart. One thing to remember in the studio world is that reading music is of the utmost importance. If I am recording drum set or percussion at my own studio, I’ll need to know in advance what we will be doing that day so I can set up beforehand.

When I am going to another studio, I need to get there anywhere from 1-2 hours in advance to set up without feeling rushed–it depends on how much gear is involved. Also, If I am section leader, I want to see the music at least a day before the session so I can look over the parts and assign them according to who I have in my section.

How did this part of your career take off?

Every gig in LA’s session world leads to the next, so it’s hard to say how I got started playing for video games or movies. It’s mostly word of mouth, and of course you need to play at your highest level all the time. Being nice helps as well.

When I moved to LA after graduate school at CalArts, it was constant networking and playing any and every gig I could get. One thing would lead to the next. You meet someone who would hire you or you would recommend them, and it would go back and forth like that. To be honest, it’s still that way. It never ends.

To work in this business you need to be good, of course, but also be dependable. And network like crazy.

What’s one of your favorite stories from this work?

When I worked on American Sniper with Clint Eastwood, I was under the impression that there was an actual composer (my friend Joe DiBeasi), but that was not the case. Joe was the music editor, and Clint was technically the composer. When I met with Joe – who’s a jazzer and likes to do things free whenever possible – there was no music written and no click. “Just look at the scenes and let’s start playing.”

I was a little freaked out by this. I wanted to be more prepared when we did the session so I took notes. The next day, we showed up to Warner Bros. and met Clint. We went into the booth, and since I was Principal Percussion on this one, I mentioned that it might be nice to at least try it with click, particularly since we were going to be overdubbing. So Clint and Joe agree, and we find a tempo that we like. We sculpt the track for builds and ins and outs, and then the three other drummers and I start playing.

It was basically just improvising. We got a basic track that they liked, and then we did the overdubbing.

What are the biggest challenges with this gig?

The biggest challenge is buying and maintaining all of the instruments you need to own, as well as practicing everything. There are only so many hours in the day. Also, as a freelance musician, you come across many of the challenges that come with running your own business.

Be aware that there are a ton of percussion instruments in the percussion world, so the list of instruments that you need to buy and own is quite extensive. I also have a recording studio at my house, so that is yet another expense.

What’s the best part of the gig?

My favorite part of the gig is the variety of music and instruments I get to play. When I was in undergraduate school, I studied classical percussion and drum set, but when I was at CalArts, I studied tabla and North Indian music as well as Ghanaian drumming and Indonesian music, and general percussion.

I also love that I get to meet and play and work with so many amazing musicians, composers and everyone involved in all aspects of the business.

About MB:
MB Gordy is an LA-based musician and producer. Over the last three decades he has worked in a wide variety of roles as performer, composer, professor, and recording musician. MB has recorded on hundreds of film and TV scores including The Bourne Legacy, Despicable Me, Fantastic Four, Frozen, Game of Thrones, Mad Men, Men in Black, Need for Speed, Spiderman, Straight Outta Compton, Terminator, Transformers, X-Men and more. You can hear his percussion in video games such as God of War, Call of Duty and Socom, and on albums with Neil Diamond, Faith Hill, Green Day, My Chemical Romance, Guns and Roses, Childish Gambino and Beck. MB is a clinician and consultant with the Yamaha Music Education Division, and his current band, Opium Moon recently won a Grammy for Best New Age Album.

“I need things like skateboarding, or surfing, or art, or like you, building to just balance myself out.”

Try Drumeo for free for 7 days 

Brandon Scott is an online drum educator through his popular YouTube channel. Most of the content he produced was while he lived in Cape Town, South Africa. Recently, however, he made the move back to the USA with his wife. With a growing YouTube channel, a huge uproot, and sorting out his next moves, this was a great time to sit down and chat about what is going on with Brandon.

In this episode:

You will hear about…

• What makes something good and letting go of certain things during the creative process
• His experience recording 400 minutes of content at the Drummers Collective
• If Brandon is getting bored of (most) drumming content
• The big uproot that Brandon and his wife are currently going through
• Some thoughts about COVID
• The fine line between overdoing the drumming thing and not doing it enough
• Brandon’s ultimate goal with his YouTube channel
• Self-esteem and imposter syndrome
• Some opinions regarding social media
• The importance of having a connection with nature

Why you should listen:

Because this is nearly the end of this podcast, I felt inclined to discuss some stuff that isn’t talked about much but I feel is thought about often. I get the sense that there is a lot not discussed so that people’s brands aren’t put into jeopardy. But because I have canceled myself, I figured I would venture into some of that territory. You might like this just because of the nature of the conversation and how uncomfortable most of this stuff is to talk about. 

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Look at the comments section on any of Joey Jordison’s YouTube videos – it’s no exaggeration that the former Slipknot drummer has inspired thousands of people around the world to pick up the sticks.

Joey was known for his creative, no-Fs-given approach to drumming (framed famously by an expressionless black and white mask and long black hair) and he helped to usher in a new era of metal in the late 90s. That’s only one of his many accomplishments – as any fan will tell you – but let’s start there.

This article isn’t just for metal drummers, and you’ll see why. No matter what style you play, here are 5 things every drummer can learn from Joey Jordison, one of the most influential figures in heavy drumming:

1. Listen to different music styles

You might expect that the list of Joey’s influences ended at metal players like Lars Ulrich and Dave Lombardo, but he was also inspired by rock legends John Bonham and Keith Moon and jazz heavyweights Buddy Rich and Gene Krupa. 

While he was self-taught at first, he started studying with an R&B/jazz teacher even though he wanted to play metal. “Never be scared to venture out and learn to adapt to different styles of music.” Without that foundation, he said, “I don’t think I’d have the chops I have today.” 

His diverse background and taste for different styles doesn’t end there. If you listen to the drum-and-bass inspired intro of “Eyeless”, it’s pretty unexpected to hear that from a metal drummer. 

“You have to listen to lots of different music to be a rounded player and if you’re dedicated to it, you’ll take something away from everything, whether it’s your particular genre or not.”

While most drummers he inspired are into the heavy stuff, Police drummer Stewart Copeland found himself jumping on the Joey Jordison train:

“All that cool shit that he does with both his feet and his hands has to be marveled at. I mean, with his feet he does what most drummers aspire to do with their hands. And then the stuff he does with his hands – look out! Genius.”

2. Break the rules

“We were so determined, hungry, and ready to take on the world and we did. We feared no one, and it showed when we took the stage.”

If you’ve listened to Slipknot, the drum parts have probably caught you off guard. For example, Joey could’ve made simpler choices for the verses in “Purity”, but instead he chose to infuse a snare roll into a groove and created more of a frantic soundscape. 

His style helped define the future of metal drumming and inspired an entire generation to pick up the sticks. He wouldn’t have been so notable if he’d played by the rules. He drummed erratically and creatively, throwing in snare hits and fills where you wouldn’t expect them – yet he also wrote parts the songs called for. Most metal drummers will recognize the intro drum beat in “Duality” even if they can’t hear the other instruments. 

Joey helped to bring death metal style double bass into the mainstream. While bands like Metallica and Slayer had already set the stage for double kick work, Jordison’s punishing high-speed runs (like in “Disasterpiece” or the “The Heretic Anthem”) made people say ‘wtf’.

At the same time, he didn’t do it just because he could: he wanted to add it where it made sense. “Double bass needs to be used as a dynamic, not for flash.” 

Don’t be afraid to take risks with your playing, and don’t let anyone tell you you can’t experiment with the instrument. You might be setting the standard for the next generation.

3. Develop a strong work ethic

One mistake many new drummers make is trying to play fast, complex parts before they’re ready. Don’t try to run before you can walk.

When he started studying the drums, Joey’s mentality was to establish a solid foundation. “Without [starting with the basics], I don’t think I’d have the chops I have today. You want to go crazy, but you’ve gotta realize, if you don’t have your chops right, the song’s never going to be right. Songs are not drum solos. Always learn your basics first.”

On top of his mature work ethic when studying drums, Joey also had multiple projects on the go. Imagine playing in one of the world’s biggest bands and making time to tour and record with a second project (Murderdolls, where he played guitar). 

Over the course of his career, Joey played in multiple bands, toured with Rob Zombie, Korn and Ministry, filled in last-minute with Metallica, performed on various albums as a session drummer, and even flexed his producer muscle.

If you set goals, get organized and stay focused, a strong work ethic will go a long way. Always be at the top of your game, and if you’re professional, you’ll keep getting the calls.

4. Play with passion

“You don’t have to play at 100% all the time to get your passion across.”

This quote might seem contradictory for a drummer who always headbanged at 200%, but Joey always played like his life depended on it. Other drummers have rarely matched his intense energy. It’s probably in the contract now for anyone who joins Slipknot, but Joey never shied away from putting on a show.

He definitely wasn’t afraid to take risks in his performances (although to be fair, most drummers don’t have the budget for a floating, rotating drum platform):

You don’t need to choreograph your headbanging or be a master stick spinner to be a better drummer. But the more you relax, feel the music, enjoy yourself and connect with the audience, the more energy you’ll bring to your playing.

5. Never lose hope

In the mid-2010s, Joey was diagnosed with transverse myelitis – a neurological condition that resulted in weakness and loss of power in his legs. He parted ways with Slipknot around that time and had no real answer from doctors on whether or not he’d be able to get back on the kit.

He could’ve accepted it as his fate, but the experience gave him more incentive to push harder. “There’s no way I’m not gonna play drums,” he said. After extensive training and medical attention, Joey was able to overcome the condition and never took his ability to play drums for granted again. Because of this, he said it was the “best thing that ever happened” to him.

When times get tough, take a note from Joey: don’t lose hope. Be willing to fight for what’s important and know that your mindset is a big part of your journey.

“Sometimes life takes you down troubled paths, not to hurt you but to cleanse you.”

Joey wasn’t afraid to take risks. He didn’t stick to convention or play by the rules. Other drummers may be as technically proficient, but the combination of creativity, gusto, unpredictability and badassery is what set this madman apart.

Whether you are (or aren’t) a fan of Slipknot, Murderdolls, or one of Joey’s later projects, there’s a lot we can learn from him. And there’s no other drummer quite like him.

Feature Image: Kieran Krud

While matched grip is the standard for most drummers these days, traditional grip does have some benefits. But unless you’re playing jazz or marching snare, the benefits of trad just don’t outweigh the benefits of matched for most people.

If you learned to drum many years ago or love watching videos of classic drummers, you might be wondering if anyone still uses that legendary underhand grip. What happened?

Let’s take a trip down memory lane for a minute.

It’s Sunday evening on February 9th, 1964. You’re winding down with your family before another week of school and work. And then…

BAM!

Four British kids appear on your dimly lit RCA color television and create a musical Big Bang that alters the course of history. And of the four mop top Beatles, it’s the one in the back where the real drama is unfolding.

Because as he busts into “She Loves You” holding his drumsticks the same way with both hands, Ringo influenced a whole generation of drummers to put an evolutionary bullet in over 100 years of drumming.

Was Ringo the first one in modern history to play matched grip? Not by a long shot. But when Beatlemania swept the world, drummers saw this guy in the spotlight doing things differently. And they wanted to hold their sticks like him.

Even a young Dom Famularo was learning to drum with a teacher who wanted him to play traditional (underhand) grip. But when Dom saw Ringo play, he begged that teacher to let him play matched!

As it turns out, matched grip really was the natural next step in the evolution of drum set playing.

Trad grip used to be the only way to play the drum set

The drum set evolved from the marching drum, which the drummer had to carry on a sling over one shoulder. Since the drum tilted down, the most effective way to play it was to hold one stick ‘upside down’.

When drummers started sitting behind the kit, they’d tilt the snare drum forward so they could still play it properly using the underhand grip.

But drums existed long before they were used in the military. Drummers around the world had probably been using matched grip for eons. When you think about it, calling it ‘traditional grip’ when it’s actually a relatively new technique seems a bit funny, doesn’t it?

Traditional vs. matched: Which is better?

If you learned to play trad grip years ago, you might wonder why matched grip has become such a popular choice for modern drummers. Here are some of the benefits and downsides of each:

While each grip has its pros and cons, matched has taken over as the dominant technique. Think of it like throwing a baseball: if you know you’ll get more power pitching overhand than underhand, you’re more likely to avoid the underhand pitch.

As the drum set has matured as an instrument, players and teachers have refined techniques and found better ergonomic setups. Over time, matched grip has emerged as a better one-size-fits-all approach.

But has traditional grip gone the way of the dodo?

It may be less common these days, but it’s still alive and kicking. There are many drummers today who use trad grip – either 24/7 or when it suits the part – including:

• Todd Sucherman
• Cindy Blackman Santana
• Dave Weckl
• Vinnie Colaiuta
• Steve Smith
• Stewart Copeland

Some drummers – like Jack DeJohnette and Thomas Lang – have switched to matched grip mid-career due to hand injuries.

One common misconception is that all the classic jazz and Big Band drummers only used traditional grip. In reality, they sometimes switched to matched grip. Check out Gene Krupa doing it in this video, and watch this clip of Art Blakey. Louis Bellson alternates his grip during this solo too.

And guess what? Even Buddy Rich, who has famously condemned matched grip, plays matched during one part of this drum battle!

Today the underhand grip seems to carry the legacy of the legends. It’s still popular in the jazz genre. And we’re starting to see young drummers like Greyson Nekrutman bringing traditional grip back.

Are there advantages to learning both? Sure. But think about what style you’re playing, what kind of dynamics you need, how you want to move around the kit, and even how you want to look on the kit.

If you want to pay tribute to the drumming greats – like Gene Krupa, Tony Williams or Buddy Rich – traditional grip might be how you choose to channel their spirit. Trad hasn’t quite gone extinct, but matched grip seems to be the best all-around choice in most situations.

Drummer Josh Harmon has gone viral multiple times, and he now has over 2 million followers on TikTok and over 300,000 followers on Instagram. He’s one of the most popular drummers on TikTok. His videos regularly get over a million views.

Why?

Because they’re relatable to everybody, not just musicians. He’s creating sound effects for film and TV clips on his drums. Like a one man soundtrack (with a constant smile on his face), he’s amassed a huge audience while landing a feature on The Tonight Show, dream brand endorsements (Ludwig, Vic Firth, Zildjian, and Remo), and other opportunities he never even imagined.

His most popular video, posted in February 2021, has racked up over 134 million views:

There’s at least one thing that Josh understands more than the average drummer: rhythm is literally everywhere. It’s in the footsteps we take when we walk down the street. It’s in the cadence of a curtain rustling.

Everything we do can be broken down into rhythms.

Josh has been drumming since he was 4 years old and studied with established jazz drummer Tommy Campbell and SNL’s house drummer Shawn Pelton. But he never planned to pursue music as a career. He majored in French literature, going to France to make a documentary on French drummers and writing about the history of the snare drum for his thesis.

But he’s now seeing the ways he can combine his two “quirky passions”: drumming and comedy. 

A writer for Today.com, Josh is also a comedian, and started his series of drumming-to-video-clips by drumming along to funny stuff. In an ongoing series dubbed “Rhythms Of Comedy”, he uses drumming to bring out the rhythmic delivery of stand up comedians (like Bo Burnham) and comedic TV and movie scenes (like Brooklyn 99), and it landed him a feature on The Tonight Show. 

Josh loves to study great stand up comedians and, as he says, “try to figure out what’s going on mechanically with their delivery.” Jerry Seinfeld, Eric Andre, Andy Kaufman, Hannah Gadsby, and Bo Burnham are among his biggest influences, all of whom he says have great rhythm.

DRUMEO: Is there something about drumming that non-drummers can relate to? Do you think comedy can bridge the gap?

JOSH HARMON: There’s a way the sentences feel when you’re reading a book. The Beatles said, “There’s something in the way she moves.” That’s what rhythm is. It’s this underlying thing beneath the words and melody. It’s an indescribable layer.

What did you think when Fred Armisen put out ‘Standup for Drummers’?

I love Fred. He’s one of my heroes. He’s talking about something hyper specific, like wingnuts on cymbals, and it’s really funny to me. My family thought it was funny and they don’t play the drums (or maybe they’ve just seen me do it). Fred took something so specific and made it accessible to a large number of people without losing its true nature. 

There’s a real community around drums. I don’t know if other instruments have that same culture. Drummers really have a bond. 

It seems like we hear more about standup comedians who happen to be drummers than about drummers who are also standup comedians. Maybe the general public talks more about comedians than they do about drummers.

There’s a long tradition of comedians who play drums, like Jon Stewart, Fred Astaire, and Johnny Carson. David Letterman loved to ask guests, “Are those your drums?”

If you have good rhythmic intuition, you can be a good drummer and a great speaker. As George Carlin says, “It’s not just telling jokes; it’s rhetoric.” It’s the rhythm you give the words that makes it funny.

If you were to read a Dave Chapelle routine word for word, it might be kind of funny, but not as funny as hearing him do it. If you sat down on Steve Jordan’s drum set, you still wouldn’t sound like Steve Jordan. Both drummers and comedians have a rhythmic personality. You could tell the same joke and not be as funny. You could play the same beat but not be as groovy. Rhythm is so integral to someone’s personality. You can imitate it, but you can’t be it.

Why do you think people find it entertaining to watch you play drums to comedy clips? Do you think there’s something inherently comedic in drums themselves?

Drums aren’t inherently funny; drums simply amplify the thoughts and feelings of the person playing them. Sometimes the person playing them is funny, like Papa Jo Jones: that guy was hilarious and a brilliant virtuoso. The way he played has a comical element to it: joyous, effortless.

On the other hand, Ginger Baker and Tony Williams were not funny. The drums take whoever you are and push out a message that’s beyond words. The drum is just a communication device.

TikTok is a great platform to interact with other musicians, especially by using the ‘duets’ feature. What do you think is the best way to stand out from other drummers on TikTok?

I don’t consider myself a ‘TikToker’. I’m not a social media guy; my videos happen to be on there to be seen and create a community. I make videos that are fun to make, and that’s the only thing I think about, not “is this going to get a lot of views”.

If it’s fun for you to break down double stroke rolls, that translates. If that’s not who you are, don’t do that. Don’t be afraid to zag when other people zig.

Keep trying new things. I didn’t come up with this concept instantly; sometimes you have to push it further and experiment. Even if it’s not your best video, post it anyway, and learn from the feedback.  If something takes off, see what sticks, and make more like that if you want. 

If you don’t feel like posting, don’t. I only make a video when I feel like it, and that helps me maintain a healthy relationship with social media.

I put myself out there and I think it takes some practice. I still sometimes get nervous about doing it, but I get less and less nervous every time. Keep working on it; you never know what will happen or who will see it.

Do you think you’ll incorporate drumming, or jokes about music, into your future standup routines?

Definitely. That is the plan. I’d like to try to use drums to do something more than just ‘play the drums’. Like what Antonio Sánchez did with Birdman, it’s more than just drums, it’s a story.

I would like to turn “Rhythms of Comedy” into a full blown Broadway experience or comedy special. Something authentic with rhythms and speech and storytelling.

What about the history of the ba dum tss? Why is it funny? Is it ingrained in us? That is an example of how a rhythm can contain emotional information. It makes you laugh the same way stadium claps get you excited.

Is there anything else you want drummers to take away from this conversation?

I love to play the drums, but I’m trying to take it to a new place, challenge myself, and keep myself entertained. For drummers out there who are reading this, you don’t have to play something because someone says you should. You don’t have to learn jazz if that style doesn’t appeal to you. You don’t have to learn left foot clave to be considered a good drummer. What I encourage others to do – and what I’m trying to do – is keep pursuing the things that interest you. You might go further than you thought, and end up at a surprising and interesting place. 

Recreating sound effects on the drums isn’t random – it’s a culmination of other ideas. I kept doing what interested me and it brought me to this place. Have fun! Drumming is fun.

The number one comment on my videos is, “He looks like he’s having a great time. He makes me want to play the drums.” It’s contagious. People get so wrapped up in paradiddle combinations or how to tune. Have more fun! 

When you can picture the part you’re about to play before it happens, you know the song well.
When you can hear every section in your head while another song is playing, you know the song really well.
When you can play it 100% of the time without messing up, well…

Let’s get you there!

Some people learn by listening and others learn by reading. This guide includes tips to help beginner drummers get started, and to help experienced or working drummers learn songs faster.

How to learn songs by ear

The first thing you need to do is get used to ‘active listening’. This means that when you sit down to learn a song, you:

• Remove all distractions (that means you, social media) and make sure you’re comfortable
• Make sure you can hear the track (your best bet is headphones)
• Consciously pay attention to what’s happening in the song
• Consider taking notes

Don’t give up too quickly. Ear training takes…well, training. If you’ve only listened to the song a few times and can’t hear what the drummer is doing, listen a few more times, slow it down using a music program (scroll down to the technology section of this article), or try a simpler song to practice learning by ear.

Learn the song structure

Before you even think about what the drums are doing:

• Learn the order of the song sections.
• Is there an intro followed by a verse and then a chorus? Or is there a pre-chorus?
• Where does the bridge come in?
• How long is each section?

If you write down the order of sections, it’ll be easier to learn the song rather than relying on your memory. Congrats – you’ve basically written a chart! (Skip ahead to the charts section if you don’t know what that means)

Decipher the drum parts

If you aren’t in a rush to play the song, start learning each section bit by bit. Don’t try to tackle the entire song at once. First, learn the intro part. Then, learn the first verse. Then test yourself by practicing both the intro and the first verse together. This is a vertical approach to learning.

However, if you need to learn the song quickly – and it’s more important to nail the structure and get through the track than get every single detail down – try to learn the overall gist of the song, simplify it, and play through it before getting into the nitty-gritty. This is more of a horizontal approach to learning.

Here’s an example of how to simplify drum parts in a song, where Dave shows you how to play “Smells Like Teen Spirit” at any level:

In this video, Jimmy Rainsford (Picture This) talks through his listening process as he learns a song by ear:

In the following video, Larnell Lewis learns a song he’s never heard before. It has no drum parts, but he’s able to figure out how many verses and choruses there are, and he’s paying close attention to the number of times each section repeats:

Rashid Williams does the same in this video:

Sing the rhythms

Gregg Bissonette finds that vocalizing the patterns helps him retain the information – and it can be more fun this way, too!

How to learn drum fills by ear

First, identify the length of the fill. Is it a half-bar fill? A one-bar fill? Or does the fill take two bars to play through?

Then listen to how many notes make up the fill. Similar to what you might do when learning grooves, sing the rhythms to yourself.

If there are snare hits in the fill, figure out where those fall, and then move on to where the bass drum hits go. Add in the toms after. If you’re struggling to distinguish between tom and bass drum sounds, you can either keep listening to the song, look for videos of the drummer playing that part, or give yourself the freedom to decide what goes where.

Jimmy Rainsford demonstrates tips for learning drum fills here:

For more complex or quick drum fills where you’re struggling to hear exactly what the drummer is playing, you can use a program to slow it down. Skip forward to the ‘technology’ section for options!

How to read and write drum charts

Did you ever take a test in school where they let you bring your own ‘cheat sheet’? Think of charts as cheat sheets for drummers. Rather than transcribing an entire song note for note, charts are much quicker to write and read. They consist of abbreviated notes that outline the song structure, grooves or accents that need to be played, and other shorthand or symbols chosen by the drummer to help them remember key elements.

This lesson shows you how drum charts help you learn songs faster:

Here’s an example of a handwritten chart for a Radiohead song from this article (click here for the digitized version):

As a session drummer, Randy Cooke uses charts to learn songs quickly:

For each section of the song, it’s helpful to write down:

• The section type (verse/chorus/bridge/solo)
• The time signature
• The subdivision (quarter notes/eighth notes/sixteenth notes)
• The cymbal you should be using (hi-hats/ride/etc.)
• The basic kick/snare pattern
• How often something repeats
• The dynamics (should it be loud or soft)
• Lyric cues (if you find it helps)

Here’s an example of Randy’s chart (it may be tough to read a chart that isn’t yours, but this works for him!):

Here’s an example of an even simpler chart written by Gil Sharone, who was tasked with playing a song after one listen:

Gregg Bissonette is so fluent in chart-building that he can do pretty much anything on the fly:

See how everyone has their own methods of writing charts?

Reading music in general is a helpful skill. Glen Sobel (drummer for Alice Cooper) got his first big gig because he could quickly read and write music. Can you identify roadmap signs (like a dal segno or coda) or quickly eyeball the length of a phrase? (Shameless plug, but Drumeo has a great course for members called Chart Reading & Interpretation with Stephane Chamberland).

So if you have time to get familiar with charts, it’ll become your best friend – either to help you learn and memorize songs quickly for fun, or to set yourself apart on a professional level.

Using technology to learn songs

If you tried teaching yourself songs before the modern digital era, you’d have to stop and rewind the track (relying on your ears) or learn by reading music. While these are still two popular methods for learning songs, technology has made it much easier to work through individual parts.

Get a DAW (Digital Audio Workstation)

A DAW is a program designed for music recording, editing, and more. Unless you’re going to be recording your drums often and want the same high end software pro engineers and producers use (like Pro Tools or Cubase), you can get Audacity (not super user friendly, but it’s free), or Reaper (very affordable and great bang for your buck).

All DAWs work in a similar way: if you’ve ever used Photoshop or a similar program, audio software lets you ‘layer’ tracks, effects, and individual drums and cymbals on their own channels so you can move things around, speed things up, slow things down, cut and paste, and much more.

Slow down the song

If you’re struggling with the tempo of a song – or the drummer played a fill so fast you can’t figure out what they did – you can slow it down!

Each DAW has its own workspace. While the design differs slightly from one to the next, they all let you change the tempo of a song or section. You should be able to find this function for your DAW with a quick search on Google or YouTube.

Loop a section

Whether you’re slowing down the entire song or just a tough section, you can also select a part and set it on repeat so you can listen to or practice it over and over again. A quick Google search will tell you how to do it for your chosen software.

Write down or program the part

Many drummers find that writing out the song (or tricky part) helps them to better internalize patterns. If your brain has already broken down the parts, it’ll be easier to know what you need to do when you sit down on the kit.

If you don’t know how to read or write music, you might still be able to come up with shorthand doodles that work for you. In drum tablature, for example (a simplified way to write drum music), we represent a drum hit with an ‘o’ and a cymbal hit with an ‘x’. And lower-sounding notes (like a bass drum) are typically written below higher-frequency notes (like a snare drum, or even higher, a crash cymbal). If you jot down ‘o’s for the bass and snare drum and some ‘x’s for the main cymbal, that should be enough to get started.

If you want to take it one step further with technology, you can use transcribing software like Guitar Pro or Finale to write out the parts. While many people use these programs for composing original pieces, they’re just as useful for learning songs.

Alex Rudinger has 4 pro tips to learn hard songs faster – and these are immediately applicable whether you’re learning a simple track or something complex:

How to learn songs faster on drums

Why do students take notes in school? Because it helps retain information – especially when you do it by hand. So while learning a song, whether you’re making a chart, a cheat sheet, or mapping out every single note, writing it down can help you internalize the parts more quickly.

Take notes/chart it out

Create a roadmap of the song (refer back to earlier sections on how you can do this). You can count each section in bars, chord progressions, or something totally different – whatever comes more naturally to you.

Use a program to slow it down

The previous chapter of this article says it all: technology can help us slow down songs, loop parts, visualize patterns, and more. Taking time to break down parts will help you learn songs faster and more accurately (since it takes much longer to muddle your way through it again and again until you eventually figure it out). Work smarter, not harder, as they say.

In case you skipped the ‘using technology to learn songs’ section, go back and watch the video with Alex Rudinger’s practical tips for learning songs faster!

Work on your listening skills

Listening is critical to learning more quickly and accurately. How many times does a section repeat? Where are the key shots and accents? Where do fills start and end?

In this helpful lesson, Casey Cooper (Coop3rdrumm3r) emphasizes continuing to play through the song if you mess up the structure, rather than stop and start again. Since you can’t do that live, it’s a good opportunity to practice your recovery skills; that is, being able to stay on track after making mistakes and transition into the next part seamlessly.

Some pro drummers have next level listening skills. Larnell Lewis learned the entire We Like It Here album by Snarky Puppy on the plane ride to the studio session. Gil Sharone learned an entire +44 set on his flight to fill in for Travis Barker.

While these drummers are at the top of their game, it doesn’t mean you can’t also get there with enough practice and active listening. But you’ll have to be in it for the long haul!

Now get out there and learn!

Playing along to music (whether it’s with live musicians or to drumless tracks) is so important to learning the drums and appreciating other musicians and the instruments they play. Plus it makes drumming way more fun, and if your goal is to play in a band or ensemble, you’ll be better prepared to be part of a team.

If you like free stuff (who doesn’t?) and learning new songs, click here to get sheet music and handy playback tools for 40 of the biggest songs in drumming.

One day, you’re just a person going about your regular life. And the next day, boom – you’re a drummer.

Wouldn’t it be awesome if you could just dive in like that?

While some people are comfortable taking the plunge – signing up for drum lessons and buying a practice pad or drum set – if you’re reading this, you might be the type of person who needs to think a bit more before you decide to take on a new hobby.

This article answers some of the most common questions people have when they’re first thinking about picking up this instrument. New drummers start here!

What’s the best age to start drumming?

The best age to start drumming is any age. Other articles might imply that younger is better, but this isn’t the case. Anyone can learn how to play drums, whether they’re 5, 15, 35, 60, or 75. As long as you have the time and energy to practice, you can do it.

“Is it ever too late to start playing drums?” Nope! Did you see a video of a 4-year-old performing a face-melting drum solo and now you aren’t sure if drums are for you? People of all ages doubt whether they missed their opportunity to get started, but there’s no ‘perfect’ age. It’s a healthy and fun activity that you can enjoy for the rest of your life. As they say, it’s better late than never.

“Am I too old to start learning the drums?” Not at all! And you aren’t too young, either. The best time to start drumming is right now – what do you have to lose? Before you know it, you’ll be playing your favorite songs and wondering why you didn’t start earlier.

Is it easy to learn the drums?

Drumming can be both easy and hard. If you find that you pick up rhythms quickly, you have natural coordination, and you can clap in time, you may find that learning drums is easier for you than someone who struggles with these things. 

But like any new undertaking, there can always be a bit of a learning curve. Enjoy your successes, and use challenges as opportunities to push harder. You might even impress yourself! The best part? Whether you find drumming easy or hard, the more you practice, the better you’ll get. And the payoff feels amazing.

How long does it take to learn to play the drums?

You could be playing simple beats and songs in just a few weeks. It all depends on how quickly you pick up on the coordination and how often you’re practicing. The more you practice, the quicker your muscle memory will kick in, and the less you’ll have to think about what you’re doing.

Ask yourself, “How soon do I want to be playing drums, and how much am I willing to do to get there?”

How much time do I need to commit to learning drums?

To see the quickest results, you should spend at least a few hours a week practicing drums. The more you practice, the faster you’ll improve. Try to set aside at least 30 minutes a day if you can.

However, life sometimes gets in the way, so this might not be possible for you. Any practice is better than no practice! Learning a new instrument should be fun, not feel like a chore. So even if you just sit down on the kit for an hour once a week, you can still make progress and enjoy yourself.

Is playing the drums expensive?

Playing the drums actually doesn’t cost much to get started. It can get more expensive later, but it depends on the quality of gear you’re looking for.

When you first start learning how to play drums, you don’t need a drum set. You can start with a pair of sticks and a practice pad (or even sticks and a pillow). Once you’re able to play rolls and rhythms with your hands, you can add your feet, at which point you probably want to get a drum kit.

Like many other instruments, drum sets can run you back a few hundred dollars to a few thousand dollars. It all depends on what you’re looking for and whether you buy used or new gear.

Check out this article for a detailed look at how much drum sets and cymbals cost, which brands you should consider, and much more.

If you decide to take drum lessons, the average price for a one-on-one teacher is $30-50 USD for a 30-minute lesson. You can also get a membership to an online drum lessons site like Drumeo for $29/month, which gives you access to thousands of lessons, live coaching and Q&As, the ability to submit videos for teachers to review your playing, and more. Or check out this New Drummers Start Here course, which is three months of specialized drum lessons for $7.

What do you need to start playing the drums?

All you need is a pair of sticks and some time in your schedule. You don’t even need a drum kit to get started (try making a DIY practice pad with stuff from the dollar store!).

If you’re planning to teach yourself or learn by watching videos online, there’s a ton of free content for beginners. If you prefer to have an expert provide some guidance, you can sign up for an online drum lessons membership or take one-on-one lessons in person.

If you’re buying a drum kit, make sure you have enough space, and a carpet so it doesn’t slide. Browse through the first part of our guide on how to play drums if you really want to be mentally prepared.

How do you start drumming? All it takes is one decision. And if you realize later that it’s not for you, it’s okay. The worst that can happen is you have to sell your drum set. You’ll never know how much you might love it if you don’t try!

How much space do I need to play drums?

You should have at least a few square feet of space. A basic electronic kit will have a smaller footprint than acoustic drums, but you also have to take into account an extra foot or so on at least one side so you can get behind the kit.

It can’t hurt to give yourself more space than you need, especially if you aren’t sure how close you’ll want to bring your cymbal stands or how close your seat will be to the drums. The only way to be sure is when buying a kit, ask how big the footprint will be, and measure the room. 

Do you need to read music to play the drums?

You don’t need to read music to play drums. In fact, there are many professional (and legendary) drummers who don’t read music, but who have made a career in music. If you can learn by listening and by ‘feeling’ the rhythm, reading music is just the cherry on top.

That said, if you learn better by reading, the language of drum notation can help you pick things up more quickly. Reading music can help you communicate better with your drum teacher or bandmates, and can be a valuable skill if you ever decide to become a professional drummer. If you want to learn how to read drum music, here’s an entire guide.

Where should I get drum lessons?

You can find drum lessons online or in person. The most important thing is to choose a drum teacher who has good reviews from students and who you feel comfortable with. You can always try one or two lessons and decide if this teacher is right for you and a good fit for your learning style.

Whether you become a member of a video lesson community, take virtual one-on-one lessons with your favorite drummer, or are introduced to a local teacher through a music school, you get to choose your learning journey. 

If you find that you aren’t ‘getting it’ with one style of teaching, try something else. Everyone can play drums – we just learn differently.

Should I start playing the drums?

Yes! Like learning any new skill, drumming just takes a bit of time and energy. Even if you only have a practice pad, even if you only play once in a while, and even if you’re just picking up drumming for fun or exercise or to make new friends…it’s absolutely worth it. 

Any drummer can vouch for the incredible community and feeling you get when you join this group of passionate people. There are so many reasons to start drumming. You have nothing to lose!

We’ve launched a course to make getting started on the drums easier than ever.

It’s called New Drummers Start Here – and it’ll take you from a total beginner to playing drums with real music in 90 days or less.

Click here to check it out!