Recent content by Hop

I think the hockey bag is a good idea too. For a more 'solid' case you could conside PVC piping.

Ditto. I'm digging hearing Chris' thought process as well. It really answers my "why behind do" about a musician's choices/decision making for a given rhythmn/groove/fill they commited to a recording. I really wish this kind of thing was happening 40-50-years ago, and I wish more drummers...

Oh no you di-ent!!! I know a couple of rosewood snares that a feeling a bit jelly, if you know what I'm sayin'... Noce sounding/looking snare, I like that polished bead too.

I agree, and became aware of that feature back in about '79 when I purchased one of these, which I still use today.

Yes, and most of the other snare books (Whaley, Cirone) I have don't indicate stickings or rates, which tended to frustrate my rigid mind. Out of the Whaley book "Musical Studies for the Intermediate Snare Drummer," there is a note above one of the pieces and it states; "This study primarily...

As an alternative you can take it to an upholsterer or if you want, go directly with a Tama replacement part. Here's a link for your reference: THRONE | TAMA PARTS CATALOG | TAMA Drums

Without a written example to examine, I would just say I'd play it as written (note value wise) but not accent the 'ending' or next note... that note that shoulda' been tied. EDIT: This is a reminder why I should never raise my hand in class!!!!

I totally get it... I don't want to belabor that point, I see those slashes and I'm generally going to go with a double stroke roll over a single stroke roll... which is why the figure in question was so troubling for me and made me skip just about every exercise in the Wilcoxon book that used it.

My use of the term "ruff" comes from the Adler/Buddy book and from my primary instructors as a shorthand way of saying 'single stroke rolls' and to help differentiate them from "double stroke rolls" in conversation. When lessons were written, I was provided with the more accurate and longhand...

It all leads back to what the sticking below the figure indicates. Solo No. 66 clears this up for us as a half drag leading to the seven stroke; and the 7 stroke is written as R --> R which means it has to be played as a seven stroke alternating singles or a ruff (as in the Henry Adler/Buddy...

That's what I thought before I posted it and got some feedback. It is absolutely a 7-stroke ruff (with a drag lead in). To clarify, ruffs can be of any measured length equal to that of any roll, the difference is alternating single strokes versus alternating double strokes. They will have...

To be fair, my buddy Charlie indicated "7str" above that sticking and I always assumed that meant a roll. But it doesn't make sense to 'drag' into a roll and it is akward to end that roll with the third stoke accent using the same hand. But, with the clarification by poco rit. it becomes clear...

LOL... Boy do I feel like a knucklehead right about now. It sounds so obvious after your clarification. I'll use a fresh set of eyes on those exercises I've been avoiding. Thanks for tip! EDIT: It also clears up that little drag figure preceding the single stroked 7 in Solo 66.

While were on Wilcoxon and 7's, I always wondered why he wrote some 7 stroke rolls in a tradional fashion, where you started and finshed with different hands, and others as starting and ending with the same hand. My 'inflexible' mind always wrestled with this, obviously favoring the tradional...

As if I didn't have enough reasons to quit the drums... Sheeesh this guy is good! I've got to admit I had an ear-to-ear grin watching Gary play his composition, "Sully"... HA! Once more with feeling!