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Danny Carey: Drummer and Tool's Main Percussionist |
Q: What kind of heads do you use on your drum kits and what pitches do you tune them to?
A: All of the heads I use are Evans. On the snare I use a power center head on top with a medium or thin snare head on the bottom. On the toms I use clear G2s on top and clear G1s on the bottom and on the Bass drums I have EQ 3 heads on the batter side and lately I have been using retro screens on the front.
In the studio I always try to tune the toms to the key of the song. Sometimes this doesn't work to well because all drums have a very limited range that they will resonate and project in, but usually I am able to get close to one of the notes in the dominate triad. Because 90% of Tools songs are in D, I always try to have them tuned to D, F, and A when playing live. When tuning a drum to a definite pitch, it is easiest to aim at a whole step below the desired note and then carefully bring it up to it. It also helps tremendously to stretch the head by occasionally pushing down on it firmly with your hand along the way.
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Q - Did you take lessons or are you self taught?
A - At the age of 10 I joined the school band and started taking private lessons on snare drum with Keith Murray. Bryan Ayers was my first drum set teacher I studied with 2 years later. They both had the illustrious reputations of being the best drummers in Paola Ks. Through junior high and into high school I continued private instruction with John Whitney to prepare for a college music education. During my senior year in high school, I also studied jazz with Allen Carter who was a student of Joe Morello. My college experience started out in Emporia Ks. with Rex Stone as instructor but I only lasted 1 semester before fleeing the "sticks" and relocating at UMKC to study with Charmaign Asher-Wiley for 4 years. Michael Udow, who was teaching there at this time, was also a strong influence on my formative years in legit percussion training. My education after college came from going through books and exercises on my own and dealing with whatever the road dished out until I met Aloke Dutta in 1998. His knowledge of classical east Indian drumming is quite vast and eye opening, and he has shared it with me most generously over the last few years.
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Q - Who are your influences?
A - In the drumming world I would count Ringo Starr, John Bonham, Bill Bruford, Carl Palmer, Billy Cobham, Tony Williams, Alan White, Barrymore Barlow, Clive Bunker, Lenny White, Terry Bozzio, Vinnie Coliauta, Steve Jansen, Pat Mastalotto, Louis Bellson, Buddy Rich, Omar Hakim, Alex Acuna, Zakir Hussain, Aloke Dutta, Paco Sery, Elvin Jones, Peter Erskin, Steve Gadd, FM Einheit, Chad Wackerman, Martin Atkins, cEvin Cey, Yukihiro Takahashi, Stewart Copeland, Tommy Aldridge, and Dennis Chambers as my major influences.
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Q - I was just wondering why you went to an all electronic kit? What was wrong with the bronze one?
A - I have not switched to an all electronic kit and there is nothing wrong with the Paiste drum set or my Sonor drum sets for that matter. I enjoy playing different acoustic drums in different situations and at this point in time I still feel that electronic drums are best suited as a complement to them rather than a replacement.
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Q - What drumming material would you recommend studying?
A - I can only say what worked for me. This is very subjective and a good instructor is very important in finding your weaknesses and applying the right curriculum. I benefited greatly from doing various rudimental exercises and studies for my hands along with working out of these books with my teachers:
"Advanced Techniques for the Modern Drummer" by Jim Chapin
"Four Way Coordination" by Elliot Fine and Marvin Dahlgren
"New Breed" by Gary Chester
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Q - Why does Danny have only one pair of hi-hats and why are they placed where they are? It looks very unusual, but how accessible is it?
A - As an experiment on the 2001 tour I moved my hihat from the left side of my kit to the middle. I instantly fell in love with this position because it lends itself to a more ambidextrous approach. The problem with it was every cable control hihat I've tried so far has not even come close to the feel of, or response of, a traditional hi-hat. As a result, my hats are back in their old, comfortable stomping ground until I find the remote set up that meets my criteria.
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