"Q & A" from Danny Carey of Tool!

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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STRAIGHT FROM WWW.DANNYCAREY.ORG !!!   :o)

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I've been using this absolutely FREE resource since 2001 to learn and in turn pay it forward by teaching from it. The information is amazing how it paint sthe simplest and easiest picture in a way that a non-musician can understand it like they understand something they've already mastered.
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WHAT'S YOUR RELATIONSHIP W/ MUSIC?

AS FAR AS MY RELATIONSHIP WITH MUSIC GOES,


The music has always been there, even before I taught myself guitar– I felt like it was always waiting to be released from my mind and heart.


I also have an "unconditional love" for music. Love to me, is kind of like an action verb - like struggle. Every day I choose it, and such is the role of a gift or talent; as I choose it, it chooses me.


Growing up watching the movie and listening to tunes in "The Sound of Music", forever changed mine and my mother's lives. She was really the first person to express in front of me and the world, the ability and carefree nature of who and what a lover of all types of music does. She also unconditionally supported my natural voice. Even if it might not have sounded as pleasing to the ear as a classically trained vocalist or famous musician or lyricist.

You gotta love the mommies!!!!!!

'Baker Street' singer Gerry Rafferty dead at 63

With so many people in the limelight passing away - actors, actresses and musicians alike, it's somewhat disheartening and sad but if it's one thing that I've learned with my mother's death, when a loved one moves on past this life beyond the veil, it's cause to celebrate with remembrance and honor. This is EXACTLY what this post is about; recognizing the unique nature in which the artists of the world create within.

	© Chris Walter/Retna Gerry Rafferty 'Baker Street' singer Gerry Rafferty dead at 63 Jan. 4, 2011, 5:47 PM EST LONDON (AP) — Gerry Rafferty, the Scottish singer-songwriter behind hit songs "Baker Street" and "Stuck in the Middle With You," has died. He was 63. Rafferty's agent Paul Charles confirmed Tuesday that his client had passed away following a long illness, but said he had no additional information on how or where he had died. Rafferty's classic record "Baker Street" — renowned worldwide for its distinctive haunting saxophone solo — climbed to No. 3 in the U.K. and No. 2 in the U.S. music charts in 1978. It still achieves considerable airplay on radio stations. The singer also recorded "Stuck in the Middle With You" in 1972 while performing as part of the Scottish folk-rock band Stealers Wheel. The ode — or mocking tribute— to Bob Dylan's raspy voice grew new wings in film maker Quentin Tarantino's movie "Reservoir Dogs," and has sold more than a million copies worldwide. Rafferty made headlines in recent years for his public struggles with alcoholism and had also undergone treatment for liver failure. He reassured fans of his well-being in February 2009 after a former bandmate expressed concerns over his health and whereabouts in the press. Later that year, Rafferty released the album "Life Goes On." After initially cutting his teeth as a busker, Rafferty appeared with Scottish comedian Billy Connolly in folk group the Humblebums and released a solo record before founding Stealers Wheel. Despite his brushes with negative press — from a long-running contract dispute with Stealers Wheel to scathing character critiques posted online by his brother, Jim — Rafferty was described by employees at his latest record label as a man who kept to himself and shunned the spotlight.

KINDERGARTENER ORDERED TO PAY COPYRIGHT FOR SONGS!

Education | 28.12.2010

KINDERGARTENER ORDERED TO PAY COPYRIGHT FOR SONGS!


http://www.dw-world.de/dw/article/0,,14741186,00.html

Großansicht des Bildes mit der Bildunterschrift: Singing is a core component of many kindergarten timetablesPreschools have been sent a reminder that they need to pay for a license if they want to copy sheet music for the children to sing certain songs. This has triggered a copyright discussion in Germany.


German copyright rules require anyone who copies sheet music pay fees to Germany's music licensing agency, GEMA. The organization has begun notifying kindergartens and other preschool facilities that if they reproduce music to be sung or performed, they must pay for a license.


"If a preschool wants to make its own copy of certain music - if the words of a song or the musical score is copied - then they need to buy a license," GEMA spokesperson Peter Hempel told Deutsche Welle.


The rules have been in place for 25 years, but they have only recently drawn attention. GEMA began at the beginning of 2010 to send out reminders to daycare centers stressing that they need to sign contracts before making copies of sheet music for the children to sing from.


Bildunterschrift: Großansicht des Bildes mit der Bildunterschrift: If copies of music are made, the fee needs to be paidGEMA said that the need for licenses would not have any effect on singing in kindergartens.


"It doesn't cost anything to sing in kindergartens," said Peter Hempel. "If a kindergarten or school does not make any copies of music, then of course they don't need to pay anything."


Traditional songs are copyright-free


The copyright rules only concern the rights for modern songs. Songs written by an author who has been dead for over 70 years are automatically in the public domain.


"For old songs, for traditional folk songs for example, it costs nothing," said Hempel.


Fees start at 56 euros ($74) for 500 copies of a song, a rate charged annually, not per child.


GEMA - the German abbreviation stands for the Society for Musical Performing and Mechanical Reproduction Rights - exists to make sure that the intellectual property of musicians is protected. It is the collection agent for another group, VG MusikEdition, which monitors copyright for musicians and distributes the profits from the licensing fees back to its members.


Author: Catherine Bolsover
Editor: Nancy Isenson

WINES THAT ROCK!!!

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Wines That Rock believe in the power of the masses. Just like a rock concert when 20,000 passionate fans get together and share 2 ½ hours of magic, we want to share our thoughts with you and have you help us create an amazing experience that centers on wine, music and all things social – online and offline. Read our blogs, join our Facebook page, follow our Twitter feeds, check out WTR pictures on Flickr, sign-up for WTR newsletter, visit our tasting room at the Mendocino Wine Company and attend our wine-centric events. We encourage you to add your comments, stories about concert experiences, wine experiences, party planning, suggest new music for all of us to enjoy, tell us your perfect playlist when enjoying a great bottle of WTR wine and post your pictures and media to our site. We want to take this journey with you, we want to hear about your passions for wine and music and the stories they helped you create over the years…we promise to share ours. And you never know when we might be giving away free concerts tickets, backstage passes, iTunes downloads, signed memorabilia or just good ol’ t-shirts.







So case in point, if you're looking to stand out from the rest of the guests at an upscale get-together or just want to make a memorable first impression with someone you care about, THIS is an excellent gift and statement about music and who the giver is as a person. This screams, "I Have Character" and will be a mainstay for those that are listeners and players the world over. My vision is that Wines That Rock will be more than a novelty gift or drink fad. Wine is something that people are just plain and simple, PASSIONATE about. And what would be better to have than two passionate artist fields, combined: Wine and Music!

"Country Strong" OFFICIAL MOVIE!!!!

Don't miss this exciting movie (and move - think like a chess-player) for the Country Music Industry! They've taken huge steps to redirect and change their basic feel and sound from "Classic" or "Old Country" like Loretta Lynn and Waylon Jennings to acts like Big N' Rich and Lady Antebellum. 

An Alternative Rock label has been injected into the "Twangy Country" of old and morphed into the artistry we all know and love today. Others I interviewed and chatted with are keen on the marketing ploys being taken. But such is the role of music in worldly matters. The deeply moving legendary tunes will forever be known to true music fanatic.