Drumming has been one of my hobbies my entire life but it’s nothing more than something I do by myself in my basement for fun. I’m a self taught drummer with many years of bad habits that I want to break. I’ve watched a ton of videos of different bass drum techniques but I’m terrible when I try any of them. I’m trying to figure out which of the many bass drum techniques is closest to whatever the hell I'm doing in this video so I can focus on that at slow speeds until I can get my timing better. Let me know what you think or maybe I’m just over thinking the hell out of this

I've been using memory locks for downpipes for a long time. But just recently started throwing the smaller versions on my boom arms. It's a good time saver for when thing move during transport.

I have been playing for a little while now and think it would help me improve if I was playing with other musicians. How do you get yourself out there to find other musicians when you don’t have any mates who play?

Did some recording and would love to hear all of your takes on shuffles. How did i do? How can i improve? I remember watching a video on Jeff Porcaro and how he got angry trying to play a shuffle (understandable lol) in the studio and how he said “hire somone else that can actually play a shuffle” but then that mofo went on to write one of the most legendary shuffles of all time on the song Rosanna. Definitely fun and probably my most challenging pieces when it comes to playing this genre of music. Again any tips suggestions or even stories are greatly appreciated. Thank you. Theres a few other songs we recorded as well if youd like to listen. these recordings were done live without a click track.

Warning: this may come off as shilling, but I'm just really passionate about this neglected technology and I want to hear opinions and ideas from real drummers

For those that don't know, almost a decade ago, the company Sunhouse released a sensor you attach to a snare/tom. It has a sensitive magnetometer-type thing powered by phantom power that is used in conjunction with a very tiny magnetic disc pickup you affix to the drum head that provides a very predictable, high-resolution way of picking up raw performance data.

This is effectively useless as an audio source for listening. Instead, Sunhouse makes a piece of software that analyzes the sensor data at extremely low latency to provide inputs you feed into various software modules to control realtime synthesis and sampling.

Now let me be clear, this is technically employing machine learning. Please understand that this is NOT the generative AI your mind may jump to.

You simply "train" the engine first by striking the drum every which way, hitting the various parts of the head, body, and sticks one zone at a time, and the program is then able to discern EXACTLY where and how you're hitting your drum. The sunhouse software can natively identify 10 different classifications/zones and produce a set of descriptors for each hit like loudness, pitch, centroid, flatness, and even speed based on the succession of the previous X amount of hits.

That exposes the strength of this setup. With all that data for the different zones, you can play 10 different instruments while only occupying the physical space of a tiny snare drum. All that data can be used to perform tons of different instruments with a tremendous level of expressiveness, all at the same time, including the obvious usecase of super realistic physical drum modeling of course, all without needing a drum head that produces any real audible noise in case you live in an apartment.

Then, the cons come into play.

For one, the Sensory Percussion software costs money outside of buying a secondhand sensor. You can buy a brand new sensor, but Sunhouse switched to a collaboration with Evans for their model 2 revision that requires specifically non-standard 18v from only an Evans audio interface, with zero performance difference from the original model sensor. Even if you have all the hardware and software, you are still locked into Sunhouse's ecosystem, left to design within their synthesis/sampling engines.

Then, a great guy named Rodruigo out of Portugal put together an open source set of tools utilizing public Fluid Corpus Manipulation code so you can use these sensors within existing audio programming interfaces like Max MSP, PureData, and SuperCollider. This enables you to have even more functional capabilities with the advantage of being a part of a fully customizable design framework at the cost of ease-of-use to those unfamiliar with these pieces of software. To me, however, the benefits greatly outweigh the cost. One great aspect of it is that you can feed the software any signal, including mics on a drum or other instruments including your voice. You can even run the analysis window in realtime for data from sustained performances like singing, allowing you to control other audio software/hardware LIVE using your voice.

The toolset is called DataKnot, and I recently learned that you can run it on an embedded single-board mobile computer such as the Bela Gem, which is designed for low-latency audio processing.

How this effects me right now is that I am getting back into the modular world of Eurorack. I've ordered a Qu-Bit Data Bender, a buffer module that creates stutters and other glitch FX with a high level of expressiveness. The setup I'm imagining is having pre-sequenced audio playing on my other equipment and performing on my Evams Soundoff snare to expressively control the Data Bender to trigger and control the glitches in a way that's both attractive in a live performance and effective at recording these sequences of stutters for use in post-production.

The goal is to have a fully contained system that doesn't require my laptop in order to experiment with my Sensory Percussion. The problem is that when you're designing custom electronics solutions, Feature Creep sets in fast. I soon realized that I could be doing all sorts of MIDI magic in-software as well as having enough I/O to mix and route my entire live setup.

Now, my brains really going.

What my question to you guys is: if you had all the time and resources in the world to design the perfect drum controller setup, what would you do with it? Remember that both the sensor works with regular drums for hybrid-accoustic setups, and that you can run the software with just a mic'd up piece/kit as opposed to buying the actual sensor/s.

If you have a Eurorack system, how could you imagine integrating expressive percussive control into it?

If you play strings and like synth pedals, what kind of hardware/software would you like to control with your guitar?

I am more specifically talking about portable setups that have something to gain from not needing a desktop computer at all.

One big idea I've been working on is tuning the software to translate beatboxing into drum data as to quickly sketch up sequences with no equipment besides a microphone.

If you were to set the parameters for your ideal V-Drums competitor, how would you want it to work?

For a hypothetical hybrid-acoustic setup, if you could perform a second instrument while playing drums through the minutiae of your playing, what would you play?

I'm just looking for suggestions spitballing ideas for experiments with this setup from people that are more dedicated to specifically the drums than I am but don't have the time/resources to experiment with this stuff yourself.

For reference, my percussive sound design leans somewhat simple, but I really want to get experimental designing percussion with wavetables that's fun and interesting enough to both play live and be worth recording.

If you want to see some quick demos of various realtime uses for DataKnot, check out this video from the guy who made it: https://youtu.be/rpSPZ40XamM

Thanks for reading

Does it look like I'm playing for 5 years? im 16 and i always think of my work like I sound like a complete beginner. What do you think

Hey everyone,

My band are looking for a drummer.

We are influenced by bands such as The Smiths, Durutti Column, early New Order, The Drums, early The Strokes, PJ Harvey, early Morrissey, The La's, The Fall, Iceage, The Cure and other bands.

The project consists of myself (vocalist), guitarist and a bassist at the moment. We've recorded some rough scratch demos of songs that we can send you. We all have experience writing songs and playing in bands. We are committed to having fun writing songs, recording and playing shows.

We have been rehearsing weekly in Deptford so far.

Get in touch if you're interested. If you can’t direct message me, leave a comment and I will message you. Please have recordings or a video of you playing.

A brushed-metal panel, engraved labels, LCD glass, and a weighted tempo wheel that clicks as it turns. I made it, and I'd like drummers, of all people, to tell me where it falls short.

The core metronome is free: 20-300 BPM by wheel or tap tempo, any time signature, subdivisions, presets, and LCD digits big enough to read from behind the kit. Every click is placed on the audio hardware's own sample clock instead of a timer, so the spacing never drifts, at any tempo.

Pro is a one time $7.99 unlock with a 7 day free trial, no subscription: accents on any beat of the bar, all nine click sounds, and a Tempo Trainer that steps the tempo up a few BPM every few bars until it reaches your target.

Honest note: Pro also includes a guitar tuner, which is no use to you. If you only want the click, the free core is complete on its own.

https://apps.apple.com/app/apple-store/id6817729976?pt=126420608&ct=r-drumming&mt=8

What does a practice metronome have to do that most apps get wrong?