I travel a lot for teaching, gigs and studio work, and over the years I’ve tuned my practice routine to be as portable and productive as possible. Building a compact setup that focuses on timing, tone and creativity isn’t about owning the biggest kit — it’s about choosing tools that let you...
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Lessons
I remember the first time a student asked me, "How do I get hands and feet to...
Technique
When I'm combining electronic drums with live kit recordings I want them to...
Grooves
When I sit down to build a modern pop groove I’m thinking about two things...
Gear Reviews
I’ve spent a long time chasing a bigger, fuller hi-hat sound without emptying...
When I sit down to build a modern pop groove I’m thinking about two things above all: the pocket that makes people nod their heads, and the small rhythmic details that give the groove personality. Combining subtle ghost notes on the snare with a...
I’ve spent a long time chasing a bigger, fuller hi-hat sound without emptying my bank account or swapping entire kits. Over the years I’ve learned that small, inexpensive tweaks — some bought, some DIY — can turn a thin, tinny hi-hat into...
I’ve been playing hybrid kits on gigs for years, and I’ll be honest: the first few times felt like juggling two instruments and half a PA stack at once. Over time I developed a setup and a checklist that gets me from car to stage, soundcheck to...
Snare drums are stubborn little attention-seekers. They can sit perfectly in a solo take and then disappear when everything else turns up in the mix. Over the years I’ve developed a simple, repeatable chain that helps snares cut through dense...
I used to think picking drumsticks was all about length and weight — longer sticks for reach, heavier sticks for louder playing. Over the years, both in lessons and studio sessions, I've found a different truth: the shape of the tip often changes...
I love a snare that sounds wide, warm and roomy without getting washed out — that fat, three-dimensional tone that sits nicely in the mix and still cuts through when it needs to. Over the years I've had to find ways to capture that vibe when I'm...
Hiring an engineer for a drum tracking session can make or break your drum sound. Over the years I’ve tracked in everything from home studios to high-end rooms, and one thing is constant: clear expectations and the right questions up front save...
When I’m asked how to capture a tight, intimate jazz kit using only one overhead and one snare mic, my immediate reaction is: you can get a remarkably musical result if you focus on placement, mic choice, and how the kit is prepared. This is a...
I’ve tracked a lot of kits in my time, and the Gretsch Broadkaster sits in a sweet spot: warm, full-bodied, and musical. But when I bring a Broadkaster into a rock session I don’t want it to sound “vintage museum” — I want punch, attack,...
Recording brushes on an acoustic kit is one of those sessions that rewards patience and subtlety. Brushes capture a wide range of textures — from whispery swirls on the snare to woody, warm swept snare tones and gentle cymbal shimmer — but they...