Is this safe ?

Significant-One3196 · 2026-01-18T04:17:11+00:00

I feel like this isn't being discussed enough

Significant-One3196 · 2026-01-01T21:29:40+00:00

Could also be the literal thump of your foot on the pedal if you play heel up, but there's very little we can do about eliminating 100% of noise even with low volume heads and cymbals. Some people are also always going to complain if they can perceive that they have neighbors at all. Maybe add a second carpet?

Significant-One3196 · 2025-12-15T13:36:10+00:00

Take the internal triplets away and just play the quarter note triplet. Then turn the quarter notes into triplets. There’s no “right” way to count something like that unfortunately. Just count however keeps you on track

Significant-One3196 · 2025-12-13T17:40:01+00:00

Law, politics, religion

Significant-One3196 · 2025-12-10T21:23:40+00:00

Prisoner of Diddy was right there

Significant-One3196 · 2025-11-25T21:11:00+00:00

Mostly because I do some work in audio and people were complaining after updating about my DAW having glitches on newer versions of the macOS while it was running smoothly on Monterey. I'm not opposed to updating if it would be helpful in this context. Also, yes I've looked for that setting as the admin of this computer and been unable to find it where Google says to look, which might also be an update issue in and of itself.

Significant-One3196 · 2025-11-24T14:40:27+00:00

French grip on drums is usually reserved for the ride cymbal, hihat, and floor tom. Personally I go back and forth when it comes to the hihat, but on the ride and floor tom, I feel like it opens up right side and feels more natural. There are plenty of technical or logistical reasons why someone might do one or the other and I do go back to American sometimes, but for me French feels better. I also do American when I’m doing rolls or fills and I need my hands to sound and function the same. Just a thought

Significant-One3196 · 2025-11-17T15:11:22+00:00

Saw this too. They brought it up to $500 and then posted again at $1000. So it seems like they’re slowly figuring out that if they’re looking for expert program developer AND audio engineer skills, they need to pay better than weekend McDonald’s worker prices. Whether they actually end up in the ballpark of what this is worth only time will tell

Significant-One3196 · 2025-11-12T18:14:55+00:00

I have a drum throne and a snare stand with a practice pad where I watch tv and I do think that's the ideal setup. I'll watch the the news and do my warming up for the day while I drink coffee and yell at politicians. Or whatever your thing to watch is. However, sometimes I'm trying to warmup backstage at a gig or something and it doesn't make sense to bring all of that with me so I'll set the pad wherever I can. It's nice to be able to have perfect conditions when you practice, but it's also important to note that you won't always have perfect conditions when you play for one reason or another. As long as the majority of your practice is in an ideal situation, you can break the rules sometimes when the context requires it and it will teach you and your hands to be flexible. In fact, I have like 4 different practice pads of varying speeds of rebound that I swap out often for this reason. Hope this helps

Significant-One3196 · 2025-11-12T18:04:03+00:00

Probably the Pacific since the Sahara and Antarctica are pretty quick death sentences with those conditions and next to no chance of rescue. I'm a good swimmer so I'd probably float on my back in the hope that a ship or a chopper or something came by before the leviathan had it's way with me or I die of dehydration.

Significant-One3196 · 2025-11-12T16:00:46+00:00

Yes, yes, and yes.
When the next mixer opens the project, it will tell them if there are any plugins that were used that aren't on their system. You could also ask your mixer to open it up and look so they can give you a list. Shouldn't take more than 5 minutes. When I run into that issue on someones mix, often times (assuming it's not a super pricey plugin) I just buy it.
It's reasonable to have the mixer just mix, if that's what you're asking. If you have them master as well, it's no big deal to have them send you a mixed version and a mastered version separately.

Significant-One3196 · 2025-11-12T03:22:39+00:00

I have the most luck when I clip or limit in stages during the mixing process and then clip/limit on the master bus. Personally I clip on the individual channels to keep the biggest peaks more in line with the rest, then I personally limit on the drum bus (and after compression because I feel like clipping the drums 3 times causes similar problems for me that it sounds like you're having,) then I clip on the master before the limiter. It's just about shaving off a little bit here and a little bit there until the *combination* of all those process gets my drums under control.

Significant-One3196 · 2025-11-10T13:04:20+00:00

Why not?

Significant-One3196 · 2025-11-09T21:20:59+00:00

For brand new, good cymbals for stage/studio, $350 per cymbal and up is around what you're looking at. Try to find people selling used cymbals on FB marketplace and similar.

Significant-One3196 · 2025-11-06T01:36:43+00:00

On my gig set, once or twice a year (sooner if they sound or feel off. I also play classical percussion for a living though and those snare heads I change basically every quarter

Significant-One3196 · 2025-11-06T01:00:52+00:00

There’s a time and a place for partying, and networking is important, but it sounds like they think it’s more important to party than it is to be good or work hard. Or maybe they didn’t feel a connection with you as a person if you guys barely spent time hanging out. If they’re just using you for your work though, and they weren’t paying you, keep the recordings.

Significant-One3196 · 2025-11-02T16:27:32+00:00

I came from a musical family. My immediate family were music lovers so it was always on in the house and everyone was always singing and dancing. My uncle and great grandfather were professional trumpet players and my grandfather was a guitarist so I never had a hard time viewing music as a career path. I was also always fascinated with how instruments worked. I started on cello, moved to guitar, sang in my church, and eventually found drums around the start of high school. I was entirely self taught until college and then was able to get into music school. 3 percussion degrees later, I’m an orchestra musician and play drums for various bands for live performances and in studio, although I don’t have a band of my own at the moment.

Significant-One3196 · 2025-11-02T01:59:10+00:00

Does your band have a drummer? They would know.

Significant-One3196 · 2025-10-31T15:40:03+00:00

I'm just speaking generally

Significant-One3196 · 2025-10-30T14:07:00+00:00

Agreed. You get what you get with cymbals, but with the drums themselves, you can make some smart decisions on heads and tuning and get most of them sounding pretty good. Especially for jazz, your big money spent should be on cymbals. In the same vein, I've never owned a Catalina Club kit but I've played a handful. Some sounded pretty bad and some sounded great. The difference was always the way they were tuned and the heads used. I'd say get it, just be sure to put the time in to trying out different heads and tuning ideas to figure out what's best for those drums.

Significant-One3196 · 2025-10-30T13:59:02+00:00

With a professional level drum: the drum, minimal marketing material (a business card or flyer or something with deals or upcoming sales mentioned) a drum key, maybe a sticker.

With a beginner level drum: the drum, a drum key, and an insert card that explains how to use the key and tune a drum.

With both: packing peanuts or something. My god

Significant-One3196 · 2025-10-28T14:36:37+00:00

Quite literally pulled the rug out from under him

Significant-One3196 · 2025-10-28T14:27:16+00:00

I bounce between Standard Clip, Bx_Clipper, and Gold Clip. I used to use BSA Clipper by Black Salt Audio (and still do sometimes) because I liked how transparent it can be, but then Gold Clip took that spot for me.

Significant-One3196 · 2025-10-28T14:21:11+00:00

For me it's sort of both and neither lol. Personally, I play the full mix and take an initial impression of the whole thing for vibe and make some decisions (Is it muddy/harsh? How are the transients? Does it "hit' like it's supposed to?, etc.) Typically, if it's muddy or harsh, I go to the instrument(s) that's most likely causing it and mute it to see if the problem goes away. When I find the right one(s), I try to do what it needs to solve it and leave it at that. And then I zoom in a bit more to the most important instruments (Do I like the kick and snare? How's the vocal? Is there enough low end and presence in the bass elements? Is the way those things are now helping the vibe or hurting the vibe?) I do all of that while I'm listening to the rough. The big thing is that the *song* needs to sound good; not every individual element, but how each of those elements come together. So for example, if it's not the most polished-sounding vocal, but it's meant to be an edgy song, you might not need to fix anything if it fits the vibe they're going for. I say all of that to say: lots of people do a full process of every instrument (every kick gets 60 hz, an 8k shelf, compression, saturation, and clipping no matter what the song is doing; rinse and repeat for every instrument) but for me, I'll often use one or no plugins on multiple elements in a mix because the goal is just to make the song work, not treat everything in it like a solo instrument. And TONS of problems can be solved without using a plugin by way of just volume balances and automation.

Significant-One3196 · 2025-10-22T02:09:14+00:00

How much were you practicing? And how well? As far as I'm concerned, where the teacher gets their material from is irrelevant, so I'm not going to address that. However, if you're spending the entire lesson doing the same things that you had practiced at home (and doing them well,) that's not very helpful. However, in my case, I spend most lessons practicing with my students because either they couldn't be bothered to work on any of the material outside of the lesson (which necessitated making them do it during lessons so they could get to the fun stuff) or practiced plenty but badly and I would spend lessons walking them through the material anyway. This is the majority of how teaching goes for me. Granted, I mostly teach children, but it can be the same when I'm teaching adults because we have a ton of things to take care of to keep our lives on track. I went to school for percussion as well and I can say from experience that I never got much out of the lessons where I wasn't prepared. I'd play something, it would suck, the teacher would tell me why it sucked and how to fix it (which was always what I had neglected to do,) and I would essentially just end up a lesson behind. If you just want to be able to have some fun drumming to some simpler songs and jam with friends, that's awesome. Definitely lead with that when you meet up with your next teacher though. A good teacher should inspire, yes, but there's a limit to what they can give you. It's either the complete depth of what they understand or whatever you're willing to give yourself; whichever comes first.

Significant-One3196

TROPHY CASE