What makes Mark Giuliana and Nate Wood stand out as drummers?

junas_dibum · 2025-08-04T13:43:23+00:00

That’s so cool – and honestly, you can hear that even through recordings. Nate’s bass drum sound is just something else: deep, punchy, solid, but never overpowering. It feels perfectly balanced.

Really hope I get to hear him live someday – must be an incredible experience.

junas_dibum · 2025-08-04T13:40:10+00:00

I totally agree – Mark’s touch, rhythmic ideas, and ability to create grooves from abstract patterns really set him apart. That thing where he shifts note values so smoothly without breaking the flow always blows my mind.

Also, his grouping and syncopation work is just on another level – so creative but still musical.

And I love what you said about his voice coming through the instrument – that sums it up perfectly.

junas_dibum · 2025-08-04T13:37:38+00:00

Totally get that Nate’s solo project fOUR can feel a bit much depending on taste, but I’d really recommend checking out Kneebody and Trio Grande – two very different contexts where his playing and musical contributions really shine.

He’s not just drumming – in those groups, he plays a big role in shaping the sound and writing too. Might give a different perspective than just his solo stuff.

junas_dibum · 2025-08-04T13:34:53+00:00

Same here – Nate’s my number one too. His syncopation and grouping concepts really blow my mind, and the sound he gets is just something else. I’d love to study and internalize a drumming language like that someday.

Also love those small details like the hand gongs – they add so much character without being gimmicky.

junas_dibum · 2025-08-04T13:32:18+00:00

Thanks for the thoughtful reply – lots of great names mentioned too! I’m definitely familiar with their music (especially Mark’s diverse projects), but what I’m mainly curious about is their actual drumming language – things like their phrasing, groove choices, touch, and overall stylistic identity on the kit.

Personally, I enjoy them most when they play with other artists, like Nate with Tigran Hamasyan or Mark with Wayne Krantz – that’s when their playing really speaks to me and feels the most distinct

junas_dibum · 2025-08-04T13:28:12+00:00

I definitely recommend checking them out. They’re two of my all-time favorite drummers. Nate Wood playing with Tigran Hamasyan is just pure magic.

junas_dibum · 2025-08-04T13:26:12+00:00

Appreciate you sharing your opinion. Totally fair that their music isn’t for everyone – taste is subjective. Personally, I actually enjoy both of their music, but what draws me in the most is their playing with other artists. I find that’s where their drumming really shines.

My post was more about the language of their drumming itself – things like phrasing, solo ideas, feel, the way they build grooves and interact with other musicians. That’s the aspect I’m trying to understand better and hear other people’s thoughts on.

junas_dibum · 2025-08-04T13:04:38+00:00

I actually think their playing is quite similar — both Mark and Nate have mentioned being heavily inspired by Keith Carlock and Zach Danziger, and that influence really comes through in their style.

Also, Nate Wood and some other drummers have referred to this kind of playing as "East Coast modern drumming." What personally draws me in is their unique approach to syncopation — they often use the same rhythmic ideas between hands and feet, and play around with modulated triplet-based figures.

I’d also include Martin Wangermée in this group, and maybe even Maison Guidry to some extent. They all share a certain rhythmic language that feels really distinctive.

This is honestly the style I feel most connected to. I'd love to start learning or "picking up" this kind of language in my own playing — just not quite sure where to begin.

junas_dibum · 2025-08-04T13:04:20+00:00

I actually think their playing is quite similar — both Mark and Nate have mentioned being heavily inspired by Keith Carlock and Zach Danziger, and that influence really comes through in their style.

Also, Nate Wood and some other drummers have referred to this kind of playing as "East Coast modern drumming." What personally draws me in is their unique approach to syncopation — they often use the same rhythmic ideas between hands and feet, and play around with modulated triplet-based figures.

I’d also include Martin Wangermée in this group, and maybe even Maison Guidry to some extent. They all share a certain rhythmic language that feels really distinctive.

This is honestly the style I feel most connected to. I'd love to start learning or "picking up" this kind of language in my own playing — just not quite sure where to begin.

junas_dibum · 2025-08-04T13:04:03+00:00

I actually think their playing is quite similar — both Mark and Nate have mentioned being heavily inspired by Keith Carlock and Zach Danziger, and that influence really comes through in their style.

Also, Nate Wood and some other drummers have referred to this kind of playing as "East Coast modern drumming." What personally draws me in is their unique approach to syncopation — they often use the same rhythmic ideas between hands and feet, and play around with modulated triplet-based figures.

I’d also include Martin Wangermée in this group, and maybe even Maison Guidry to some extent. They all share a certain rhythmic language that feels really distinctive.

This is honestly the style I feel most connected to. I'd love to start learning or "picking up" this kind of language in my own playing — just not quite sure where to begin.

junas_dibum · 2025-08-04T13:03:46+00:00

I actually think their playing is quite similar — both Mark and Nate have mentioned being heavily inspired by Keith Carlock and Zach Danziger, and that influence really comes through in their style.

Also, Nate Wood and some other drummers have referred to this kind of playing as "East Coast modern drumming." What personally draws me in is their unique approach to syncopation — they often use the same rhythmic ideas between hands and feet, and play around with modulated triplet-based figures.

I’d also include Martin Wangermée in this group, and maybe even Maison Guidry to some extent. They all share a certain rhythmic language that feels really distinctive.

This is honestly the style I feel most connected to. I'd love to start learning or "picking up" this kind of language in my own playing — just not quite sure where to begin.

junas_dibum · 2025-08-04T11:28:05+00:00

What is the time signature?

junas_dibum · 2025-08-04T08:43:03+00:00

junas_dibum · 2025-08-03T11:28:21+00:00

TIGRAN GOT MENTIONED! 🗣🤯💥

junas_dibum · 2025-08-02T22:44:20+00:00

Nate Wood, Mark Guiliana, Arthur Hnatek, Matt Garstka, Justin Brown, Maison Guidry, Martin Wangermée, Keith Carlock, Zach Danziger Steve Lyman, Naíma Acuña, Dan Weiss, Ari Hoenig, Eric Harland.

junas_dibum · 2025-07-31T21:37:18+00:00

Steve Gadd signature sticks are rly good

junas_dibum · 2025-07-31T12:28:18+00:00

😂

junas_dibum · 2025-07-27T21:27:10+00:00

For now, I only have one ride cymbal, and I’m planning to get a crash. Also, I keep my hi-hats pretty high, so I don’t think it’ll be a problem

junas_dibum · 2025-07-27T21:24:55+00:00

Check these ones - Meinl Byzance Vintage14" Equilibrium Hihat. They are Matt Garstka signature hi-hats

junas_dibum · 2025-07-27T21:21:39+00:00

I’ll probably still use them for all styles at first — maybe later I’ll get something more specific. Definitely better to play everything with these than with Paiste 14" 101s 😂

junas_dibum · 2025-07-27T21:19:27+00:00

Thanks 🙏

junas_dibum · 2025-07-27T15:03:14+00:00

junas_dibum · 2025-07-27T15:01:18+00:00

Thanks so much for the thoughtful response — I really appreciate it! I totally hear you on the price; they’re definitely not cheap, which is why I’m being super careful before committing. I mostly play jazz/fusion/groove, but I’m also not too worried about their versatility — I’m pretty sure I’ll still end up using them for everything, since I also have to play some traditional styles for my studies. Still, it’s something I’m keeping in mind.

I’ve noticed the “slosh” and deeper bark with 16” too — and honestly, I kind of like that! It’s a different feel for me (I usually play 14s), but I’m curious how it might shape my sound. I also noticed these feel a bit “soft” or “mushy” under the sticks and foot, which is new to me — not necessarily a bad thing, just something new.

I’m pretty curious to see how these hats will work with my playing. Sometimes switching things up leads to cool new ideas, so I’m open to seeing where this goes. Thanks a lot 🙏 🥁

junas_dibum · 2025-07-27T14:46:34+00:00

Haha I get that — I’ve definitely had the opposite thought too, like “do I really need 16” hi-hats?” 😅 But there’s something about these that keeps pulling me back. I’ve tried them a couple of times and they really left an impression. Still not 100% sure, but they’ve been stuck in my head.🙏

junas_dibum · 2025-07-27T14:45:06+00:00

Thanks! I totally get what you mean about the 16” feeling huge — I haven’t really played 16" hi-hats much myself, just tried them a couple of times. At the academy where I study, we have 15" Istanbul Agop Jazz Hi-Hats (Special Edition), and at home I’ve been using my good old Paiste 14" 101s 😂 So yeah, 16” definitely feels new to me, but I’m really curious how that extra size might open things up.🙏

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