Where to locate drums in a practice studio.

[abstamaria]

I asked where to situate a drum kit in a rectangular practice studio in a new thread in the "general" section. I should perhaps have posted here and asked you, the drummers. If you have time, could you please check the thread out in that section and let me know what our thoughts are? Where we have him, our drummer says he can't hear the guitars. Many thanks. Andy

[shadowman]

We have a room that we practice and also record in. It is sound proofed and has carpet on the floor. All the instruments are around the outside walls so they all face in. I play drums and I have not problem at all.

[abstamaria]

Thanks, Shadowman. I'll angle the guitar amps toward the drummer and see how that goes. Regards, Andy

[JoeyM]

Andy,
My basement studio in New York has the drums in a corner, the left side has the guitar amps by the wall and the vocal mikes are a few feet forward. on the left side wall near the drums is the bass amp. opposite corner from the drums are the PA speakers side by side pointed diagonally to the center of the room. no feedback, everyone can see each other.
my ceiling is also not high.
I see that you are also into Ventures music. My favorite is Bob Bogle with his Jazzmaster sound (pickups in parallel) thru a Fender showman piggy back amp and a reverb unit. I have a 65 Jazzmaster with the flatwond strings (wound g string) but i hardly use it as I am more used to the regular strings with 10 gauge. I recently put reissue Jazzmaster pickups in a cheap Jagmaster guitar with the shorter neckscale, its got the Bogle sound and easier to play. My friend Milton Soong from San Francisco is a Ventures/surf music fanatic and he has books and info on most venrtures songs and who played lead and other info. He also has Japanese freinds (Ventures fanatics). I can hook you up with him.
For Shadows, the Strat would be my guitar of choice (modified so I have a blend control knob engaging the neck and bridge pickups together, kinda gets close to the Jazzmaster tone when I want it). I also see that Malcolm has a few copies of Roberto's book. Its got a lot of info on the Shadows specially their recording sessions at Abbey road studio2. I miss Roberto. His last gadget before he died was the Arieb box that killed the bass frequencies to emmulate Abbey road studio e.q. I asked him to make me one that I can install inside my strat but it was too late. It was so funny when he interviewed Malcolm Addey (Abbey Road recording engineer in the 60s) here in New York to confirm if Hank really used the Gretch Country gentleman during the recording session of Apache and Sleepwalk. Malcolm's reply floored him. Malcolm said "why ask me that question? It was 40 years ago and I am now 70 years old..I dont remember!
I just turned 64 and I dont remember what I did yesterday. Email me at bristolex@verizon.net Joey Martinez

[abstamaria]

Thanks, Joey. I will keep working on my practice studio.

Who do you play with, and how often? I assume you have Vox and echo machines for when you play the Shadows. I wish I could get a piggyback Showman. I use a tweed reissue Twin Amp and a Twin Reverb.

We are the same. My favorite is Bob Bogle too. While there is a great deal of information on the Shadows here, there seems very little about the Ventures - who played what pieces, what gauge strings were used, and so forth. So, yes, I will email you and would appreciate your putting me in touch with Milton.

I will be 63 this year so am not far behind you.

Regards,

Andy

[JimTidmarsh]

I have always worked on the principal that rehearsals should be 'concerts in practice' - ie the format you play in at rehearsals should reflect the positions you have on stage when performing.

[JoeyM]

Andy,
Its a small world! I saw the picture you posted of your hard-of-hearing drummer, Arman together with Jun and Oscar, musicians from the 60s. I played Shadows with these guys at Bu Warns' basement studio early last year when I visited Manila. Last jam there was with Norman San Agustin and Electromaniacs and Lenny who I think plays with you. The studio has not been used since and the equipment is being maintained by James, a sound engineer who may be able to help you out with your studio configuration. It would be great if you can play there with your gang and meet my friend Ricky Torres who is still in Manila and the only person who has access to the place. Ricky and Bu shipped our band equipment to manila a few years back so we can have private sessions with our friends there instead of going to RJ Bistro to hear our favorite instrumental music. Bring your AC30 and delay unit as the the closest thing to a Vox there is my Crate Classic 30. email me so I can give you his number. Ricky and I have been looking for hobby players who have a passion for the early electric guitar instrumental music we love. I found another one....
best regards, JOEY

[Iain Purdon]

I'm quite keen on the "everyone face inwards and look at each other" kind of rehearsal. It's very good for picking up on all sorts of little things that only the audience otherwise sees. It's also good for making sure the band is keeping time well, tightening up stops'n' starts and identifying the source of the odd bum note/chord!

[abstamaria]

Hello, Joey,

Small world, indeed. Quite a coincidence you played with Oscar, Jun, and Arman last year. They are authentic early-60s musicians, and have been playing continuosly all these years. Arman's hearing isn't too bad, unlike our previous two drummers, one of whom (Lito) was diagnosed with tinnitus. I'll try out the suggestions made here and hope that works for Arman. I will get in touch with your friend Ricky Torres, when you email me his number.

I would like to meet your other friend Milton Soong, too; there is no equivalent to ShadowMusic in the Ventures world, and sometimes I have questions.

I am trrying to get Roberto's book. I had read excerpts; he must have been quite an interesting guy.

I sent you an email and look forward to hearing from you.

Regards,

Andy

[abstamaria]

I'm quite keen on the "everyone face inwards and look at each other" kind of rehearsal. It's very good for picking up on all sorts of little things that only the audience otherwise sees. It's also good for making sure the band is keeping time well, tightening up stops'n' starts and identifying the source of the odd bum note/chord!

Yes, I like that type of rehearsal, too, Iain, and get a great deal of personal satisfaction from them. After we've done that and if we are rehearsing for a show (not often), we do tend to orient ourselves the way we would play on stage. That means the lead guitarist will be on stage left! Regards, Andy