We all face struggles in our daily lives and in the the pursuit of our goals/dreams/careers. Both as a human being and in our given professional lives as well. For me, this culminates in what I am; a full time drummer. Several years ago, after moonlighting as a part time professional drummer for many years, I took the plunge and took on my dreams full time. It’s been said that most people don’t live out their dreams because they are unwilling to sacrifice enough to achieve them. There have been many things I have had to sacrifice to make it work as well. I gave up living on my own to reduce my financial overhead, among many other reasons. It is a logical step, as the key to building any business is to minimize your overhead to maximize your income after the bills are paid, especially since income will be very small at first. As a very private person that highly values their personal space and freedom to live on one’s own terms, this constantly takes a toll on me, but is something I chose to surrender for the end goal. Others often look down on you as well, like you are being lazy or not responsible enough to live on your own. I will not let pride keep me from living out my dreams, and I choose to take that hit up front and let people think what they will, for the prize I am after later, but don’t think it doesn’t sting.

I also surrendered something most people are completely unwilling to give up. Romantic relationships. No, I am not some new age monk or something like that. Just not getting tangled up in serious relationships where I will be gone all of the time and leaving people feeling neglected or unimportant. There are some silver linings here however that make this much more bearable for me. For one, I was wired to be a lone wolf kind of guy. I am fiercely independent, and as stated above, I value my space and freedom. I am a bit of a free spirit and a rebel, though not without reason or logic. I do not like being overtly controlled or manipulated away from my goals. I view this as a willful attack on me and my future, which makes manipulators an enemy, attempting to sabotage what I am working so hard and giving up so much for. I have seen relationships get in the way of dreams so often that this is most certainly a necessary step. I will revisit serious relationships after I have secured my future…maybe.

The sacrifices alone are not the issue. The struggles are just as daunting. As a drummer in this day and age, it is very difficult to just play drums in one band and make good money. Even before Covid-19 decimated the entertainment world, just playing an instrument in one band would not get you enough to build a future with, at least for those not in a multi-platinum selling national band selling our arenas every week. Here in the real world, you have to work to earn (even lazy jobless musicians). Most bands, even busy ones, don’t play enough to keep their musicians afloat without a job or side job. Even the regional and limited national touring acts. Doubly so if you are a “hired gun.” So I have done what I can to offer as much as I can. Not only do I play drums, but I am a decent backup singer (thanks to Seal, Sting, the radio, and lots of time practicing in the shower and car), a decent soundman (live, learning all the time on the recording end), a writer/contributor, and an amateur Video and Photo guy (videographers and photographers are pros, and that is not me). The more one can offer, the more valuable one becomes, and to that end, I am always working to become more valuable.

So the next logical step is to add more bands, and I have. I am the drummer (ie; permanent drummer, as in, member of the band) for Diamonds & Whiskey (country/rock), Thirsty Horses (cover/rock/pop), and Rosewave (rock/alternative/metal). I am also the primary drummer for the Lake City Church (Mooresville, NC) worship team. Outside of those bands, I am also an independent drummer (or “hired gun” if you will) for live shows, fill-ins, recording sessions, and one time events. I also offer sound services for live shows. Before Covid-19, this was working well and I was on my way to earning a solid living. So much so, that at one point, my music income dwarfed what I made monthly as a Produce Manager by about $600, consistently, and for less hours invested. It was a milestone, and it took a few years to build to that, but still a ways to go to get to my goals.

So, how do you deal with so many bands? Very carefully, and honestly, it is one of the biggest struggles. For one, you have to become your own manager/secretary/liaison, day in and day out, and you cannot become lazy in those roles, ever. The moment you let anything lapse, by accident or otherwise, it becomes a massive train wreck. Then, you have to actively ensure that each band is also constantly aware and up to date not only with their own schedules, but yours as well, and constant reminders about your schedule so they don’t book over you and then say its your fault. This is where tensions from all bands arise, because to each band, they are the most important thing in the world, and to you, they ALL are the most important thing in the world, both individually and collectively at the same time. I sacrifice a lot in this area to keep everyone happy and productive. I can’t tell you how many plans I have broken, the sleep I have lost, or the heated conversations I have had to endure over this. The worst are the last minute changes from venues or organizations, and then the fallout from those changes. And if you can’t work it out, YOU are the enemy and YOU will pay the price. It never matters who’s fault it is, you will pay in the end. And I do. But I love my bands, and I will do all that I can to honor my commitments, at almost any cost. I have always believed that your actions show who you are, and I live by that code.

With all of that said, there are many struggles and issues I have to face. I won’t lie and say that it is easy, or even fun all of the time. It’s the hardest thing I have ever done, and it only gets more challenging as things go on. As Diamonds & Whiskey has grown, even more challenges and obstacles arise. I am working on changing my eating habits and slimming down to fit the confines of today’s industry standards of image and management directives. And the pushes to look this way, play that way, and be anyone but who you are, because only anyone else could be the key to success, not you. Pete Loeffler (Vocalist, guitarist, writer – Chevelle) pretty much laid out what I am feeling these days as D&W makes it’s climb into the national level.

“In the beginning it seems that no one thinks beyond having fun
Which is why you write music in the first place
Always moving, refining, and pushing forward the art that one’s creating
Looking to the right time to share it
And then the headaches of criticism
Senior advisors, unseen people from above
Twisting, distorting that which we love
And never-ending problems with money
Holding you back, preventing progress
I thought you only started ’cause it was fun“

Chevelle – Wonder What’s Next

Fun. I remember it being fun, and it still is. For a while, I was questioning myself, like so many of us do on our journey. I suffer no immunity. Am I really a good enough drummer to play at that level? Do I deserve to be there? Would my band rather have some other drummer? Would they be better served if it were someone else? Does my playing even work for the music? And on and on and on. It’s easy to get lost in that trap. I give the same advise out to friends and acquaintances so often. So here I am, trying to avoid that same advice, and then it hit me recently. These questions have already been answered and the truth of it is undeniable. I was given a gift from birth. It is not of my own design. I recognized it, and worked very hard to cultivate it over the years. Not perfect mind you, not by a long shot, but I was given a gift and charged with using it. I deserve to be here. Not because I would like to or because I said that I should, but the people have spoken. Our fans, our friends, fellow drummers, musicians, engineers, and music lovers. So many kind words, stories, and encouragements from those near and far, known and unknown. At shows, at festivals, heck, even drummers, sound crews, and musicians from national bands at with compliments and kind words (and some laughs). I am where I am meant to be in this moment, and I will continue on the path. At the end of the day, it’s not so much what I think about me and my playing, it’s about all of you! I am humbled, honored, and proud to endure the struggle! It’s worth it, because you are worth it!

– Chris McKinney

Today, I have come full circle in my journey with Mapex. My story begins many years ago. In 2001, I had a Pearl Export drumset that I had expanded and upgraded greatly since getting it as a Christmas present from my father in 1994. I had been gigging and recording with a few bands during that time, and felt like I was ready to upgrade to something a bit more professional. I scoured the internet and stores, looking into and trying everything and then I came across Mapex. I had purchased a Pro Steel Snare to replace my original Pearl Steel Snare and loved it, so Mapex was on my radar. The Pro M set that my local Sam Ash had in the store blew my mind. I had saved my money, and had my first credit card, so I bought my first Mapex Pro M in early 2002. It really sounded amazing and took my playing to another level.

That first Mapex Pro M kit in Transparent Cherry finish was there with me when I joined my first original rock band, was in various studio session, was with me when I really became an in demand gigging musician, and really began honing my chops. I had so many great memories with that kit and during that time in my life. I fell on hard times as we often do in our youth and had to sell it in 2005. I felt like I was selling a part of myself. After I got back on my feet, I tried other kits. I got another Export kit and sold it. Tried a Gretsch Catalina Maple, and it was nice, but still couldn’t match the Pro M for me. Finally, in 2009, after my tax returns, I bought one of the last Pro M kits that Mapex made. This time it was Transparent Green and I named it Jade. Jade was everything I had remembered Mapex to be. The great sound, quality, and the suspended floor toms brought it all back for me. Even better than the original Pro M kit! More recordings and a summer tour were put under Jade’s belt and things were great, until the tour ended with little money to show for it.

I became disillusioned with music by the end of summer in 2009 and sold Jade off to a fellow drummer and moved away from the Carolinas. I moved back about 6 months later and realized that I could not get away from who I was. I bought cheap sets used and slowly built up over time. First a no name kit, then a Custom Classic kit, and then after saving for some time, I finally stepped up and bought an Armory kit, and returned to Mapex once again! The Armory kit has been fantastic, and most of you know my Armory Kit “Ember” very well. Ember has been amazing has served me well since 2015, but somewhere, inside, I still missed my Pro M Kit.

Today, that has changed. Today I have come full circle. After years of searching for a Mapex Pro M kit in a color I like, and in good condition, the day has finally arrived. I have just unboxed and set up “Ruby”, a Transparent Cherry Red Pro M kit, just like my original finish, but all maple with the nicer silver badges of the late model Pro Ms! I cannot explain in words the feelings that are racing through me, but I feel like I have finally returned home! The world is not ready for the next evolution of what is in store, now that I am back to 100%! Welcome home Ruby! We have work to do!

Today I want to address something that I think is at war with us as musicians. I am of course talking about the battle between being a chameleon vs having your own identity. I think you all know how I feel by now about the chops vs groove argument. If not, Groove is king, but Chops are also important. I like the way Jimmy Chamberlin illustrated the point by saying the chops are paintbrushes to paint the painting, but it’s not “The Painting.” Improving ones facility and chops in combination with great grooves and creativity and individuality all come together to help you express your musical voice. There is a real push today however in this musical culture, especially in the production and management elites to pump out commercially viable cut-and-paste, cookie cutter grooves that simply serve the basic groove function and little more.

Technology is partially to blame, as it has become very easy to manipulate everything from the computer, so much so that a great deal of the human element has been removed. Technology in and of itself is not bad, in fact quite liberating, but it has also been a major factor in the drummer being removed from the core of the music making process. Gone are the days of the band sitting around in the band room for hours together, bouncing ideas back and forth to come up with a new tune. Today, the few drummers fortunate enough to get session work, often have complete songs including basic sampled drum tracks sent to them. In the words of the great Freddie Gruber, “If it doesn’t breathe, it’s not alive.”

The other side of this coin is the corporate mindset that has indoctrinated the music industry. I choose my words carefully here, as being a full time professional drummer, I don’t wish to criticize people that make a living with music or their pursuit of making it both profitable and sustainable. There is a dark side to this approach though, as it tends to shun creativity in lieu of the illusion of “the magic formula.” By extension, for drummers, this means your musical identity is in the cross-hairs at all times. Musical chameleons are the only ones really working in studios today, and even they are not guaranteed tomorrow with drum sample libraries and cut and paste loops and fills so readily available.

To dive in, a drumming chameleon is a drummer that sounds like a thousand other pocket studio drummers. They hold no identifiable signature musical trait or tendency. Nothing stands out nor seems out of place. They play as rigidly and perfectly as the cut and paste drum loops, no risks ever taken, no liberties, no accents. They could be any one of a sea of thousands of other drummers following the well laid industry path. I applaud their restraint, selflessness, and maturity. But then I have to ask myself, what does your drum part say? How are you using your gift? How are you contributing to that song? And ultimately, could anyone else have played that part?

To further my feelings on this, Jimmy Chamberlin spoke about a review he read about his M-Audio Drum Loop Library (The Jimmy Chamberlin collection). The reviewer said that the loop library was great. His only issue was that it sounded like Jimmy Chamberlin. That is kind of funny by itself, but really stop and think about that. Drummers like John Bonham, Jimmy Chamberlin, Neil Peart, and Carter Beauford have no place in the incorporated song factory world. But there is a flip side ladies and gentlemen. A great reckoning. And it is called live music.

That’s right sports fans, Live Music! This is where the musical identity tables turn. Suddenly, those chops, soul, and energy really mean something! Where you can connect with everyone on that musical wavelength and with groove and chops used correctly, you can make the Earth itself shake and make the songs live and breathe! Suddenly that studio slick drummer that is just perfectly executing the minimal needs to set the groove for the song kind of falls flat. Live, there has to be something more. I don’t really mean it needs more chops or extra fills. I mean, it needs dynamics, it needs soul, it needs a movement. Your drums need to capture the emotion of the song. Chameleons just don’t cut it here. You can no longer pretend.

The audience and your band need you more than ever! Everything you have! Your passion, your timing, your groove, your soul, your chops, your energy! The audience and your band need a reason to dance! A reason to freak out, cry, scream, sing, hug someone, beat their chest, wave their hands, and everything else. It’s you and them, and in that moment, there is no Record Label CEO or Studio Executive that can sell them an experience. Music is not a song, album, words, background noise, arrangements of notes, or a retail product to be consumed. Music is the human experience in audible form. Shared between you and your audience, bridging your life and experiences to theirs in a single moment, together. You can scoff at my philosophical drivel if your ego can’t concede, but I promise you, that is the real deal. Don’t hide away, don’t hold back, don’t drink the cool-aid, or surrender your identity. Give them both freakin barrels!

Once again, I am not encouraging you to just blow chops all over everything, or not serve the song. I am saying, serve the song completely by not dumbing it down (and actually diminishing the song) to please the executives (or lazy sound engineers – including me sometimes), keeping your ego in check, and finding the sweet spot of compromise between keeping it simple (grooving) and letting your voice be heard! You will know when it’s right when everyone, including your band is locked in that moment and feeling it. I believe that everyone has something unique unto themselves to offer. You have the music in you and the world needs your voice, not just another recording industry approved clone! Always work hard to keep improving, but never be ashamed of who you are!


– Chris McKinney

For many years in my drumming journey, I have often heard drummers new and well seasoned lament their gear. “If only I had more money, I could buy a [x/y/z] snare and then I could really sound good.” While I appreciate and understand wanting nice gear, as we all do, it really is like nails on a chalk board to me. I recently had a discussion with a drummer pal of mine, where I heard words to the same effect. He has a Yamaha Stage Custom Birch 14×5.5 snare that came with him Stage Custom kit. I listened as he went on about how he wanted a Ludwig Black Beauty or a DW Collectors Series or a Tama Bell Bronze Snare.

After a while, I asked him what was wrong with his snare, or at least, what he was hoping to get from it that he couldn’t. He wanted a powerful coliseum rock snare drum that was thick and full bodied like his favorite 80s hair metal bands. We went over tuning on both drum heads, which heads he had on, what snare wires, the tension setting for the wires, what hoops, and on and on. He was reluctant to really answer at first, but then we started getting into the meat of it. He had the stock hoops on which are of course 1.6 mm triple flange steel hoops. Very ringy and light. The drum shell is birch in a standard thickness, and at a depth of 5.5, you won’t be getting a great deal of body from the shell. He still had the stock reso side on the drum, and stock 24 strand steel wires. He had an Evans Genera HD Dry head on the batter side. Reso was tuned low, and batter was tuned high. Wire tension was also very tight to the head. I am sure you are probably thinking about what I was thinking. That probably will not work out for you.

The point of that story is to say this. Money does not make you. It doesn’t magically make you a better player. Quality gear is great because it is better suited to do the job and makes your desired sound easier to achieve and maintain. With some work, a little know how, and a few dollars spent in the right places, you can find good deals on decent snare drums and soup them up, like a car, to be much better than it was designed to be. Upgrading certain parts of your cheaper snare can really open up your options! Another major player in the game is tuning! Quality drum heads and good tuning can solve a great deal of issues right out of the gate. Don’t ignore that resonant head! The reso head is a huge part of your snare sound, and honesty, any 2 headed drum!

I have never been in a position of having great wealth, so I have always had to save, find the right deals, and then upgrade certain things to make it sound great. Today, I have two snare drums, and I paid $100 for each of them, brand new, shipped to my house. My first one, that I have dubbed “Midnight”, is an all maple Mapex MPX 14×8 snare drum. It came with stock 1.6 triple flange hoops, junk drumheads, and a basic snare wire. I ordered 2.4mm Stick Saver style matching black hoops from Drum Factory Direct (just as heavy as die cast hoops, while still being triple flange), and Puresound Custom Steel 24 snare wires, an Evans 300 Hazy Snare Reso head, and an Evans Power Center Reverse Dot batter head. All told, I spent about $200 for the snare and all upgrades. It now sounds like snares 2 to three times what I paid. I also bought an OCDP 13×7 Chestnut Ash/Maple snare drum. The OCDP is a $220 snare drum and comes with Die Cast hoops, a thick maple shell (with an ash veneer on the outside for the finish). I eyeballed this snare for a year and a half and then caught it on sale for $99. I bought new heads for it, and bought puresound custom steel wires for it as well, and it has become a beast, and a favorite among engineers and sound techs across the nation.

Never let anyone make you feel bad for having what you have. If you have an instrument, and you do what you can to fix it up and maintain it, bare your soul for the world to see. It’s nice to have quality gear, and there is nothing wrong with wanting nice stuff, but remember at the end of the day, gear is simply a tool to help you express your musical voice, but the real power comes from you! Even if you are beating on a couch, table, car steering wheel, your legs, a cardboard box, coffee cans, or plastic buckets. You are the artist and the music comes from you! (PS, lug locks are a great investment for those cheap snares as well! Dont get caught tuning after every song!)

– Chris McKinney

On June 10th of 1960, my mother, Mary Margaret McCarn Henry was born. She grew up in a family with a bunch of sisters and one brother. Her mother was not around for her childhood and her father was a drunk, but fortunes shifted when they got adopted by Brenda Inman, and they grew up in a stable home from there on. I was born on May 19, 1982. From the outset, she paid attention to me and who I was as a person, and took the time to help me cultivate my talents and strengths. She knew I was a drummer from the beginning, and always encouraged my musical development. There was always a radio on, even in the kitchen, where she would let me beat on pots and pans, or literally just about anything else.

She always worked hard to make sure we got by. She was tough when she had to be. She often worked multiple jobs to pay the bills and keep food on the table and clothes on our backs, and while we never had an abundance of material things, we were never lacking. I don’t recall missing too many meals in my life (and it shows). As a kid, many of my friends had a room full of toys. In my room, I had some toys (that I cherished) but I also had puzzles, activity books, drawing paper, and things that stimulated my mind and creativity. She taught me a lot about making your dollar count and how to budget to make the most of your money. I learned a great deal about patience, perseverance, and being practical. I learned not to take pride in material things, but rather to do right, work hard, and take pride in your passions and relationships. Another thing is that she has always dealt with life through a lens of humor. She encouraged me to be silly, and even when the chips were down, she had something silly to say or some joke to be made of it.

I had friends of many colors, cultures, countries, and ages. Racism and prejudice were not things I ever learned. I was always taught to judge people by the content of their character and their actions, not by some superficial difference. I was always taught to think for myself and rationalize things. I was also encouraged to express myself and develop my vocabulary so that I could better communicate my thoughts and feelings. Communication and psychology was a big focus in our house. Art and the arts were also encouraged. I was in Martial Arts from the age of 10 until I was an adult. I dabbled in sports too, but my creativity was more my passion.

Beyond all of this though, I have always been able to talk to my Mom, 100% from the heart. No holding back, no secrets. Honesty and Respect were always paramount, and it is why she is one of my best friends to this day. When I was young and I got in trouble, before any punishment, we would sit and talk about what I did, and why I was being punished, so she knew that I completely understood the cause and effect, but also why it was wrong. So important, and so few seemed to have been given that crucial information. Not simply that something was wrong, but why, and the effects those wrongs would or did have on others around me. Not just thinking from my own vantage point, but always an understanding that what we do affects others too.

Now, I know I have talked about myself in this a great deal, but I came into this world an empty vessel (save for my essence of course) and the true test of any parent, their legacy, is how they raised their kids and what they filled those vessels up with. In this regard, I would have to say you did an awesome job Mom! (I know, I am a tad biased) Not only has it helped me and prepared me for my life, but it is a reflection of who you are as both a parent and a person. I love you very much Mom and I wish you the happiest 60th birthday. I truly wish I could be there to help you celebrate, but your boy is working hard for the future, as we often do in our middle ages. I am hoping soon you will get to see the fruits of these labors and then we can truly spend some good times together and see what this was all working towards! I love you very much and you are always in my heart!

– Your Son

Hello everyone! I wanted to take a moment to talk about the question I probably hear the most. “Chris, what is with the tape on your drums?” Drummers routinely get on me and tell me to “Let those toms sing, man!” You would be amazed at how many say that exact line, verbatim. So here is the deal in a nutshell. It serves a few purposes. First and foremost, it slightly dampens the stray oddball frequencies at the very top end (16k-24k). The beauty is that the electrical tape is very thin, flexible, and moves with the head. Most importantly, it doesn’t really affect the overall tone of the drum. Simply reigns in the super high end, giving it a slightly more focused sound. As a soundman myself, I care alot about making it as easy as possible to get a great sound in the mics. While as a drummer, I am somewhat of a purist, and I do love to hear the drums sing, but I have been in the game for a good while now and I know that most pro sound techs are not interested in working super hard to get the perfect drum sound. Especially when they are running sound for a festival or multi band show and you are literally playing for like 30 minutes. In other words, it is best to try and meet them (myself included) halfway. Tune your drums, don’t make ridiculous demands, and use some kind of dampening if they ask. Honestly, they are trying to help you sound good to your audience in a limited time frame.

So, the next question is usually, “Why not Moongel, O-Rings, or Gaffers Tape?” My answer for that is simple. I want subtle dampening. O-Rings completely change the tone of your toms and literally turn them into an impulse with none of the natural attack and literally no sustain. Granted, for electronic music and hip hop, it sounds awesome, and it also helps with drummers that cannot or will not tune (as a quick fix), but O-Rings are a no for me, dawg [insert image of Randy Jackson here]. Gaffers tape works, but again, shuts down the drum and keeps it from really resonating. A small piece is fine in a pinch. Way better than duct tape. At that point, you might as well just put your wallet on the drum, or take off your resonant heads and go full 70’s mode. I have avoided even owning moongel…until recently. I just switched to UV2 Coated heads and really don’t feel the need to dampen them, but the moon gel is there in my hardware bag, just in case an engineer is feeling a bit lazy (or rushed/overworked). For your pleasure, here is a listing of common dampening methods and where they rank on the subtlety scale (from most subtle to dead);

1) No Muffling (Wide open, Bonham style!)
2) Electrical Tape (Very Subtle, reduces stray highs, does not alter tone)
3) Moongel / Gel Dots (Subtle, but dampens head movement, slightly alters tone)
4) Gaffers Tape (Moderate dampening, weighs down head, alters tone)
5) Duct Tape / Remo Muffls / Cloth Strip Under Drumhead (Dead, might as well be a bucket)

Aside from the subtle muffling that the electrical tape provides, I also enjoy taping in geometric patterns as kind of a signature thing. Also, the goal is to kind of make a dampening circle near the outer edge, but using strait lines, you have to segment it, so that is what started that trend, so I ran with it. Another thing to consider, my pack of moongel cost $7, and takes care of 6 drums (ideally, with 1 per drum) at a time. For $1, I can buy a roll of Electrical tape, and take care of as many as 30 drums, and the tape comes off easily if I decide I want less/no dampening. I have a toolbox that I keep all of my spare allan wrenches, drum keys, felts, sleeves, tuning rods, wingnuts, washers, spare parts, etc, and on either side, I have a roll of electrical tape. I carry this with me when I tour so I can always take care or whatever needs done while on the road. I consider it the quintessential dampening material. Guitar player accidentally frayed his instrument cable? Bam! Electrical tape to the rescue! And if you need an emergency stick wrap at the show, it works for that too! Electrical tape is a drummer / sound tech’s best friend!

– Chris

As I am sure you are all aware by this point in time, COVID-19 has had a drastic and terminal effect on the Entertainment and Food industries. I have greatly felt the effects of this myself. As you can see from my calendar, all but my Lake City Church gigs have been stripped from me by the virus concerns and government mandates. I will not bore you with personal opinions on the matter or my misgivings about political weaponizing that I feel is occurring. One thing I can say with certainty is that this has put me in a very bad position. I will be attempting to find ways to continue to accomplish my goals while struggling through this “Social Distancing” that we are all burdened with. I will be taking more time to focus on my social media accounts these days, as well as working to update and kick off my revamped youtube.com channel with fresh content. Please bare with me as I relearn how to operate on minimal means. Thank you all for your patience and support.

Now a bit off topic, as an official endorser for Saluda Cymbals, I will be bringing you loads of content, reviews, demos, and play alongs on my youtube.com channel and social media. Now would be an excellent time to add me on facebook and instagram (see link icons at the top of the page) and subscribe to my youtube.com channel, so you are ready when the new content hits! Also be sure to visit https://www.saludacymbals.com/ and check out their main site, or if you are ready to buy, click on their drumgearonline link to go to the store! Be sure to mention my name so they know who sent you, and get a free gift from me as well, as a thank you! Take care of yourselves, be careful, be kind, and let’s all come out of this together!

– Chris

I would like to address the age old question, and something I hear heated discussions about between my drummer friends all the time. Chops or Groove? This is actually a very complicated, convoluted, and complex topic, and deserves some perspective on both. So before we get to my thoughts on the question itself, let’s dive into both side of the argument.

Groove is the most important part of being a drummer. You are the pulse, heartbeat, and foundation of a song, and there is no debating that. Drummers like Steve Jordan, Kenny Aronoff, Steve Gadd, and Ringo Starr (just to name-check a few) are the ones that embody the spirit of making the groove the meaning of playing drums. This is not to say they are not capable of more, but often drummers in team groove swear by keeping things simple and manageable. With this, they create a super tight foundation and the pulse never ever waivers. The pros to this are that the timing is impeccable, the band never needs to think about timing, and the crowd can always clap on beat. Don’t kid yourself, almost all mega hits in the pop, rock, and country genres are being played by a groove drummer. The cons are that often, you are not going to be surprise or overly wow anyone with your drumming. Then again, for groove drummers, they are often intentionally not trying to stand out.

Chops are tools for drummers to create excitement, power, and expression in their craft. Drummers like Carter Beauford, Neil Peart (RIP), Gavin Harrison, and Jimmy Chamberlin embody the spirit of always learning and adding to your arsenal of tools to use in any given situation. This is not to say that chops drummers have no groove, but they are not solely committed to just keeping a solid and unwavering pulse. The pros are that they often have chops for literally any musical idea, movement, speed, or time signature, no matter how unorthodox or irregular. Don’t kid yourself, great drummers with awesome chops are what got you into drumming in the first place, and makes even non-musicians take notice. The cons are that chops take a lot of work to learn and maintain, and don’t work in music all of the time. Without discipline, drummers will go to chops city too often and ultimately take away from the music they are playing, losing them gigs.

With that in mind my answer to the question of Chops or Groove is Both! It’s actually very simple. Groove is an absolute must for any drummer. If you can’t groove then you are not fulfilling a fundamental part of being a good drummer and a good band mate. I have never believed that a drummer is solely responsible for time keeping, but the rhythm section is. Personally, I view timing as a dance, and it is up to us to set the dance at the right speed and rhythm for all of the other musicians. The bass player helps us lock the timing and connects us to the melody section of the music. With that solid groove, drummers can contribute more to the music, aside from just keeping time and a pulse.

This is where chops comes in. With a quiver full of various chops at our command, we can accent with the melodies. With the right chops at the right time, done well, can make other musicians stand out while also flexing our muscle. Drummers can contribute to the melody as well! Toms are more than just something to hit! With a little tuning and an ear for melody, your toms can contribute to the melody or even counter melodies! Chops, when used correctly, can bring energy, excitement, and a wow factor to the music, and most importantly, enhance and contribute to the music! The key to this all is two fold. Be musical, and at the same time, find your own musical identity. As a musician, you have your own unique voice, and you deserve to speak just as your other band mates do. Developing your groove is essential and building chops gives you tools to express yourself with. I will cover musical identity more completely in another post, but it is so important. Whatever you do as a drummer however, be yourself! There is no wrong way to go when you are true to yourself!

– Chris

Being a drummer in today’s modern world is not easy. As a drummer, you spend so much time working on your technique, timing, chops, speed, power, and all other facets of the art. Over time, you develop your musical voice and identity, and finally you are ready to get out there and start playing in bands and making music. Once joining a band, a whole slew of new issues arise. Learning to play with others, adapting to a group of other people with different voices and interpretations of the music. On top of this, we are often expected to learn every moment of everyone else’s parts, and we are then expected to work the groove and timing to accommodate all of it. It is here as a drummer that we are forced to become the captains of our ship. While often thought of as less than equal by most of our band mates, we are unconsciously handed the keys to the ship and expected to steer the band.

Over time and experience with our band(s), depending upon personality types of the other band members, we generally reach one of two outcomes. We are either highly celebrated and trusted by the band implicitly or we become the brunt of all jokes, are talked about viciously behind our backs, and are usually sent packing in short order (unless there no supply of other drummers or no interest in other drummers to join that band). It can be a cruel world for a drummer as we already get the immediate stigma of just being a “dumb drummer.” I am certain you have heard most of the jokes before. Often we are also looked down on as we don’t necessarily play “notes” or have music theory knowledge. Often times, those of us that care to make ourselves more valuable go and learn other instruments (for any number of reasons, both good and bad) and/or dive into the production side of things, as well as a good number of us with any kind of decent voice often learn to sing as well. Making ourselves more valuable is one of the key ways we have to stick around.

Then, if we are lucky and have worked hard enough, you get to a level where your band is in demand, and the band loves you, and everything seems to be going well. Then comes the management. We all know that the vocalist/frontperson is the MVP of the band and is by default the face and voice of the band. All managers universally see the vocalist/frontperson as the band and the summation of all of the music. In their eyes, that person is it, and any band around them is the equivalent of extras on a movie set, just kind of filling up space around their star. It must be that all management types read from the same textbook, because their first move, without exception, is to get rid of the extras around their star. The only exception is if you are related to or romantically involved with the vocalist/frontperson. Otherwise, you are on the chopping block. For drummers, this goes double. All of your talent, musical ability, and contributions to the music and the live energy your drumming creates suddenly means nothing. And if you don’t look like a supermodel, it means less than nothing.

This is where being more valuable comes into play. Obviously, your personal connection with the band will mean something to your frontperson, but the more you offer, the more you are worth. For me personally, I am not only a drummer and percussionist, but I sing, run sound, do some video work, am a writer, can do websites, dabble in keyboards and sampling, and am a safe driver. On top of this, I am a very even keeled and agreeable, rational, and reasonable dude, even when stressed. My bands all know that they can depend on me both musically and personally. I encourage all of you to be your personal best in all areas. Be the best drummer possible. The best friend. The best assistant. Whatever gifts and skills you have, hone them and make them a part of what you offer. Being a drummer is not easy, but somebody has to do it, so it might as well be the best! That means you! Show them who you are!

– Chris McKinney

There are not too many drummers that have ever picked up a pair of drumsticks and not have had that universal dream of playing in front of huge crowds to adoring audiences night after night in cities around the world. The ultimate drummers fantasy, right? Huge stages, massive sound, enormous crowds, small fortunes every paycheck, free gear, vacations all the time, and you don’t even have to do anything except show up and do what you love to do. Why wouldn’t everyone want to do that, right? Simply put, for most, that is strictly a fantasy, even for the people really doing it.

Being a professional drummer does not mean being a rock star. The real professionals are quick to point that out, including the nationally touring people you know by name, in the bands that you go to see. Don’t get me wrong, the national drummers enjoy many great benefits at their level, and most if not all have certainly earned the rights to those special perks and bonuses, but the modern day working professional drummer is anything but a fantasy. The truth is, most modern working pro drummers are creative, aggressive, and hard working entrepreneurs that have built up a good clientele from working tirelessly, making contacts, and sacrificing to get their brand (themselves) out into the market and firmly established. With the myths dispelled, now we can begin our journey to become a Professional Drummer.

So, you have been playing for some time now and you feel that you are ready to move to the next level, but there are no job fairs or indeed.com openings for it, so how does one become a “Professional” drummer? Well, first we should define that title. The easy definition of a professional is someone that is hired/paid to perform a job, service, or task. In the case of being a drummer, it’s all three, and then some (at least in my experience). So, step one of course is to be at least proficient at playing the drums and to be as versatile as you can with regard to styles/genres. As with any job or service, the more you can offer, the more valuable you will be in the eyes of perspective clients. Notice how I used the term clients, not client. This leads to my next point.

While some people get lucky and end up in a band that does well, chances are that you will not be able to make much money in one band. The next step is to figure out your availability and play in as many projects, bands, or musical situations as possible. Starting out, you may have to take on free shows or low paying work, but whatever your situation, always try to make everything you do work for you, and always set realistic short term goals and work hard to attain them. If you accept shows/situations for no money, get them to give you a good reference, and ask them to help you in your goal to make it as a pro musician. I have found this to be crucial in starting out. Good references and being open and honest with people about your intentions always tends to lead to better outcomes. As you play more and more, you can ask for more and more. My advice here is to not get greedy. If you get a low offer and you have no gigs, some money is better than no money.

It also helps early on to have a long term goal in mind, or even a reference of someone you would like to emulate. For me, I knew that I wanted to play for a living, and I also knew that I did not want to be stuck with just one genre or style of music. With that I dove headfirst into many different styles and situations and found that very instructive and rewarding. I also had drumming heroes to loosely base my goals on. First call studio and live guys like Josh Freese, Vinnie Colaiuta, Jeff Porcaro, Kenny Aranoff, and more recently, Gavin Harrison, were not only drumming inspirations, but their versatility and ability to play with anyone, and always be in demand, while still having a personal identity, were huge to me.

After making a bit of a name for yourself and having some references and hopefully media to show perspective clients, the next crucial move is to make yourself more visible to potential clients and create a way-point for them to get information, contact you, and get them to music/video/media that will help persuade them that you are who they need. A website is likely the best way to go, and is most appealing to people looking for you, but even a good social media presence can help tremendously. Word of mouth will always be invaluable, and in truth, is still going to be your primary source of new work. For this reason, every show should be your best show! Always bring your A+ game!

I can’t tell you how many times I have played a show where it seemed like no one was interested or there were not many people there, but the passion for the music and the performance was enough to get a contact, or another booking, or a tip, or any other positive result. Another tip I can give you is to always be thankful to the audience and your fellow musicians. Even more importantly, always make friends with the sound tech, and thank them even if everything sounded horrible. Chances are you will get them again at some point (especially if you are playing the same places a lot) and they can make or break you and your band. If they remember you being cool and easy to work with, your life will be much easier and your band will likely benefit from that.

Another very useful tip is knowing your role in the band/mix/performance. Always put the music itself first, your band mates second, and you as a distant third. This is the major difference between most professionals and other drummers. Being able to play sick drum fills at insane speeds might wow other musicians, but more times than not, it is not going to serve the song, and at the end of the day, is not going to get you any work, and without work, it’s going to be hard to be a professional. This bring up Ego. Ego is useful, to an extent. Most people jump to demonize Ego, but you need just enough Ego to be confident and always bring your A+ game. Anything beyond that however, is unnecessary and will usually hurt you. Try to find that magic spot where you can be the beast that you are and still be respectful and grateful.

Unfortunately, there is no one tried and true way to become a professional musician. Once people know that is your goal and you work at that with the help of bands/fill-ins/sessions for a while you will begin to get pretty busy. This is where you start realizing that being a professional drummer is not actually just about drumming. Now, you are also a business manager, event planner/coordinator, media specialist, logistics manager, driver, traveling sales director, and in my case, I add harmony vocalist, percussionist, recording engineer, live sound man, webmaster, media specialist, and songwriter to the mix as well. Again, the more you can offer, the more valuable you are. Also learn to be a great manager of your time, keep excellent records, communicate effectively, keep your calendar/dates effectively, and always do what you say. Be dependable, show up early, help as much as you can, keep learning and improving as you go, and let people see your professionalism in all you do. If you can do those things, you are well on your way to becoming a professional!

PS; Once you get paid the first time to play your drums, you are a professional drummer. Grow it from there!