Technique, Mastery and the Flow

"When your spirit is not in the least clouded, when the clouds of bewilderment clear away, there is the true void."
— Miyamoto Musashi, Japanese Swordsman

Technique is something to learn, then forget. The samurai approach to learning was to master the technical aspect of a discipline, then see through the technique to the place of no-technique, the void. This may sound a bit mystical and corny, so maybe a more popular term from athletics like "the zone" or "flow" would help. Basically, it is getting to the point where technique has eliminated anything superfluous, and the player has become the desired action, having left behind thought of what she should be doing. The thought and the action are one. Some people call it muscle memory, or mnemonic engraving.

This experience is common to all people who engage in some form of demanding, physical activity. People who drive frequently experience it, drifting into other thought while still fully engaged and aware on a busy freeway. Veteran soldiers experience it in combat. Musicians experience it while performing. I have had this experience on numerous occasions, the sensation of standing outside of myself watching my body do things that I had up to that point thought beyond my abilities.

This level of engaged indifference takes many hours of disciplined training. It is not a place of uncaring, nor does it mean dispassion. Rather, it is the place where all the technical and skills training begins to gel into a singular action that is contextually appropriate and powerful. It is a kind of unified plateau, where thought and actions are one, from which further creative developments can easily flow. It is highly pleasurable too. But, it is also permanently elusive, as one seeks to obtain higher levels of skill and musicianship. It is something no one ever obtains absolutely, not in this life. When I try to look at it, it disappears. This is the mystique of it.

In the past ten years I have naively developed what has turned into a sort of program. I didn't plan it, but found myself naturally working in accordance with some basic laws of physics and going back to what some would consider the most basic, rudimentary aspects of drumming. After hitting walls regularly and wondering what I was doing wrong, I started looking for answers in the boring, unglamorous, unflashy stuff. The stuff that drives drum students mad with impatience. It seems to be working.

Lately I began the process of rationalising this approach. The program includes four aspects: Physics; Grammar; Poetry and Contextual Awareness*. All of these are interrelated or interdependent. Improving one improves the others. Within each of these aspects is a set of both physical and mental exercises or techniques that correspond to the nature of music as a whole. These techniques are also designed to close the gap of coordination and concentration, the two weak-spots of any musician that are usually expressed in a loss of the groove. My aim is to sit, as regularly as possible, in the void.

I hope to expand on each of these four somatic-abstract techniques in the next couple of weeks.

Yours in drums,
Chris

*I am taking a page from the pedagogical approach of the mediaevals. It is a style of learning that corresponds to the developmental stages of my mind. The metaphor of language seems appropriate too, as drumming is simply a form of language in conversation with others in a musical context. John Riley's scheme of aspects is helpful too: Technique, Groove, Creativity and Musicianship. His materials have been helpful to me in understanding my own experience and approach, the way I have learned and how to maximise the process, getting rid of superfluous stuff. If some of my ideas are similar to his, he gets all the credit. Having said that (to cover my own butt), I believe that what John Riley tapped into is a structural law that corresponds to the shape of the mind. It is a universal learning structure, albeit currently neglected, that corresponds to our humanity.

 "You must strike with intent and focus."
— Miyamoto Musashi, Japanese Swordsman

Building a Hybrid Drum-Kit: My Journey

Over the past seven years I have been making attempts at integrating a digital system into my analog drum setup… with varying degrees of success. As I am not inclined to going the full-monty digitally, I have been on the hunt for some kind of system that would work for me. My list of criteria is not long: it has to be physically practical, technically elegant, user-friendly and not cost-prohibitive. The combinations I have tried include the following:

The Alesis midi-trigger Controlpad paired with a Roland SP-404
I tried this for about a year (2007), having been inspired by the work of Ras G and the Flying Lotus/ Brain Feeder clan of artists. This system fit the physical criteria, as it was compact, light and did not require complex routing. It also met the cost requirement, as these two units ran at about $350.00 (USD) for the SP-404 and $125.00 (USD) for the Alesis pad. I used the SP-404 prior to the 2012 SX model, so these prices are now dated. The problem I faced was the learning curve on the SP-404 and the technical complexity involved in programming it for the type of application I intended. The SP-404 is a sampler designed to capture and perform sounds on the fly, looping and mashing up compositions. It is, in itself, a very cool piece of equipment, and in the hands of a master like Ras G, the instrument takes on otherworldly possibilities. But for me, it required too much attention away from what I wanted to do: launch percussive sounds and play back some loops in the context of live performance. I ended up sacrificing the quality of my drumming to make it work.

One of the primary technical problems was getting the loops to fit the BPM of the live performance. There is a tap-tempo feature built into the SP-404 interface for performance, but I could not figure out how to get one of the Alesis pads to communicate with this feature. I was spending too much time away from the drum-kit to make this work. I did learn quite a bit and I came to admire the musicianship and creative ability of the guys who use the SP-404 as their primary musical tool. Yet, all told(?), it did not suit my needs as a drummer.

The Alesis ControlPad paired with a Mac Powerbook running Ableton Live
During the time I was learning how to program the SP-404, I was also studying Ableton Live. I was using the program to create the digital samples and loop files I was using with the SP-404. I spent a bunch of cash on a set  of Bill Laswell samples, and learned how to produce my own with the instruments provided in the program. Ableton is an instrument in itself, and the program provides hours of productive distraction and creative drifting. I think it should be part of any muso’s creative system, if for no other reason than making it possible to pursue sonic ideas. Many bands have made the program the brain of their creative process and even their live performances (Cut/Copy, Sector 9). Ableton has taken me down many social avenues I would not have travelled otherwise, and introduced me to new musical expressions. It is a cultural force as much as a DAW.

The problem for me turned out to be a physical one. Ableton is technically elegant and user-friendly; it is a deep pool but provides for swimming in the shallows too. I already owned a Mac Powerbook, so I don’t include this in the cost of getting this system together. The problem was in moving the signal from the Mac to a sound system: I needed a sound card. The initial solution was the Presonus Audiobox USB, which had the awesome bus-powered feature. But this added to the bulk of my system and, along with the Macbook and ControlPad (and the many cables between them as well as a stand and bags for it all), had me enslaved to a set-up that was becoming unwieldy for a guy without a drum-tech. As a drummer I already carry a good amount of equipment; adding to the bulk was not desirable and the load-in at gigs was becoming impractical. There were also a number of technical issues that some clubs’ sound-men could not resolve. On a couple of occasions I abandoned the attempt to make the digital stuff work.

The Roland SPD-30, RT 10S, RT10K triggers and a PD-8 pad
This is the system I am currently using. In terms of cost, it is a pricey system; the SPD-30 runs at around $800.00 (USD). The triggers at about $100.00 (USD) each. I bought a used PD-9 for about $40.00 (USD). So, it can be prohibitive to a cash-strapped muso. I came into some extra money and was able to buy it, but it wasn’t something I would be able to afford on my regular budget. It is more than I have spent on any of the previous attempts.

The brain of this system is self-contained. Having all the sounds, controls, routing requirements and eight trigger pads in one object is an elegant solution; it is very user-friendly. I like the idea of a single entity, and its expandability makes it flexible enough for a number of different playing situations. The key bonus for me has been the trigger system and the PD-9 pad. The triggers have allowed me to focus my attention on playing my kit with enhanced sounds that make for some amazing sonic moments during live performance. The PD-9 pad functions as a secondary hi-hat that I use for glitched-out techno sounds. The triggers function like nerve-endings in what now feels like a very natural, organic system. I can press a button to move to a new pre-programmed setting, forget about the unit and just play. I use an 18” kick drum, which sounds lovely, but being able to add classic 808 fatness to it has been a dream come true. This alone has felt like justification for all the cost and effort.

There are some specific issues that I am facing with the SPD-30, both technically and physically. I’ll reserve specific technical comments for a dedicated discussion on the unit. In regards to the physical stuff, the unit is quite large. It takes up some real-estate at 54 cm by 27 cm. Finding a strategic spot on the kit was a challenge. I ended up putting it to my left, where a secondary snare would usually be; it sits at the same height as my primary. This placement required the Roland stand attachment (sold separately) and a stand (more gear); the latter of which was, thankfully, gifted to me by a guitarist friend. I am finding that the load-in is still a bit cumbersome despite the elegance of the system overall.

In conclusion, my experience with the Roland set-up has been overall positive. The system works seamlessly because Roland’s engineering is top-notch. At this point, my primary concern is with the bulk of the unit. The Roland triggers and PD-9 have made the surface pads on the unit seem unnecessary to me as these transcend my needs. So, I have a couple of reasons to look for something smaller.

More on the technical particulars of the SPD-30 in a later review.

Yours in drums,
Chris

The Roland SPD-30: A Review

I purchased the SPD-30 six months ago as a solution for a digital/analog hybrid kit. Ever since hearing some of the Lee Scratch Perry and King Tubby mixes in my punk days I wanted to replicate those drum-sounds live; the echoes, the reverbs. Up until a few years ago doing so meant laying out a massive amount of cash, and building some kind of custom system. The drummer from Dub Trio, Joe Tomino, has had some success at this. Stewart Copeland's old setup is a classic example of what it took in the past. For all their effectiveness, these systems have consisted primarily in analog processing through microphones and various effects pedals; in other words, complex systems with the potential for massive meltdowns in a live setting. A drummer attempting this sort of thing needs either a tech or a very sympathetic sound-man.

Roland Corp has been developing digital drum systems for some time now, but real integration with an analog kit has been touch and go up until the past few years. There have been attempts by other companies to meet the need, but the results have been less than stellar. Roland is at the forefront of developing this technology (Nord abandoned their ddrum line, and now it's quality is dubious). But there is still room for improvement, as the needs of gigging musicians and not just studio guys are taken into account.

First, the numbers. The SPD-30 is also known as the Octapad, due to the 8 striking surfaces on the unit. Combined with the 4 external instrument inputs, this makes for 12 possible striking surfaces. This is further multiplied by the Layer Settings which provide for triggering secondary instruments depending on the values chosen in the Instrument Settings. So, there are potentially 24 different instruments that could be accessed in any given Kit.

The unit comes with 99 pre-built kits, but given the massive list of instruments (760 at last count, including melodic and pitched instruments) as well as the broad editing parameters for each (8 types) and the 37 built-in effects the potential for sonic creativity is seemingly endless. Drifting around in the SPD, I have bent and twisted some of the instruments into sounds that have no relation to the original. The spectrum of control over each instrument means a muso can create very personal sounds and styles.

The amount of choice is, obviously, quite large. But, for me, I have some very specific sounds in mind, and so although the unit has all these possibilities, what I found is that I use about 1% of what is there. The rest have no interest for me, or have no immediate application for what I'm doing. I appreciate the sounds, but I will not use them. If I didn't know exactly what I was looking for, I would be lost in this machine, probably overwhelmed with the number of choices available; like a European in the American cereal isle.

Spatially, the unit is relatively small (54w x 27d x 9h cm), but when integrated into a kit like mine it seems to take up quite a bit of real-estate. This has been one of the primary challenges, as I like to have a secondary snare in my setup, but I have had to sacrifice that to include the SPD. On a small stage the size can present some strategic difficulties. It is also adds a bit more to a load-in than I would like.

In terms of kinetics, the SPD-30 is a winner. The response time is immeasurable in human terms. The sounds are instantaneous and the sensitivity is user-dictated, so as a player with a light touch, I can get a response that is equal to what I put into it, mirroring the level of my acoustic kit. Although I can't find specs on the bit-rate, the spread of the frequencies extends beyond 20kHz and below 20Hz. This means that my little kick drum can shake Jeeps if necessary and glitchy sounds can fly above the crowd. The sound quality is impeccable.

In terms of the physicality of the pads, they are similar to many practice pads I have used. They provide a comfortable return in the stick without too much initial force. They have a very natural feel, unlike other midi-pads I have tried out. I have had no trouble with isolation issues or cross-talk between the midi pads.

Aesthetically, everything about the unit feels and looks good: the nobs, the buttons, the case, the lights, the LED interface, even the typography. It is a well designed and engineered instrument made for heavy use. Storm-trooper chic comes to mind.

The SPD-30 is also highly expandable. It has four external trigger inputs and a USB-midi port for laptop integration. I use three external triggers, an RT-10K, RT-10s and a PD-9. These three triggers are like nerve endings that provide enhancements to my analog kit. This is the thing that really has me hooked on the digital system. The triggers can be calibrated to match my playing, so they never intrude on my acoustic playing, they provide perfect integration. I love them.

Some Cons
Although the SPD-30 has loop creation and playback capabilities, using these in live performance can be a bit wonky. What the websites don't tell you is that in order to launch any loops without using the LED interface, the Boss FS-5U pedal (sold separately) is required. I bought it and hooked it up after creating some loop phrases. When I press it a secondary LED window pops up that tells me which pad to strike to start the loop. Then, in order to stop the loop I need to press the pedal again and hit 2 pads simultaneously! I have simply given up attempting this kind of thing live. It is great fun in a studio, but in a live context with other musos depending on me the potential for disaster is high. Roland should reconsider how these actions are assigned to the pads and eliminate the necessity of the pedal too.

The built-in effects are high quality. However, the system is built so that only one effect can be applied on a chosen kit. The single effect can be enabled or disabled on each pad, but alternative effects cannot be applied to different pads or instruments in a kit. There is no effects chaining possible. Changing the single effect's parameters is easy as there is a button on the unit interface which brings up the LED screen. Three knobs on the unit provide for tactile control over whatever parameters each effect offers. The level of control varies from effect to effect.

What has developed over my time with the SPD-30 is a neglect of using the 8 pads on the unit itself. The external triggers have satisfied the level of interaction I need with the actual "brain" of the sounds I am making. I am finding that I don't need to use the 8 pads anymore. I simply setup the digital instruments and play. The extent of my interaction with the larger unit has been reduced to scrolling to the next kit, some volume control and effects tweaking.

The absence of an SD card slot means I can't play my own samples, unless I want to hook up my Macbook Pro and trigger stuff in Ableton. That's a "No" to the multiplication of gear. (Roland has added the SD feature to their new Trigger Module 2, nice).

Conclusion
I have no complaints about the quality or technical aspects of the unit; it does what it promises, without glitches or unexpected problems. It is very solid. The issues for me have been making the instrument fit my needs in a live context. At this point it is the best solution, but having something more compact, without the pads, and with the ability to introduce some of my own sounds would be nice. As a mentioned before, Roland has introduced the Trigger Module 2 with the built in SD card slot. Besides being considerably smaller (13w by 13.5d cm), it is a fraction of the price of the SPD-30. One drawback on the newer Module: only two external trigger ports.

Yours in drums,
Chris