Coady Combo – A new wave of drop-clutches

And so the old saying goes, necessity gives way to invention. Needs strike, and trigger creativity in one’s mind, and when that occurs, old ideas can be re-invented and new development takes place. From rocks, to arrows, to swords, to machineguns, it is the very nature of the human’s mind, to recreate creation for better serving of its own existence. This process of development can be found everywhere around the world and in almost any industry, and why it should be any different when we examine the drum kit’s development history?

From the comprised sets of the 60’s, to the more elaborated kits from the 70’s, to the gigantic monster kits of the rockin’ 80’s. Because of this constant change, concepts have always been revisited and redesigned (something for better, sometimes for worse). Keith Moon played with a double kick drum, but had to abandon the usage of a hi hat. Modern metal drummers first solved the problem by adding a second hi hat so still could somehow take advantage of the complex sound dynamics offered by this essential part of a drum kit. Later the drop clutch was invented. An ingenious type of hi hat clutch that allows drummers to arm it when playing without the second kick pedal, or disarm it when doing double bass work, having the top hat just laying closed on the bottom hat, which happened to deprive the instrument of it’s characteristic sizzling sound. Forever a compromise, this lack of sizzling caused by the regular drop clutches, added to their noise generating, non-automatic functionality (a stick stroke is required to disarm the clutch). And it was this compromise that sparkled the development-driven, creative spirit of Canadian-based company Billdidit. TheCoady Combo (comprised of Coady Clutch, Coady Wash Control and Coady Trip Arm) arrived on the market with the sole purpose of revolutionizing, refining, and redefining the very existence of its predecessors’ drop clutches.

From the very first glance I took of the Coady, passion for innovation was what the phrase that crossed my mind. A recipe containing mechanics, magnetism, physics and obvious imagination, this three-piece apparatus displays uniqueness with its look while smoothing out many of the problems found on regular drop clutches. The Coady Wash Control provides plenty of customizable sizzling control over the hit hat when the drop crutch is disengaged. This simple and clever piece can be even purchased separately and can prevent any drop clutch from creating lifeless hi hat sound when the top cymbal is dropped. A heavy-duty screw system allows the player to carefully and precisely choose top and bottom hats contact and better serve their taste, style, cymbal weight, and their own dynamic performance. The screw is mounted on top of a heavy-duty spring that absorbs the chock of the cymbals, smoothing the transition between engaged/disengaged clutch positions. The Wash Control is a smart invention that will probably lead other drop clutch manufactures to envy Billdidit, with a feeling of “why didn’t WE think about this before?”

The Coady Clutch itself is another great idea that it works as well in practice as it does in theory. Here, a traditional hi hat clutch design is enhanced by the technologically advanced disk-drop-clutch device. Made of a heavy-duty plastic material, the disk holds the clutch by use of magnets. Simply hit the disk and the clutch will drop. Step on the hi-hat pedal and the magnets engage the clutch once again. The disk features six slots for magnet placement so one can better calibrate the drop clutch sensitivity regarding cymbal’s weight and playing technique. Although the Coady Clutch and the Coady Wash Control already represent a step beyond all other drop-clutch designs and functionalities on the market, theCoady Trip Arm is what brings all these innovative concepts together making this three-piece mechanism the first automatic drop-clutch ever. Why should a drummer have to hit the clutch for the cymbal to drop? Why not make it so that every time you step out of the hi-hat pedal and into the double bass pedals, the clutch drop by itself? That’s exactly what the Trip Arm does. The Trip Arm might turn a few heads when someone first sees it, wondering what that strange device might do, but as strange as it might look, it works, and who knows, it could become the norm and one might eventually wonder why a double bass drummer does not have one on his hi-hat.

The Coady Combo installation is quite simple. You can intuitively figure out how the system works. The Trip Arm might take a little extra time to perfectly optimized it with your hi hat stand and playing style, but once you find that sweet spot you have no more worries. The Trip Arm not only can be disengaged mid-play, in case you want to use the Coaby Clutch as a traditional drop clutch, but also is easily removable, so you have it ready to go gig after gig in matter of seconds. Once every main device of the combo is perfectly calibrated to your musical taste and style, this revolutionary drop-clutch works terrifically, and it quickly becomes a piece of your drum kit that you don’t even have to think about, yet another thing that sets it apart from traditional drop-clutches. It’s like it is not even there, you go back and forth between pedals and the combo does its job, you’ve got your sizzling hi hat cymbals while playing double bass, you have a controlled and dynamic hi-hat when you groove with the single bass drum pedal.

Ideas come and go. When ideas are well executed, chances are they will create a mark in history. The unique and innovative ideas put on the Coady Combo already are great ones. Double kick drummers worldwide will ultimately decide if this product will make its dent, but in my case, this combo is now a full-time member of my own drum kit.

The Coady Combo retails for $89.98. You can also purchase the pieces separately, The Coady Clutch costs $49.98, TheCoady Wash Control $12.98 and the Coady Trip Arm $34.98.

For more information please visit www.billdidit.ca 

Evans GMAD – A Breed of Punch & Tone

There was a time when the only solution to get more punch, controlled sustain, and presence out of a bass drum in the mix was to run to your bedroom and grab the first available pillow or blanket, and shove it right into the drum. Although this creative technique is still put in practice in studios and on stages all around the world, many of the biggest names in drumhead manufacturing have sent their designing skills to the drawing board to create a more polished version of this concept, not only making the application of such a technique more refined, but also saving us the embarrassment of having our old bedding items as part of our drum equipment.

Evans started to experiment with the idea of creating mounted dampening systems on bass drum heads with the release of their EMAD series. The EMADs quickly became one of the company’s most used heads. Pushing the concept a little further, Evans then decided to synthesize EMAD’s dampening system with the dense, punchy and durable qualities of their G Plus series. The G Plus features an exclusive 12-mil single ply film made especially for Evans. The breeding result of these two heads gives birth to the GMAD.

Evans’ GMAD can be considered a sort-of “kit” for punchy bass drums, if you will. Single thick film for attack and low-end tonality, a set of two (3/4” and 1 ½”) foam rings for the featured mounted system, and Evans’ slam patch. Truly a nice combo if you want a bass drum with a super defined attack, something that I believe most drummers want, but can’t always easily obtain. The combination of these ideas culminates in what differs this head from those propped by pillows or blankets, Tonal Quality. Commonly, if you want more attack and punch, chances are sustain and tone will suffer. This certainly doesn’t apply to GMAD. The externally mounted adjustable damping system enhances and sharpens attack definition while controlling and not killing the true tone of the head. Because of its thickness, the 12-mil single-ply film creates bold low-end frequencies, which is then controlled and smoothed by the EMAD system, giving it a shorter decay.

The sum of the concepts applied on GMAD gives this drumhead an aggressive attack character but with a beautiful and rich tonal core. The GMAD fits well on many music styles, from RnB to Pop to Metal. For those looking for professional and punchy sounding kick, the GMAD is certainly a great option to go with.

For more information please visit www.evansdrumheads.com

Ddrum's Reflex - A Drum to Reflect On

For a long time, Ddrum was a name only synonymous with drum triggers. At its inception this made a lot of sense, but lets fast forward through the company history and development.

The brand actually began as a division of Clavia, the Swedish electronic instruments manufacturer best known for the Nord line of keyboards. In 2005, Ddrum was acquired by Armadillo Enterprises, a company who also owns Dean Guitars. The acquisition turned out to be not only a turning point in the company’s history, but it also helped broaden its catalogue by launching them into manufacturing acoustic drum kits. Today, Ddrum offers a respectable variety of acoustic drum kits. Each of the Ddrum series features distinctive construction and sound, providing a quality palette for all types of tastes, budgets, and musical styles.

The Ddrum Reflex is one of the newer drum kit series released by the company. Like all the other series, Reflex also comes with unique features that help characterize not only its sound, but also its market value. Reflex represents Ddrum’s intention of delivering a high-end drum kit with a much more digestible price tag for the masses.

Defying Standards

Some of the features that the user will find on Reflex will certainly not reflect the same standards of the majority of kits out there. Take for instance its bass drum. An unusual and impressive 22” x 20” size brings edge to both its look and sound. The bass drum, as well as its snare, features 8-ply shells enhancing sonic quality. Reflex comes with 10” and 12” rack toms and a 16” floor tom. One might argue about the disparity of jumping from 12” to 16” and avoiding the traditional 14” rack tom. That, once again, is Ddrum’s way of further pushing the limits of conformity in the drum kit market, making their series stand out from the rest.

But the feature that really gives the Reflex kit its uniqueness is the wood from which is it constructed. Apparently Ddrum is the first company ever to use Alder wood (Alnus Rubra) as the prime matter for a drum kit. Commonly used on guitar bodies (and frequently found in furniture) Alder wood resonates a rich tone while simultaneously being lightweight. It is also abundant in the environment, allowing for a more affordable market value when compared to more traditional woods used in drum kits such as maple for example. Interestingly, Fender has used Alder wood for over 50 years

for the bodies of their legendary guitars.

Reflex also comes with a few of the more commonly found features such as the Face-Off Lugs, standard tom arms and clamps and single-ply stock drumheads. This series also offers an assortment of interesting and attractive finishes to choose from.  Chrome and White Bubble Wrap are certainly eye catchers.

Sonic Distinctiveness

When evaluating its sonic qualities one starts to better understand more about the construction choices made by Ddrum for the Reflex series. Overall, the kit projects a well-defined attack with the right amount of warmth, just enough to give fullness to its bright presence. When analyzing the kit in parts, one can more accurately see how each segment of the kit supports and complements the other. The elongated bass drum produces an impressive clear attack, especially when taking into account its enormous body, which emanates plenty of low frequencies as well. Much like the bass drum, the snare also produces a sharp response accompanied by a fat quality that one can sometimes only find in more expensive snare brands. The Reflex’s toms are, at least in my point opinion, the elements that give the extra sonic edge to this kit. These short toms, especially the rack ones, project such a defined attack that bears the sonic qualities of a timbale. Think Neil Perts’ kit on Rush’s R30. The floor tom, although sharing certain sonic aspects of the rack toms, it also produces a well-balanced sound like the bass drum, with nice attack and not overwhelming “boomingness”. Although I could certainly see the Reflex kit being used in many different types of music, I believe it would be a perfect match for jazz, funk, R’n’B, Drum’N’Bass, and Pop Rock drummers.

On the Bright Side…

Ddrum’s Reflex is certainly not the usual $500 drum kit that envisions imitating some type of more expensive one. It’s definitely a drum kit apart from the rest. The very characteristic of being sonically and visually different from its counterparts makes Reflex a drum kit to be sought out. And on top of that, its affordable price makes it a great investment for any type of drummer, be he/she a beginner or a professional. Reflex definitely sounds like reflex and nothing else. And one has to appreciate that. It’s in the details like the elongated bass drum, the choice of wood, and the uncommon array of tom sizes that the appeal for kit is built upon and where the consumer will find its value.

Yet another good side of this kit is that it comes with something that many other brands have attempted but failed to accomplish. Good sounding stock drumheads. Reflex features single-ply Ddrum-brand drumheads. Their durability, as anyone might guess, are definitely not their strong selling point as they will wear out quite quickly, especially for hard hitters. But sonically, they sound really great. It makes the kit very exciting to play one you first set it up. It also works as confidence booster since it makes one feel that he/she made the right purchase choice. Definitely another bit of evidence that whoever came up with Reflex’s package had put some good and hard thought into it.

…On the Not So Bright

Many of the most respected (and expensive) drum kits do not come with a rack tom mounting system attached to their bass drum. The majority of kits with a lower price tag, just like Reflex, do. But that’s not the case. Such mounting systems, as many drummers out there know, presents advantages and disadvantages. Basically what it does is it affects the tonality of toms and bass drum, because vibrations and overtones directly travel across the tom stand. But on the other hand, it makes the set up of the kit more practical. So this issue is more of a compromise that one that has to do with a design flaw. Reflex is the type where perfection of tone seems to weight more than convenience for set up. Make sure to have a stands or a

drum rack available if you intended to purchase this kit

A second issue that seems to bother, at least this reviewer, is the face-off lugs. The problem here is more aesthetic than mechanical. To my eyes, the face-off lugs give a certain look of cheapness to the kit. They do function great and they can handle a decent amount of tension without ever detuning, but I feel that if Ddrum had invested a bit more into this small detail, the kit would certainly look more professional. But I also understand that simple details like this can play a huge part in a product’s cost.

Conclusion

When analyzing construction, sound, look, and especially price, Ddrum Reflex is a drum kit that is worth every penny invested on. I feel it is very difficult to find a kit in this price range that can offer the professional construction and sonic qualities that this kit does. In a recording environment as well as in a live performance setting, the Reflex drum kit is able to handle both quite well. It projects presence and body into a drumming performance.

For those just begging to drum as well as to seasoned drummers, Ddrum Reflex is a kit worth checking out at the store. If Reflex does not fit all the requirements that one is looking for in a drum kit, I can see it serving as the middle of the road kit for such a person. But I feel would be really hard for one to not like Ddrum Reflex. I’m sure even band mates will be impressed once they discover how much of the budget you used to paid for it. 

Aquarian introduces acoustic/electronic drum triggering with inHEAD

Besides being chosen “Best In Show” at NAMM 2011, Zildjian’s Gen16 AE (Acoustic- Electric) cymbals were not the only product release in the convention with goals to revolutionize the sound-triggering world. Much like Zildjian’s Acoustic-Electric Cymbal,Aquarian, which paired up in collaboration with MIDItroniX, introduced in Anaheim the inHEAD, the first acoustic drumhead with electronic trigger built-in.

Combining the sensitivity and feel of a real acoustic drumhead with the Force Sensing Resistor (FSR) film technology; the inHEAD enters the market as a product that could revolutionize electronic drum triggering. The advantages of the inHEAD are not restricted only to its real drumhead qualities, which allow drummers to play their favorite drum, without having to sacrifice his drumming technique. Since the FSR works by measuring pressure rather than the drumhead vibration, the inHEAD is bullet proof when speaking about crosstalk and miss triggering, two of the most inconvenient problems found in any electronic drum pad. Despite these two essential enhancements to the technology, the inHEAD’s sensor is claimed to be the most sensitive on the market. The inHEAD comes with its companion, the inBOX, which allows you to attach the inHEAD right into your drum module. This new acoustic electronic head also aims to benefit experimentation and hybridizing of drum sounds using triggers and microphones. Special inHEAD drum mutes will also be available so it can use as a traditional electronic pad set, allowing drummers to play the inHEAD even when silence is required.

Since triggering quality, unwanted crosstalk, double triggering or loss of low-end sensitivity seem not to be an issue for the inHEAD, the big questions remaining now are how much its retail price will be, and how durable can it be. These are the two variables that for sure will decide the success of the product. InHEAD is scheduled to hit the market around May 2011.

For more information about Aquarian and the acoustic/electronic inHEAD please visit www.aquariandrumheads.com

For more information about MIDItroniX please visit http://miditronix.com

Ddrum new drum kits and hardware for 2011

This January Ddrum not only expanded their product line but implemented a major upgrade their website. With a cleaner design and more informative structure, the new site is surely a welcome change for all Ddrum players and fans. The company is slowly growing in the market and their Artist Roaster includes giant drumming names such as metal drummer legends Dave Lombardo, Shawn Drover, Vinnie Paul and Carmine Appice. Known mostly for their ultra popular triggers for acoustic drums, Ddrum’s drum set lines continue to grow and being upgraded. For 2011, Ddrum has three new drum set-related releases and is introducing their new heavy-duty hardware line, The Heavy Hitter Hardware.

Ddrum’s Alder shelled, warm and focused tone drum kit, The Reflex Series, is getting a new beautiful finish, making over the series with a striking new look. Some of the new astonishing finishes include Grey Bubble Wrap and White Bubble Wrap. This affordable and naturally equalized kit will try to persuade new players not only by its balanced sound but also by its new look. Another drum kit release from Ddrum this year is the Vinnie Paul Signature Limited Edition drum set that also features alder shells. This limited edition kit comes with shorter and smaller toms (9” x 12”, 10” x 13”, 16”x 16”) bass drum (20” x 22”) and snare (7” x 14”) when compared with Vinnie Paul’s Artist Signature kit. The snare drum features Dunnett throw off system and the kit has a unique look with Vinnie Paul’s Custom Dragon Wrap.

The third and last drum set release from Ddrum this month is a new version of their smaller, entry-level and road friendly D2 kit, the new D120B differs from the D2 by featuring smaller tom, snare, and bass drum sizes. It comes with Basswood shells, D Series oval lugs, crash, hi hat, and ride cymbals, stands and throne. A great option for your youngster or for the van-traveling, pub-playing drummer.

In addition to drum kits, Ddrum is also coming out with their new heavy duty hardware. The Heavy Hitter Hardware is comprised of straight cymbal stand, HideWay Boom stand, Short HideWay boom Stand, add on cymbal arm, and three beautiful professional thrones. The Heavy Hitter is now Ddrum’s top of the line drum’s hardware series. 

Alesis introduces two DM8 Electronic Kits

Alesis is introducing two new models of electronic drum kits to their extensive catalog. Following the success achieved by the recently released DM10, the new DM8 USB Kit and DM8 Pro Kit both feature similar technology, but offered at smaller prices. Like the DM10, the DM8 sound module comes with array of genuine recordings of real drums and cymbals featuring advanced Dynamic Articulation, which gives the kit a realistic feel, performance, and sound. The DM8 sound module also features an exclusive metronome to facilitate practicing and performance, play along tracks, professional audio and trigger inputs/outputs, plus MIDI and USB MIDI for expansive flexibility and connection to a wide range of devices.

The DM8 USB Kit is a five-piece kit that comes with a dual-zone snare pad, three tom pads, a kick pad, h-hat with control pedal, crash with choke, and a triple-zone ride. The DM8 USB kit also comes with a preassembled four-post DMRack that is very sturdy and makes for quicker and easier set-up. This kit also comes with rubber drum and cymbal pads, making it more affordable and a good option for students or beginners.

The DM8 Pro Kit, on other hand, features Alesis’ RealHead drum pads, which highly upgrade the kit’s performance, feel, and triggering. The DM8 Pro Kit comes with a 12-inch snare, 8, 10 and 12-inch toms and an 8-inch kick pad that accommodates single and double pedals and DMPad Cymbals, a 12-inch Hi-Hat with RealHat control pedal, 14-inch Crash with choke and a 16-inch triple-zone Ride. A new sturdy StageRack accompanies this kit and features a quick easy set up and improved design and is now also being shipped with the DM10s.

The DM8 USB Kit and DM8 Pro Kits are available from musical instrument and pro audio retailers. The DM8 USB Kit has a U.S. Retail Price of $899.00 and an estimated street price of $699.00. The DM8 Pro Kit has a U.S. retail price of $999.00 and an estimated street price of $799.00.

For more information please visit http://www.alesis.com

Yael’s drumming gear and more

Had I not come across the recently released The Love Project DVD, I would have missed out on the opportunity to talk to one of the most passionate drum artists that I have ever had the privilege to chat with. A charismatic person and skillful drummer, Yael shows all her many years experience behind the kit through words in this exclusive interview I had the honor to conduct for MGR.

MGR: Where does your love for drumming come from?

Yael: I was the pots and pans kid that found a rhythm to everything from Mom's cooking to the Stevie Wonder and world music played at home. Got first toy drum set at 6 (bashed through it in a few months) and at 13 got my first used Ludwig 4 on the floor kit with one cymbal and a hi-hat. I was in love with figuring out how to play everything on drums. It's amazing when it first starts to click and you find your groove.


MGR: On a daily basis, how often you are behind the kit?

Yael: At this particular time I'd say I'm playing a bit almost everyday as now I have a kit set up in a little guesthouse that I can play at all hours, day or night. It varies depending on who I'm going on the road with or what sessions I have coming up. Or what songs I have to learn, create parts for, or just free time to jam with my mates. But sometimes I go quite a (frustrating) while without playing enough, for example, while editing DVD, I barely played besides when we actually recorded and filmed drum parts.

MGR: What was your first drum kit?

Yael: The toy kit was called a "Sterling Beat" but a real kit was blue sparkle Ludwigs 22”, 12”, 13”, 16” when I was 13.

MGR: What kit you are currently playing and why?

Yael: I play DW drums and have been endorsed with Drum Workshop since 1999/2000. My kits also vary with the projects I do. What you need for one band isn't necessarily the best kit for the next. For instance I am currently doing some "one offs" with a flamenco Spanish style guitarist so I have fallen deep into loving my DW mini-pro kit and I used it live at our Grammy museum premiere where Love Project performed live for the first time in LA. The kick has a unique, almost 808 (drum machine) sound to it. It's configuration is 16” kick (yes,16!), 10” rack, 13 floor. I add my 8” mini timbale and 6" rataban also a PDP 805 10" popcorn snare to the left of the hats. ("Great things come in small packages" kit). But in yesterday's session I recorded at Mikal Reid's studio, for an Irish singer-songwriter's album on a Bonham-esque set up 22” kick, 12” or 14” rack, 16” floor 14x6” Black Beauty snare drum ... not my own unfortunately. The sexy old school "all one needs to rock" kit. On Lynch or Caffery or heavier Skolnick type songs/albums that I've recorded, I've used my Spiderpine 22x18” kicks double bass, 14” rack in the middle, 16 floor on left, 18” floor on right. Big loud drums. On the Miller tour with Res, Talib Kweli, I used 13” snare, 20” kick, 10” rack, 10” popcorn snare, 6” rataban, 14” floor. Way more funky and punchy, a little tight.

MGR: What about cymbals? 


Yael: I'm with Sabian cymbals now. Size and set up also varies accordingly The Radias are badass and I love all the tiny f/x. Bozzio’s nano hats rule as do very large chinas for recording soundtrack or scoring jobs. Trying to get into that a lot more these days. I use HHX x-plosion fast crashes and AAX crashes 14 -20” then the Roy Mayorga signature ride is going on my list. The ozone killer crash is sweet and Max Stax amongst my favorites.

MGR: What drumsticks fit better your drum style and why?

Yael: I have a signature "drumaddict" stick with Vic Firth. Very similar to 3A wood tip. I prefer the stick not to go skinny at the tip, almost one thickness all the way through. Medium in weight and has to feel comfortably balanced to your hands.

MGR:What about drum skins?

Yael: Remo for heads. Right now I'm using Ambassadors for this recording and Black Suede Emperors live. Powerstroke 3 on kick drums.

MGR: How often do you replace your drumheads?

Yael: Snare heads the most, but when at home playing they last about a week to 10 days recording - maybe 2 songs - and live - just one show per snare head. Toms last longer at home - kicks last longer with the Falam pads. I find Black Suede EMPS last the longest. And they look the best, which doesn't suck.

MGR: Do you have any tricks you use when tuning your kit?

Yael: Sometimes for the kicks I tighten evenly throughout the normal criss cross method and loosen the top two lugs, just to get the Sound as close to Bonham as possible, but without pillows or losing any resistance off the kick beater itself. Lay into it and feel like you're hitting something - Nothing better than a great sound to get you in the zone. Moon gels are a great help in the studio as well. Even cut them in half sometimes just a tiny piece is all u need.

MGR: What mics do you feel make your kit sound the best?

Yael: That varies on studio and budget but this package sounds nice:

C1000 Condenser Microphones

C518M MicroMics with Mounts

D112 Dynamic Microphone

My favorites in the mix are usually the room mics. 

MGR: What are your favorite drum recordings?

Yael: I have so many favorites - simple to complex from Mahavishnu to Queens of the Stone Age, Alain Johannes solo record, Spark resonates quite magically. Always love my Soundgarden to Stevie Wonder and the Beatles to Beastie Boys, Missy Elliott and Mastadon - but the ultimate drum sound recordings has been any LED ZEPPELIN for me... New Stone Sour with Roy is a true evolution in an amazing drummer, finding a band for his own voice - great grooves, new Shooter Jennings with Bryan Keeling is epic, Ojos de Brujo cuz they rule, Them Crooked Vultures with Dave G is incredible. A Perfect Circle with Josh Freese and a real close second to Bonham vibe, I'd have to say The Dead Weather with Jack White on drums has been my favorite this year- quite brilliant live too. 

MGR: How do you warm up before a gig or session?

Yael: Before a session I drill the songs over and over in the house on the iPod in the car etc, and actually don't play to it for a while - only a bit for review, not a few notes on the snare drum and go! Live. Just kick it on a pad or couch arm for a little bit to take the edge off but should do better with that next time I'm offered a bigger tour. 

MGR: Are you planning to take The Love Project to the road?

Yael: We managed to get a few of us together at the Grammy Museum premiere in Los Angeles to play. I would love to take the project on the road but obviously people like Terry Bozzio are very "special guests" and maybe only available for one offs. There is a way we are trying to sort out and a few of us have performed together at SXSW music and film festival in Austin and most recently in Portland at Pendulum Dance Theaters High Art show. It's a crew so big in a sense yet, between 4 or 5 of us... we can execute most of the material quite nicely using stems for piano or cello, etc. We hope to find a way to take it on the road because with the DVD and EP out we have requests to play from Brazil to Hawaii to Tokyo and Europe/UK. That would be a blast. 

MGR: Any advice you would give to those leaning toward a drum career?

Yael: Be passionate. Stay focused and don't be too hard on yourself or take the business side of it too seriously. We get into music because we love to play. If it's your passion you will find a way to make it work for you. Good luck! Follow your heart and make it count. 

For more information about Yael and The Love Project, please visit http://www.drumaddict.net