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

Curt Bisquera Wheels You On A Chill Ride

Curt is one of those drummers that you think you’ve never heard about, but in reality you have. He is one of the hottest session drummers in California and his huge drumming portfolio is something not accomplished by many. This, in fact, was the first time I heard about Curt Bisquera (aka Kirkee B), and I’ve been playing drums for over 13 years. If his intention with the release of this DVD (The West Coast Adventures of Kirkee B.: Curt Bisquera on Wheels) is to spread the word about his work, I must tip my hat to him. And it does so in a cool, laid back way.

When I first read the press release for this DVD, I was very excited. It promised a “tour to the greatest recording studios in Los Angeles”, although in my opinion the word “tour” is being misused here. A “pass-by” would be a better fit. The movie starts in great style with a very cool session in the Studio A of Capitol Records. Laying down an amazing performance right off the bat, Curt started to make me anxious to see what was coming next. And that’s when the “tour” starts. Passing just in the front of a few studios while playing some sick beats and sharing some stories on top of one of those tour-through-a-city buses, Curt’s stats started to pop up in the screen, showing just how many sessions he’s done in each of the studios. This was a bit of a disappointment as it would have been great to have some footage of the interior of each studio.
Skateboarding from his house to JR Robinson’s and Luis Conte’s, Curt shows off a little of his unique lifestyle. He pays a visit to his old drum professor for a jam session and then, after passing in front a few other studios, Curt gets down to business. With two more sessions, Curt shows off his skills, and that is what I really enjoyed on this very chill DVD. Along with some extreme close-ups of our main character, the bonus content shows some technical tips on drum tuning and damping, but nothing that you wouldn’t have already heard about unless you are a drummer still wet behind the ears.

Conceptually, this DVD could have done a little better. Just imagine actually touring through all the greatest recording studios of LA, seeing the studio rooms and equipment, sharing stories with great audio engineers and producers! That could have taken the DVD to a whole new level. What really saved me from true boredom are the few, but awesome, performances by Curt and some of his top-notch friends. To say that this DVD will not provide you any inspiring or educational purpose would be short-changing it. I do give props to Curt for sharing his mantra in the very end of this movie: “There is only one Curt Bisquera, and that Curt Bisquera has something to offer that no one else has to offer.” Words of wisdom that every drummer can put to use towards their own music career. There is always something that only you can offer and no one else, and that is yourself.

Interview: Matt Nolan Custom Cymbals; craftsmanship & innovation

We live in a world where the market dictates product creation, displacing artistic craftsmanship and forfeiting quality for the sake of quantity. That being said, there are still some true artists out there, slightly hidden in the middle of a society dominated by giant corporate monsters. Matt Nolan Custom Cymbals keeps it pure, bringing artistry and quality to the masses who are still looking for it.

Following an accidental online discovery, Matt Nolan’s website popped up on my computer screen and immediately captured my attention and filled me with awe. Eager to known more about the man behind the incredible work I was researching, my fingers enthusiastically started typing an email to inquire about a possible interview. This feature interview is what followed.

MGR: Let’s begin with how it all started. Where did your interest in starting to make hand-made cymbals come from?

Matt Nolan: Hmm, let's see. I've been playing drums since I was about 13, having been in the school choir before that. Playing in the school orchestra was followed by drumming in the college "dance band" (like a small big band) and then rock, pop and jazz-funk groups through university and beyond. Today, I play in a rock band, a piano boogie band and I play avant-garde free-improvisation with a great experimental guitarist using a big rack of my gongs.

I've never really stopped playing drums since I started, but there was a period about 6 or 7 years ago when I wasn't able to do much due to domestic / family reasons. I think the need to be creative had to find a vent. Being in a band takes lots of time and a strict schedule. Whereas tinkering with making cymbals could be done on a more ad hoc basis.

Also, just prior to that, I had been playing mostly on electronic drum pads, with headphones. I mean, they were pretty good - the mesh head V-Drums - but starting back again on acoustic drums with real cymbals was such a joy. The nuances and subtlety of expression possible with real cymbals especially so. Thus, a fascination started to grow.

MGR: Where does some of your inspiration come from for some of the intriguing designs and forms you give your cymbals and gongs?

Matt Nolan: I'm working from a visual as well as a sonic aesthetic. Sometimes it was "I wonder what this shape will sound like "sometimes it was" I wonder what shape you need to get this sound I can hear in my mind's ear". The more you do, the more you learn, the more you can predict the answers. Cymbals and Gongs are about material, shape and tension. Shape has many dimensions, and tension can be evenly distributed or varied. Also, in conjunction with or separately to shape, you can play with surface finish to create designs.

I like natural forms and I like geometry. I have the most fun when I can bring the two together somehow.

MGR: From a sound perspective, how would you differentiate Matt Nolan Cymbals from the ones found in retail stores?

Matt Nolan: I like mysterious sounds, unusual sounds, dark and smoky sounds in general. A lot of the cymbals I make are dark and often quite dry also. But I like a good depth of expression too: a cymbal that has lots of different sounds hidden in it, sounds you have to learn to play as you get to know the cymbal better. I try to make cymbals that are truly different, that give the player more scope to define "their sound".

Having said that, I do produce some more mainstream sounding cymbals too every now and again.

MGR: You work on your own, right? Or do you rely on anyone?

Matt Nolan: Right. Just me. Cutting, hammering, playing with fire, cleaning, buying materials and tools, making tools, selling, packing, shipping, answering phone and emails, doing the website, making youtube videos, doing the accounts, planning shows, setting them up, manning show booths, the lot! I spend less than half my time actually crafting. Though that balance is slowly shifting upwards.

I'm lucky in that I have a few friends that help out here and there. For trade shows and public drum shows, there's usually somebody who's good enough to help me on the booth so I can dash away to see other things, take a lunch break, etc. I have a good friend locally who is a bit of a photographic and video genius too. He helps me out occasionally on those fronts and lots of the time with general advice and encouragement.

MGR: How long does the process of creating one of your cymbals usually take?

Matt Nolan: Usually around 4 to 8 hours. Or, to answer that from a different angle, about 6 years!

MGR: Every craftsman had a teacher. Where did you learn the techniques you apply to craft your cymbals?

Matt Nolan: Well, really, I am more-or-less self taught. Most independent cymbal makers are. You work things out by trial and error, and by studying existing cymbals. You use your eyes, your ears and your fingers. But, I would be dishonest if I left my answer there. I did read a lot of postings on a web forum called cymbalholic.com by the independent cymbalsmiths Mike Skiba (USA) and Johan van de Sijpe (Belgium) - both sadly now passed away. Oddly though, I never really understood what they were talking about until I had actually experienced it myself. You get the light-bulb moment later on.

Also, I owe a great deal to the nomadic Welsh metal-crafter, Steve Hubback. I bought a ride cymbal from Steve (via cymbalholic) when he was living and working in Iceland. Now he's living in Prague, in the Czech Republic, but for a short time he was living in Wales and not that far from me in Bath. The cymbal I bought was amazing. I bought it before it was made, so the first time I saw it was when I opened the box. I still remember the amazement in seeing it. A work of art.

Such a unique sound though. I wanted some brothers and sisters for it. So I went to see Steve in Wales a couple of times. I watched him work and he showed me a couple of things. Nothing in too much detail though. Which is good. It is nice to find your own way, so the work you produce has a more personal style.

MGR: What the materials are they usually made of?

Matt Nolan: I use a variety of Bronzes from B5 to B15. Recently I've been dabbling with B20 too, though I want to keep that to a minimum really as that is getting into "same as everybody else" territory. Ultimately it is about sound, and the different sounds of each alloy. A lot of people look down their noses at stuff like B8 or anything called "sheet Bronze". I hope to change this view. In fact, I am already - word is slowly getting out. If you put the time and care and effort in, wonderful hand-hammered cymbals can be made.

Outside of strict Bronzes, I use a couple of Bronze-like alloys too. I also use Nickel Silver, mostly for gongs but occasionally for hi-hat bottoms. I make cymbals and gongs from certain alloys of Stainless Steel - a very different sound world. I've been doing some experiments with Titanium and Titanium Alloys. Similar in sound to Stainless, a bit brighter and less dry. Very light and very strong though. Also, incredibly hard to hammer - ha!

  

MGR: Currently, how many different types of metal percussive instruments do you offer on your catalogue?

Matt Nolan: Difficult question. My current paper brochure just has a few examples in it and my website doesn't have everything on it - which it needs to. I need more hours in the day.

Let's see. I guess if we stick to groups of instruments then it's not so difficult. Cymbals, Gongs, Tam-Tams, Tuned Plates, Symphonic Triangles and Sound Sculptures. I did do hand-hammered and braised cowbells which sounded awesome and had elaborate motifs hammered into them but they just take so long. I'd have to charge more than a ride cymbal - so I gave up on those.

MGR: You call some of your crafts "Sound Sculptures". Do you find that many drummers are currently cut off from (or unaware of) the world of possibilities metal percussive instruments offer?

Matt Nolan: To a certain extent, yes. I hope that through my work I will broaden a few people's horizons - not just to things that I make, but to the possibilities that percussion has to offer in general. There is so much to explore. Historical instruments and new ones.

Sound Sculptures in the cymbal and gong sense are really a Steve Hubback invention, inspired partly by his appreciation of the Baschet Brothers' work in glass, steel and aluminium. A very elaborate cymbal or gong could be called a Sound Sculpture. At the other end of the spectrum, you have large constructions with lots of different sounds you can play on them. The key thing to a Sound Sculpture is the visual art aspect. But they've got to sound good and be fun to play too.

MGR: Are there any notable artists in particular in the drumming world playing Matt Nolan Cymbals? Anyone you admire who you would love to see take a shot at it?

Matt Nolan: Well, there's a handful of guys who have big-brand endorsement deals but also have a piece or two of mine in their sonic arsenal. I don't like to squeal on them, though I think I'm up to 6 Grammy Award winners now. People I can probably name as the instruments they have are not strictly cymbals and thus don't clash would be Will Calhoun (Living Colour), Damon Reece (Massive Attack), Joe Travers (Billy Idol, Duran Duran, Zappa Plays Zappa), Billy Hulting (Percussionist with Zappa Plays Zappa), Emil Richards (nearly 2000 Hollywood soundtrack credits!) and a growing number of Orchestras including the BBC National Orchestra of Wales and the Boston Symphony.

I have 3 endorsers myself. They are more percussionists than drummers really. William Winant - you may not have heard of him but he's played with Sonic Youth, Mr Bungle, John Zorn, the Kronos Quartet and lots more. Watching him play in Mr Bungle back in, I don't know, 1995 something like that, was quite inspirational. It's great that he now has some of my instruments. Lisa Pegher - solo orchestral percussionist. One to watch - maybe the next Evelyn Glennie. Ryan Edwards - a West African drumming expert (and he's had Malaria 3 times for his trouble) is working his magic for me in and around Berklee in Boston.

MGR: How can someone buy Matt Nolan cymbals?

Matt Nolan: You can buy them from my website - www.mattnolancustom.com - I typically have more in stock than appear on the shop page - so please email. I also undertake commissions. In the USA, on the web, there's usually some stock at www.mycymbal.com , www.rarevintagecymbals.com and www.brandontrading.com.

As for bricks and mortar stores, there's usually some stock at Fenland Music in Ely, Cambridgeshire, England, La Baguetterie in Paris, France and Drumcenter in Cologne, Germany. Komaki Music in Toyko, Japan have some Symphonic Triangles of mine. In the USA there's Pro Drum in Hollywood, the Memphis Drum Shop, Maxwell's in NYC and Andy's Music in Chicago. Dave's Drums in Ottawa, Canada too.

Or you could go to the London Drum Show, the Chicago Drum Show or PASIC. I have a booth at these and you can try out cymbals and buy them right there and then.

For more information about Matt Nolan Custom Cymbals, please visit www.mattnolancustom.com