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The voice


GLORY BE TO GOD IN THE HIGHEST. The season of our breakthrough has arrived. We’ll be having our third edition “Season 3” of our program *WISDOM* This month edition  will be a great one by the grace of GOD. We’ll having a great music facilitator to lecture us on this session and his name is *MANASSEH GAYA*

Wisdom is key to success. In life we all take steps, without the knowledge of anyone and we think it’s the best. Do you know what *WISDOM IS WHEN YOU PUT GOD FIRST IN EVERYTHING*

Proverbs 3:7
Do not be wise in your own eyes; fear the LORD and shun evil. (NIV)

Proverbs 11:2
When pride comes, then comes disgrace, but with humility comes wisdom. (NIV).

For more info you can visit us on FB: ADETOLA DANIEL
You can call us on our line : 0809 593 7736 / 09066564336.






How to make money with music

 The secret to 6 FIGURES

Do you need to “know somebody” or get lucky to build a fan base and grow an income as an musician.

Absolutely not!

As long as you’re making good music in a genre that as an audience, they is a straight forward way to predictably and reliably grow your fan base to focus on the music.

Seeing things for years to make a living from music. But trying this techniques, I built up the SIX FIGURE SALARY.

But before we talk about success, we need to talk about the failures. Here’s three of the most common indie business strategies, and why they all end up falling flat.


1). UPLOAD AND PRAY : Most of us think that when we get over our album back from mastering and upload it, to the world distributors of our choice, the work is done.

Cloud will part, angels will sing, fans also will sing, with wallet wide open and adoring looks on their faces, and our amazing songs will rise to the top, based solely on how awesome they are…..reality not so much.

By estimate, there over 50,000,000 songs available for purchase, steaming or download. That’s more than the combined population of Nigeria, Ghana, Liberia, Senegal, South Africa. When we upload our music for the world for distribution, guess what happens?. Our lonely song gets lost in that giant sea of music.

So the best way not to make an money from your music is to upload., and pray for lighting to strike. “Upload and pray” is not a strategy tat works..yet that’s exactly what 99.9% of indie of musicians do.

When some musicians, just upload..they feel they have arrived, but they have not, because lots of music are online to watch and download. “PRAYER” matters.


Many young musicians are into this, which I call this method “Beg record company to listen to your songs”.

Thus is a popular method because musicians are conditioned to think that once you sign a record deal, all your problems are solved.

“” money flows like water””

No more struggling. It’s all luminous, mansions, hatch, and all of that, living a big life.

But the reality, record ideal, objectively speaking, are some of the worst contract on earth. So in life we ought to know we who we’re,  depending on. Let’s watch out.

They are famously and horribly lopsided in favour of the record company. Because the record company job is to make as much money as it can from your music. And by the way, the first thing that happens when you sign a record deal is this: Your music suddenly becomes THEIR MUSIC.

And that’s not so big advance payment they give you? Plus all the cost of making your album: That’s amount to a loan.

  “” You have to pah them back””

Record companies no longer sign deals with up and coming artists… unless the artist already have a large fan base. See, it’s this days which result to “hard times” for record companies these days, and they only Wang to sign deals with artist who are already making money.


3). Assume TWITTER will make you famous.

Okay, so we’re not going go “upload and pray” and were not going to sign a record deal that’s we’ll regret for the rest of our lives.

We then begin to think and reason, how are we going to market our music..

We’ll the answer is obvious, isn’t it?

Is not there a set of miraculous tools that will save the day, make us rich and famous, and allow our dreams to be achieved.

After all, ts the era of “Drum roll”


We can reach about millions of people, instantaneously using Facebook, Instagram, Twitter, telegrams etc.

Isn’t this obviously the way to make money with our music? Well this social media platforms has helped greatly, to improve the lives of many people around the world, and also it has its negative effect.

Looking at it, it turns out that social media is amazing for entertainment and buildiy relationship one-on-one with other individuals. In fact, social media is 30 times worse at generating sales than the tried and true method that I used to generate the six figure strategy. 

This is the same method of millions of internet businesses use. It’s the method that generates billing of Naira every year, in thousands of different markets. This method is very amazing at encouraging people to buy most importantly for us. It’s also encouraging people to buy and patronise your music.

Its also the cheapest marketing method to use.

But the facts is that

It’s not reflecting light

Its not new

It’s not sexy

It’s not flashy

It’s actually kind of mind-numbing .

But it’s actually cool and nice, because it works. 

So what are the Six figure Strategy

  • Grow an e-mail list full of fans and build a genuine relationship with them over time. You tell them and invite them to like your songs.

It sounds to say, we think it should sound very vast. In this case, cosmic definitely isn’t more effective.

Well people encounter lots of argument about use of email.

  • People don’t like e-mail
  • People don’t read e-mails
  • E-mail old school and old fashioned
  • It contains spam filters which eat e-mail

    Email is not perfect, but emails is very good and perfect method that’s is most effective. But it very good to spred the word, and invite people to buy your music.

Here are the three steps process to make money with your music.

It all comes down to three simple steps.

  • First we need to locates fans of our genres.

This is when social media can be of great help to you. Some genres have large online communities that you can become part of. We have so many genres that don’t and you’ll have to look a little harder to find where fans hang out. Its all about growing your list. Your e-mail is the most important assets you have. Your fans need a landing page. Where you’ll give them a sample of your music. And provide them a sample of your work  “music “.

Make friends with your new subscribers.

  • Be genuine
  • Be real
  • Be honest
  • Be open.

Give them an insider’s look into your process. Tell them real stories about the real you.Don’t disrespect them by hammering them with nonstop sales messages! Give them things they’d never get if they weren’t on your list. Make them look forward to hearing from you!

If you do these things, they wil buy your music — even today, when they don’t have to buy ANY music from ANYONE.

Your “secret  weapon” is a genuine connection with your fans.


If you’re anything like most musicians, you might be saying…“No way, brah. This can’t work. Nobody wants more email.”

Except that it does work. Here’s why. Nobody wants more crappy email. But everybody wants more awesomeness in their inbox. When people see e-mail on their phone, some might ignore it. But you just have to keep checking it for more updates.

You Can Do This, Too.

Remember, only two things matter:Make great music that fans of your genre will love.Grow an email list of fans and customers… and treat them like friends and family. They will support your career. Making money with music really is a simple process.


It’s important to keep two things in mind.

  1. When building a business, you need to take time. There’s a lot to learn, and we all make lots of mistake along the way. But if  you’re deligent and you stick with it and don’t quit, you’ll be amazed at how far you can go.
  2. just like writing, recording, producing, mixing, and mastering your songs…There are some details to master. And there’s obviously not enough space to cover them all in one brief article. If you’d like a more in-depth walkthrough of the blueprint. I will give you a guide if you’re interested.

Finally, we all learn everyday and learning is awesome. But just like our music, it’s all about doing. Try and build a marketing system to grow your fan base…


The six figure are the strategy, tips and essentials a drummer should know. Beginners are by far the largest population of drummers, and they come in lots of shapes and sizes. While some teachers do a great job of taking into account age, background, and learning modalities (visual, auditory, and tactile), others use a cookie-cutter approach (probably because they were taught this way) to help their newbies. Work out of only one book, hold the sticks a certain way, play within only one genre of music, learn certain rudiments, and so on. In the not-so-distant past, self-learning was very limited: pick up a book (or a magazine, of course), listen to recordings, or watch your favorite drummers play live. You might have even popped a few instructional videos into a VCR. With the wealth of high-tech educational resources available to beginners these days, including YouTube, DVDs, e-books, online lessons, websites, and apps, we’re swimming in a sea of innovation. The following are tips and strategy a drummer must know.


Grip Holding the sticks in an efficient manner is key to getting off to a good start. An easy way to find your grip is to stand up with your hands at your side. Using your left hand, place the stick into your right hand. The flat part of your thumb should make contact with the stick and your remaining fingers then wrap around naturally.

Fulcrum Pinch the sticks between the thumb and first joint of the index finger and/or the thumb and the second joint. Some drummers feel more comfortable using the middle finger or a combination of index and middle finger.

Tight vs. Loose Gripping the sticks too tightly keeps the tip from bouncing freely off the playing surface. Secure the stick only hard enough to ensure that it doesn’t fly out of your hand.

Angle Of Attack The American grip (where the sticks become an extension of the lower part of your arm and the thumb is in a 3/4 position) produces a playing angle of about 60–80 degrees. This makes it easy to target the inner concentric circle of the drumhead, and allows you to more easily access both wrists and fingers. The French grip (thumb on top) and German grip (thumb on the side) are also useful (the French grip, for example, works well for playing time on a ride cymbal or a floor tom), but the American grip is the preferred way to start.

Matched vs. Traditional Beginners often find traditional grip more challenging to pick up than matched. The traditional fulcrum (non-dominant hand only) is located in the fleshy webbing between your thumb and pointer finger (instead of between two or three of the fingers in matched).


This are techniques which will guide you through, or pave a way of understanding.

Heel-down vs. Heel-up In heel-down technique, the entire bottom portion of the foot remains on the pedalboard as the lower leg and ankle push down. This technique allows for the beater to bounce easily off the head, producing a more resonant bass drum tone. In heel-up technique, your heel rises slightly off the pedalboard, while the ball of the foot remains. With heel-up, it’s easier to bury the beater (allow it to remain on the head), giving off more attack and less resonance. This technique uses the bigger muscles in your upper leg and hip and can yield extremely powerful strokes.

Vocabulary Learning the names of the parts of the drum kit and the history of each, whether teaching it to yourself or communicating with your students, is not a waste of time. In fact, it will save you hours of frustration in the long run.

One Note At A Time When faced with a daunting groove or lick, you can approach it one note or one group of notes at a time. Your brain can more easily absorb small bits of information that way.

Copy Cat This fun method requires two or more drummers (though it is possible to do this activity by yourself). The leader (often a teacher) plays a lick and the follower (the student) copies it.

        3. TIME AND GROOVE

Drumimg is mostly used for accompaniment. Our job is to help convey the message and support the song. Though there are many great play-alongs available, drumming to music that includes both vocal melody and lyrics is invaluable. The following are things that you should take note of, when playing.

Metronome Developing a steady pulse is of vital importance for every drummer. Metronomes are now available as apps and are a great tool to strengthen your timing.

Patterns From time to time, a beginning student shows up to her first lesson, and immediately wants to learn an advanced beat or fill. As a teacher, sometimes you have to dismiss the request. Other times, you can use that enthusiasm to teach a whole slew of interrelated skills and concepts.

             4. COORDINATION

 Drum set coordination can be a frightening prospect to beginners. One way to develop coordination is to use ostinatos (continuous patterns). The idea is to get one or more of your limbs going repeatedly so you won’t have to think about that limb as much.


The following rudiments are relatively easy for beginners to grasp: single-stroke rolls, double-stroke rolls, single paradiddles, multiple bounce rolls, five-, six-, seven-, and nine-stroke rolls, flams (including power flams), flam accents, flams taps, and Swiss army triplets.

Application Once you are accustomed to these rudiments, apply them to the drum kit

       6. DYNAMICS

Dynamics as it relates to drumming, is the actual volume and power with which you play each of the “voices” of your drum kit. For example, you can play soft notes on your snare drum (aka “ghost notes”), or playing louder rim shots to add an accent to a certain beat. These two strokes are on opposite ends of the spectrum, and thus exaggerate the difference that dynamics can make.

Balance Depending on the musical genre, dynamic balance can be of utmost importance. For example, in rock the kick and snare are most predominant, while in jazz — except for playing accents — the ride cymbal is heard above the kick and snare.

Accents: The excitement generated by surrounding louder notes with softer notes (or vice versa) is one of the hidden keys to masterful drum part creation. Some drummers struggle with the concept of raising or lowering the stick height to produce louder or softer notes.

Crescendos: A crescendo is a gradual increase in volume from soft to loud, which often provides tension in the music….




Wow, it’s all GOD mercies and grace, that’s keeping us alive. We ought to push and move on, to prevent idleness. To ensure we stay busy, get something doing, that’s it. Being idle can’t profit anything.
Back to our lectures 3, we talked about the Cymbal, where by we discussed about different types of cymbals we mentioned the “Splash, Crash, Ride, The sizzle, China cymbal and the Cowbell cymbal.

Now we are moving on to another, phase entirely. We will be talking about RUDIMENTS.

We all know before we can conclude any discipline, we ought to have known the basics, fundamentals and Rudiments. I will say that Rudiments is a fundamental principal or skill especially in a field of learning. Bringing it down to music, it is said to be one of the basic drum pattern learned as an exercise.

This are beats used to create independence between the two hands, and feet) in drumming.This beats ca then be manipulated around the
drum set or with any percussion instrument.
They are currently 40 rudiments (or standardized drum rudiments).
For instance we have the.

Single stroke roll

Double stroke roll

Triple stroke roll

Fifth Stroke roll

Sixth storke roll

Seven stroke roll

Nine stroke roll

Ten stroke roll

Single paradiddle

Double paradiddle


So now.
Let’s give some definitions of some of the RUDIMENTS.

Single stroke roll: This is a single percussive note. It consist of a single stroke either by RL or LR

Double stroke roll: It consist of two single stroke by the same hand either by RR LL or LL RR

Diddle: A diddle is a double stroke played at the current prevailing speed of the piece. For example if a sixteenth not passage then any diddles in that passage would consist of sixteenth notes.

Paradiddle: A paradiddle consist of two single stroke followed by a double stroke. ie” RL RR or LR LL
And so on…

There are thirteen essential RUDIMENTS

1″ The double stroke open roll

2″ The five stroke roll

3″ The seven stroke roll

4″ The flam

5″ The flam accent

6″ The flam paradiddle

7″ Flamauce

8″ The drag ( ruff or half drag)

9″ The single drag tap

10″ The double drag tap

11″ The double paradiddle

12″ The single retamauce

13″ The triple retamauce.

I am very sure you’ve learnt a lot from this..

For more you can visit me on
IG: Iam_dharniel_stixx



There is one very important skill you need to master to be a successful drummer…dynamic drumming. In this blog post I’ll teach you what it is, how to develop it and when to use it.

Instagram is dynamic drumming-free

Lately on Instagram I see many young drummers playing everything at one dynamic level, LOUD! Their playing is either ON or OFF. It’s like they have an on and off switch for their drumming. There’s no dynamic level in between.

Many drummers don't use dynamic drumming. They only have an on and off switch to their drumming.

I know it’s fun to play like that and I do that too sometimes. There are also, a lot of really cool drum licks and beats y’all are trying to learn. I commend you on working to improve your drumming! I think though, we need not forget that dynamics play in a HUGELY important role in music.

So what is dynamic drumming

Dynamic drumming is the ability to adjust the volume of your drumming to match the overall volume of the music you are playing. For example, in Pop music, the verse is often where the vocalist will tell the story of the song and drums will be quieter. When the chorus comes around, we usually elevate our volume and energy to provide dynamic contrast. The chorus or “the hook” as it’s often called is a secondary idea that supports the story of the verse. If there is a bridge (a tertiary idea) in the song, we may take the energy and volume even higher.

We use dynamic drumming in Jazz all the time.

In Jazz, we use dynamics in a similar way. For the A sections of an AABA song form, drums will be quieter during the A sections. The B section is usually more energetic and a little louder. That’s because, again, the A section is the main story-telling part of the song. The B is a secondary idea that supports the A.

Almost 100% of the time you are going to have to reduce your volume when there is a singer.

Other types of dynamic drumming

When there are solos in a song it’s common to start them quieter so that the volume can increase little-by-little and build tension and excitement. This approach might also be used in play kicks or rhythmic figures played in unison by the band. There are many other musical contexts in which we can use dynamic drumming. The contexts I shared above are some of the most important.

Dynamic drumming and vocalists

A place we will need to use dynamic drumming is when we play with a vocalist. Almost 100% of the time you are going to have to reduce your volume when there is a singer.

Dynamic drumming is always necessary when performing with a vocalist.
I also enjoy singing very much!

There are a completely different set of overtones that occur at lower versus higher volumes.

You’re always going to have to blend your sound with the vocalist and support what he or she is singing. If you’re overpowering them, you’re not going to get called again. The vocalist has to be heard. They’re telling the story of the song and the story is important.

Your drums resonate differently when played softly. There are a completely different set of overtones that occur at lower versus higher volumes. When you can play with dynamic drumming, the soft parts of songs will sound more natural. Your softer overtones will match the softer overtones of the vocalist and other instruments. It’s comes down to Physics and Physics cannot be ignored.

The easiest way balance stage sound

The absolute easiest way to adjust your volume to fit the sound of the band is to zero in on the quietest instrument or vocal you can hear.

If we’re in a Jazz situation, the softest sound will be the acoustic bass. That’s generally how it’s going to be unless they’re pumping through an amplifier and they’ve got it cranked going up to 11! In that case it might be the piano or vocalist who are the quietest. For the most part, however, it ends up being the bass.

Dynamic drumming helps us match our volume to the quietest instrument.
Match the sound of the quietest instrument.

So, what I do on gigs, is focus in on the quietest sound and match my volume to that volume. When I do that, the balance of the band often self-corrects and balances.

Volume control trick

If the rest of the band members are playing too loud, you can also use your dynamic drumming to bring them back to a musical dynamic level. If you bring your volume way down, the other instruments are likely to follow you which is a really nice little trick.

I use this a lot when the volume increases so much, I can’t really feel the music anymore. When it becomes just a wall of sound, I drop my volume and usually everybody of responds by doing the same. That helps us to come back to a place where we can actually hear and feel the music more deeply.

Dynamic drumming requires fine motor ability

This is an easy concept to understand but it can be very difficult to play quietly with control. There’s usually one thing that stops drummers from lowering their dynamics. It’s fine motor ability.

When a baby picks up a Cheerio with their fingers, they’re using fine motor skills. It takes a baby longer to master that than it does to learn how to crawl or stand. Crawling or standing are examples of gross motor skills.

Playing with brushes requires almost 100% fine motor movement.

Fine motor means using small muscles and gross motor means using big muscles. The Instgram drummers I mentioned above are very comfortable with hitting hard because that kind of playing requires mostly gross motor skill only. It’s the fine motor skill that is so difficult for us to master. This is also why brushes are challenging for most drummers. Playing with brushes requires almost 100% fine motor movement.

Practice dynamic drumming

We also have a difficult time with lower-volume playing because maybe we’ve practiced everything at one dynamic level. For example, we practice our flams or our flam taps only at forte. We never practiced them at other dynamic levels. So how do you practice dynamic drumming? How do you get yourself ready to go out there in the real world and play with dynamics? It starts in the practice room.

What you need to do is practice all of the exercises, songs, hand patterns, grooves, etc…at a very soft, very quiet, volume. You will then train your muscles and your body to play softly. During your practice time, focus on trying to play everything at a piano (p) or mezzo piano (mp) volume level. You’ll be training your muscles to execute those particular drum patterns at a quieter dynamic level. Then, when you get out to the gig, you’ll be able to play with dynamic drumming.

Learn to play with brushes

Brushes are the ultimate dynamic drumming tool.

Now, another way that you can improve your dynamic drumming and increase your fun, is learning to play with brushes. They’re a lot hareder than learning how to play sticks, but they’re very rewarding. The sounds and textures you can create are vast. So much creative drumming is available to you if you learn how to play with brushes.

Recently, I’ve been putting up some videos of me practicing brushes with my drumless drum practice tracks on DRUMMING4LIFE.COM, which is my also have a lot of brushes lesson videos for you to see.

In the video’s you’re going to see that brushes have a nice dynamic range of piano (p) all the way up to probably just below forte (F). So, that’s another thing you can add to your dynamic drumming toolkit.

If you are looking for somebody to help you learn how to play drums and really learn how to play in particular jazz drumming, which is what I do and what I teach, I encourage you to contact me. I’m now doing online lessons through Zoom. My email address is We can work something out to help you achieve your drumming goals.

Concluding thoughts

I hope blog post has been helpful for you. I want you to remember that dynamics are going to be a really, really important part of your playing and your success as a drummer. The drummers that can nail the dynamics get called over and over again. And the drummers that don’t nail or pay attention to the dynamics don’t get called. I’m just being real with you because I want you to be successful.

Please stay safe out there. There’s a lot of crazy things going on in the world right now. So, please be careful and as always KEEP ON DRUMMIN’!




In this blog post, I’m going to share with you the secret to learn drums fast. Let me ask you this question. When you practice drums, do you start off maybe with a warmup or two and then get into the really hard stuff you want to learn. You try to play that hard thing a couple of times like your drum teacher or someone else played it on YouTube, and you mess it up? Then you start noodling around, jamming on the drums. Five minutes later you refocus and try again? You’re thinking, “Let’s get back to it. I’m learning this. I’m going to nail it!”

You try it again, but you still can’t do it. So what do you do? You start noodling again, playing all the stuff you already know how to play. Then before you know it, 30 minutes has gone. Maybe an hour has passed and you still didn’t learn the new thing you set out to learn! Is that you? That sure as heck was me before I learned how to practice effectively and efficiently every time. So why was it so hard to nail that new thing you were working on? Give up?…..Speed.

I should write you a speeding ticket!

Play it slow to learn it fast

You were playing it too fast. I should write you a speeding ticket! My practice today is much different than it used to be. It used to be so much time practicing that way. Now, I start off with a warmup and then I get right into the hard stuff. The difference between the old days and today is, I take it really, really slow.

You have to play it slow to learn it fast.
You get a speeding ticket for practicing too fast!

So slow, I would be embarrassed in the past if anyone heard me because I sound just like a beginner. Oh no! But here’s the thing. Every time we learn something new, we are a beginner! So the mantra I share with all of my students is, “You have to play it slow to learn it fast.”

Your brain will learn whatever you teach it

Now, let me explain why you have to play things slowly when learning something new on the drums. Your brain is elastic and it’s going to learn whatever you teach it. It learns the sound, muscle movement and the coordination of anything you’re trying to do. If you are, for example, working on a new hand pattern and you try it five times in a row at a speed that’s too fast for your brain to learn, you’re just going to mess it up every time. If you’re going too fast, it ain’t going to happen.

Your brain will learn whatever you teach it. Teach it right by practicing drums slowly.

Guess what you’ve also done by practicing that way? You’ve taught your brain how you don’t want to do it and that’s exactly how you’re going to play it! Now you’ve got to undo all that you’ve learned to learn the thing you actually set out to learn. It’s crazy. It’s nuts! You might as well just bang your head against a wall! That’s going to be more effective!

I want you to try playing new things really slow, I mean really, really, really slow with no tempo and no metronome. As drummers we’re always focused on time but for this, I’ll give you your get out of jail free card, okay? You don’t have to focus on time. I just want you to focus on the movement, the coordination, and the sound of what you’re trying to achieve. Just do play things really slow and just focusing on every little motion. Concentrate on every little sound that you’re making.

You’re going to play it correctly every time!

It may seem slow but you’re learning fast

If you do that, guess what? You’re going to play it correctly every time! You’ll be teaching your brain and your body what you actually want to learn with each stroke of your drumstick. In the beginning, it may seem like it’s taking a lot of time to play things slowly. When you’re learning something new and you’re starting off slow, it does seem kind of tedious.

The reality, however, is that you’re going to achieve greater speed and solid muscle memory, faster. Your muscles will remember the motions that you’re performing so much faster than if you tried to play things fast from the beginning. Trust me on this. Try it. You’re going to see that it works! It’s absolutely incredible!

Von Baron on a huge drumset. Muscle memory will be hard to learn here!
Woah! Try getting muscle memory on this kit!

Another interesting thing, is that if you’re working on drum set grooves and change the position of your hands, your brain is going to have to encode that change. For example, let’s say you’re nailing a groove with the right hand on the right ride cymbal. You then also want to try playing the groove with your left hand on the left ride cymbal. In the beginning, your brain may think that it’s a totally different groove because your body movement, hand position and the sound have all changed. It’s kind of like having to relearn the whole pattern again just because of the changes in your body movement and the changes in the sound. So again, you want to go slow, very, very slow.

…most drummers don’t know…how our brain works and how we learn

Von Baron - I don't know.

Now it’s amazing to me that most drummers don’t know these basic facts about how our brain works and how we learn. This is why I wanted to share this with you. I have one more really important bonus I want to share with you today. Before I get to that, I want you to know about an incredible practice tool that I’ve created for you.

Learn with drumless tracks

I want you to have every way possible to enjoy productive practice sessions. Playing with recorded music is one really great way to reinforce the things that you’re practicing and learn how to play new skills. It’s always a good idea to get yourself some really great professionally produced drumless tracks. I’m talking about really good sounding tracks that inspire you to play.

I have created Jazz Swing and Bossa Nova/Samba drumless tracks for drummers. I know they’re going to help you out a lot in your practice, and you’re going to have a lot of fun. You’ll be playing with real musicians too! They’re at my store page. Go check ’em out!

A relaxed brain is a learning brain

Let’s get back to the bonus thing want to share. I want you to know that when you are relaxed and you’re not under any kind of stress or pressure from yourself or your teacher to learn something new, you’re going to also retain so much more information. This is because when we are relaxed, our brain is not in that fight or flight mode. There’s no stress disrupting our thought function in our brain. All of the learning receptors in the brain are wide open for business and ready to learn. This is why I always make my YouTube videos on and my private drum lessons really fun and relaxed.

Take a break to learn faster

So what if you’re going slow and you’re nailing your drum parts but you’re a little frustrated because you really want things to go faster? Take a break. Even a 5-minute break will relax your brain. Focus on something completely different like watching TV, listening to some music or talking to somebody about something unrelated to drumming. Just get your mind off of the drums.

What your brain is going to do during that time marinate on what you’ve been teaching it. It’s going to do that for a while. I’ve read studies that this can happen for up to 48 hours after you’ve been learning something! I’m not sure it’s that long, but it’s definitely a long time.

Your brain is always learning

Your brain really is incredible. It will process information and keep processing information to help you learn what you need to learn. If you think about it from a survival perspective, it’s important for the brain to learn. It keeps us out of danger and helps us acquire knowledge that is important for us to know. We can also increase our happiness.

Take breaks when practicing.
Take a 5-minute break to relax your brain.

So take that 5-minute break and when you return to your practicing, you’re going to be able to do it. I’m not kidding you. Almost 100% of the time my students can do it! I completely distract them for a few minutes when I can see that they’re getting a little frustrated. I distract them and talk about something unrelated. They think I’m kind of going off topic. Many times they’re thinking, “What’s he doing? We’re in a drum lesson here.” 5 minutes later we return to the lesson material and they nail it! They look at me incredulously like, “What just happened here?”

Final thoughts about learning drums

Pretty amazing yeah? Your brain is going to help you learn drums. You’ve just got to give it a chance. Knowing how it works will help you partner with your brain to quickly learn what it is you want to learn.

I hope this post has been helpful for you, and if you like what you’ve read, please share! It will help me immensely in reaching more enthusiastic drummers like you! KEEP ON DRUMMIN’!

Check out more helpful blogs to improve your drumming!



There has NEVER been a better time in history to get better at playing the drums! What are your drumming goals? Do you have drumming goals? How about improving your coordination, speed or dynamics? Or, what about fixing that weak hand? In this blog post, I’m going to teach you the anatomy of a goal and how use it to supercharge your practice!

Growing up, Von Baron had many snare drumming goals.

Drumming goals guarantee success

When I was starting out on drums, my only goal was to become a professional drummer, period. What I didn’t know is that there would be thousands of smaller goals I would achieve along the way. Things like learning:

  • Clean double stroke rolls
  • 8th-note drum beats
  • 16th-note drum beats
  • Jazz Swing feel
  • Jazz coordination
  • Brushes
  • Brazilian grooves
  • etc…

This is a partial list. Obviously, there were so many more, and all of those achieved goals have made me into the drummer I am today. I had great drum teachers along the way, who created drumming goals for me. As I achieved each goal, I felt successful and motivated to learn more. If we don’t have goals, we’re like a leaf blowing in the wind. We’ll skip from one thing to the next and probably not finish most of what we start. Progress will be minimal at best.

First and foremost, if you don’t have a teacher, get one! See my blog on how to choose the right drum teacher. Next, grab some paper and a pencil. Write down your top 3 styles of music you want to learn. Rank them by How motivated you are to learn them. These are mine, for example:

  1. Jazz (Super excited to learn)
  2. Brazilian (Excited to learn)
  3. Hip-Hop (Happy to learn)

In this blog post, we’re going to take your #1 style and write a drumming goal for it. You can do this for the other 2 styles or any number of styles you want to learn. For now, let’s focus on just one so I can teach you how to supercharge your practicing.

Setting goals helps you focus your drum practice time.

Setting goals in 2 easy steps

I teach goal setting to people of all walks of life through my book Gifted, 6 Powerful Steps to Live the Most Incredible Life You Can Imagine. Goal setting will work great for changing any aspect of your life. It will also work for helping you get better on the drums.

Writing out your drumming goals will focus your practice time on only the things that will help you improve. When we write things down, ideas become more real. Our path to be a better drummer becomes clearer with goals. So, it’s time to get those ideas out of your head and onto your paper.

The anatomy of a focused, powerful goal is: I AM POSITIVE AND S.M.A.R.T.


“I Am Positive” spelled out simply means:

  • “I” = You are the most important person needed to accomplish each goal.
  • “Am” = You are accomplishing your goal right now in the present.
  • “Positive” = You are clearly focused on what you want to accomplish.

Every time you write a drumming goal, it will begin with the letter “I.” You are the one who wants to get better at drumming.

Always write your goal as if you are already achieving it. This is the “Am.” If you keep your goal focused on the present tense, you will program your mind to get things done faster. It also helps you to stay focused on what you want to achieve. Here are some examples:

  • I practice
  • I learn
  • I search for
  • I buy
  • I play
  • I contact
  • etc…

Lastly, Use only positive words in your goals. Always focus 100% of your goal on what you want to achieve and 0% on what you don’t want. For example:

WRITE THIS: I play clean double stroke rolls…

DON’T WRITE THISI no longer play messy double stroke rolls…

Write the words that create an image of what you want in your mind. This is very powerful in helping you stay motivated. Words really make a difference.


Next, let’s learn about the S.M.A.R.T. part of your drumming goals. S.M.A.R.T goals make you crystal clear about what you want to accomplish with your drum practice. They also help you know what action you need to take to achieve your goals the fastest. Let’s break down the acronym S.M.A.R.T. for you now.

  • S = Specific: This is the What, Who and sometimes Where of your goal. Be very specific with your wording. Make it abundantly clear to yourself, exactly what you want to accomplish. Paint a future picture in your mind about what you are doing on the drums.
  • M = Measurable: Measurable simply means that you need to write numbers into your goals to help you see your progress. Things like BPM (Beats Per Minute) and the number of minutes you practice a specific skill (i.e. double stroke rolls) are good examples.
  • A = Attainable: This means you want to and believe that you can, achieve your goal. Sometimes people say they don’t have enough time. This is where you decide if you will MAKE the time.
  • R = Realistic: Here, you have to be really honest with yourself and figure out if you have the necessary skills to accomplish your goal. Even if you don’t have the necessary skills now, you can develop them. For example, maybe you want to play your drums like Jazz drummer Tony Williams. If you have never played Jazz before, you may want to learn some Jazz coordination exercises.
  • T = Time Sensitive: This is the When of your goal. Be sure to write a specific date for your goal to be achieved. Add the month, day and year if you can. This will help you to get it done!


Let’s write a goal for your #1 style from your list of styles you want to learn. We’re going to focus on getting better at our double-stroke rolls. We use them all the time in every style of drumming so this is a good one. We’ll use reverse rolls as a goal to achieve this.

I start each drum practice session with 10-minutes of clean reverse double-stroke rolls by 07/01/20. (Check this video out for how to make your doubles clean!)




Each drum practice/reverse double-stroke rolls

10 minutes

I believe I can do it!

Yes. I know how to hold drumsticks









Time Sensitive

Plan your practice time

Once you’ve written 5-10 practice goals of things you want to learn for a specific style of music, use them to plan out your practice time. For example, the first 10-minutes of each practice will be playing reverse doubles. If you’re practicing for 1 hour then you still have 50 minutes remaining to plan. Fill in the rest of the practice time with your remaining goals. If you’ve still got some time left, just have some free bashing time on the drums!

Concluding thoughts

I’m sure you can see how specific your practice will become using goals. Write your goals everyday for best results! You can remove goals from your list as you accomplish them. Write new ones as you improve. You may also find that the some goals have to wait until a later time because you’re not ready to tackle them. That’s what I call Goal Shuffling and is a natural part of the process.

Just keep writing and reading your drumming goals every day and they will soon become a part of your thoughts and actions. Get ready for your drumming skills to explode!

I can help

If you’re not sure what things you should be working on and which goals are appropriate for your drumming improvement, find a teacher. If you are interested in learning Jazz drumming, I would be more than happy ever if you’d like to schedule a private lesson. You send an email to, will we back to as soon as possible🎶🎶


Venting :

On many snare drums, a “venting hole” is made “to ease the motion of the heads” avoiding too high pressure rise inside the shell. While it is a common practice to drill one or many holes in the shells, some manufacturers prefer none, and some other are rally imaginative when it comes to “venting the drum”.

The studies on Timpani, showed that strong coupling occurred between the membrane normal modes and the cavity (closed in the case of a timpani bowl). That coupling explained how a non-harmonic system (the normal modes of a membrane) became nearly harmonically tuned (with a distinctive pitch) sometimes up to the 5th partial as some modes would change frequency depending on their mode shape.

Back to snare drum, that venting hole is defined as a sign of some “zero hertz” coupling: static pressure inside the shell linked to membrane deformation (and we will see that we mostly speak of the (0,1) mode being not volume conservative) causes flow out of the drum. But how does this work at higher frequencies? and how a axisymmetric venting opening would better accommodate the axissymetry of the instrument rather than a single hole ? What about using this opening as a radiating element and maximizing its efficiency through a “ported” profile ?

Lab tests :

Those questions have led Repercussion to develop a number of prototypes, and take them to the lab after positive subjective appraisal coming from professional percussionists. The snares studied are of widely different construction from the personal collection of Repercussion:

  • 13×7 Stave Oak : is a 13” diameter, 7” deep drum, and has a shell built by stave technique : alike barrels, pieces of wood are beveled and assembled together then lathed to perfect roundness. This is said to minimize the amount of glue vs ply shells and therefore, the damping of the shell and the sustain of the sound.
  • 14×6,5” “Free Floating” : is a 14” Diameter,6,5” deep drum with a rolled sheet metal steel shell (thickness = 1mm). The particularity of this drum is to feature no tensioning devices (lugs) or strainer on the shell itself, hence letting the shell “free to resonate” as claimed by the manufacturer.
  • 14×6,5” Mahogany : is a 14” diameter, 6,5” deep drum, with a shell made out of mahogany plies. 4 layers of mahogany are glued together, and reinforcement rings at the top and bottom of the shell guarantee roundness and strength.
  • Repercussion Orchestral snare : is a 14” diameter, 6,5” deep prototype drum, with a 15 ply maple shell (11mm thickness). Its main feature is a radial ported vent in its center resulting in a “split shell” architecture (2 half shells).
  • Repercussion 1O slots vent : is a 14 “ diameter,  6,5” deep prototype drum with a 8 ply (6mm) maple shell, featuring ported vent close to the top head, between each lug.
  • Repercussion Standard Snare radial vented : is a 14” diameter, 6,5” deep drum with a radial ported vent, made from a 8 ply (6mm) maple shell.

 A “gravity operated” arm has been developed to provide exactly the same kinetic energy to a drumstick, while controlling the trajectory to avoid multiple strokes. Vibration and acoustic measurement have been performed in anaechoic room, using lab grade equipment.

Snare :

A very distinctive element of a snare drum is the snare itself. This is a somewhat tricky element seen from the NVH engineer, as it is basically closer to one infamous “squeak and rattle” source. It is stretched across a membrane and would therefore rub and clatter against that membrane, depending on the adjustment of the membrane and the snare itself…In a nutshell : a very nonlinear element. The measurements below have been made with snares “on” and “off” to understand their contribution to the sound.

Results :


With a first membrane mode (0,1) located in the 200Hz third octave band for all the drums, it is noticeable that the snare Adds quite a lot of energy in the 1kz-1kHz band, and on “standard vented” (holes) drums, tend to “chop off” the first membrane modes up to 500 Hz by 10-12 dB.


Same as above, but seen up to 1kHz, with a narrowband spectrum.Note the presence of a lower component in the 120 Hz range on Repercussion snares, that will be discussed in another page.


On repercussion snares, the fundamental motion (1,0);(1,1);(2,1) modes and first partials are kept intact from the snare action, on all other standard drums those components of the sound are chopped off.

This is due to the loss of energy in the friction of the snares against the batter (resonant) head bringing some heavy damping to the top head : the smaller the venting, the strongest the coupling between the two heads, and the stronger the damping of the top head first modes. The snare is bringing heavy damping to the top head if the venting is not decoupling them enough. 

So Repercussion vented drums keep the low end, all right, what about the high end of the spectrum ? 

On the left: the loss in the fundamental third octave band : 11 to 12 dB loss for standard drums, 2 to 5 dB maximum loss for Repercussion.

On the right, global gain in the high frequency range (1kHz – 10kHz) ranging from +24 to + 32 dB



On Repercussion “Bessel vented drums” the sound is perceived with greater presence by the player, and quite notably by the audience a few meters away – One might think, in the constant “WYSIWIG” mindset it is because of the larger opened surface of the vent, drawing more sound around the drum. Although it is true that a ported vent radiates way more efficiently than a standard hole, for the particular motions of the head at low frequency responsible for that feeling of “presence”, it is really that freedom from the damping mechanism of the snares that helps build this “in your stomach” sound perception.


How do you get theater work?

July 3 2020

Since I began playing a long run of Hamilton in Chicago, I’ve been getting similar questions in somewhat random inquiries from people, asking questions similar to these:

How did you get this gig?  Did you audition?
How does one go about “breaking in” to the theater scene as a musician?
What kind of prior experience does one need to start working in Broadway-style theaters?

The main crux of these questions is this: how to go about getting work in Broadway-style pits.  I can only tell the story of my own path, which very well might differ from the paths of the other musicians I work with.  There’s no big secret to it; in a similar way to getting work as a musician in general, it boils down to this. You need to develop your skills, get out there, meet people and get heard.  Here are some impressions from my personal experience that I found worked well for me.

Become a musician first, a theater musician second

When I was a college student in the late ‘80s and early ‘90s, I worked to develop as diverse a skill set as I possibly could.  I was playing in jazz groups, big bands, pop/rock bands, Latin groups, learning as much as I could, and getting as much playing experience as I could.  I’d always wanted to build my career in three major areas:

  1. I wanted to play live: clubs, concerts, touring, corporate…whatever gigs I could possibly do for which I might be the right fit.
  2. I wanted to teach at the college level, private lessons, classes, clinics, or whatever else I could do.
  3. I wanted to do studio work. I’d always wanted to be a recording musician, and develop some of the unique skills required of studio musicians.

At that age, I wasn’t thinking about theater work at all, to be honest.  I had this (semi-accurate, at the time) idea that that kind of work tended to involve much more classical percussion playing than I was able to do.  In fact, I had played in my high-school productions of Anything Goes and Gypsy, and did a couple small shows in early college that had more or less affirmed that idea, although I did enjoy playing them all the same.

Over the years (mid ‘90s to early 2000s) I played as much as I could and built up a significant base of musical contacts, a few of whom were involved in doing theater work.  By this point, I had developed a solid reputation as a versatile drummer.  In early 2003, I was playing a corporate gig, and the trumpet player on the gig happened to be the contractor for all of the downtown Chicago shows.  He came up to me on a break and asked me if I’d be interested in auditioning for The Lion King, which was about to begin its first major run in Chicago.  I didn’t wind up getting the gig, but my audition was well-received enough that I got asked to sub on the show.

When an opportunity comes along, OVER prepare

After being asked to sub on The Lion King, I studied the music inside and out.  I went and sat with the main drummer, Jim Widlowski, for around 5 or 6 performances.  And, of course, I practiced the show (and listened to show recordings) every chance I had, knowing full well the unique “without a net” position a theater sub is in: No stopping, no do overs.  You have to keep going no matter what.  When the time finally came for me to play my first show, I was well prepared and the show went smoothly.

The above paragraph, I believe, is the most basic answer to the question of how to approach being a working musician: Work 10 times harder than you might think you need to, and you’ll be fine.  After my first show ended, I got the compliment from some of the other musicians that I would realize later is the best compliment a sub can get: “I simply forgot Jim (regular drummer) wasn’t there.”  When you can do well as a sub, especially the first time, you’ll impress the other musicians.  They know what a tough job it is.  Playing my first show well basically cemented my reputation as someone who could reliably be called for theater work, whereas prior to that I had not been on anyone’s radar screen in that scene.

After that, I started getting flooded with theater work on a regular basis.  Ha!  Just kidding; the business doesn’t usually work that way.  I did a few things here and there, but the reality is that I simply kept on doing what I was doing (gigs, teaching, sessions, etc.).  After subbing, however, I did get asked to play a 13-week run of the return engagement of The Lion King as the regular a couple of years later, because Jim was busy playing Wicked at the time.

As I previously mentioned, I had worked hard to develop a diverse skill set as a music student.  Many or most of those skills would turn out to come in handy in the theater:

  • Reading
  • Control of time and feel
  • Playing with a click
  • Playing with a conductor
  • Understanding a wide range of musical styles
  • Basic skills on percussion instruments: shakers, hand percussion, even mallets on occasion
  • Discipline to play a written-out part

Theater subbing: Trial by fire

Just about anyone will tell you that just about the only way to get into theater work is to sub first.  In fact, that’s basically true of just about any gig: playing, teaching, recording.  You’ll never know when an opportunity will come along (usually when it’s least expected), and you must be fully prepared for it when it does.  In order to do that, you must get to know the musicians (both on and off your instrument) who are playing regularly and look for opportunities for them to hear you play.

The interesting thing about subbing in the theater is that it tends to be a good deal more challenging than being the regular, particularly as a drummer or percussionist.  Here are a few things that make it more difficult:

  1. You have to come in and fit into a mold that has already been cast. It’s in everyone’s best interest for you to play the book in the same way as the regular—including tempos, transitions, fills—as to disrupt as little of the process as possible.
  2. You have to play on someone else’s setup, which may or may not be a good fit for you ergonomically (and subs are generally discouraged from re-adjusting things, as space is typically at a premium and mic placements are already set).
  3. You get far fewer opportunities to “get it right” than the regular.  The regular has the next show, then the next, etc., but as a sub you always feel a higher sense of pressure and immediacy.

So at the very least, there are a good number of extra challenges to being a sub over that of being a regular.  I’ve always felt that in a way that actually makes subbing an excellent training ground for playing theater.  If you can build your skills and reputation to the point where you start getting called often to sub, then the transition to being a regular will be a relatively easy one.

How Hamilton happened

As to how I got my current job playing the drum book for Hamilton, it’s a fairly simple story, honestly.  I was playing a production of West Side Story in early ’16, and the pianist on the show, Colin Welford, asked me if I might be interested in doing Hamilton, which would be starting up in Chicago in the fall.  Not to offer me the gig, but to help scout out interested parties.  He was to be the music director/conductor for it.

I was asked to submit audition materials (in the form of audio recordings of whatever quality was convenient), and was sent 5 selections from the show.  I took a few days and learned the music best I could.  The day after I submitted my materials, I was honored and delighted to receive the call informing me that I had been offered the job.  Later I would be told that one of the things that helped was the relatively short turnaround time with which I had gotten my audition materials sent, which was funny to me, because I felt I had really taken my time!

The long and short of it is that it was an opportunity that came along, and it felt to me like it had almost fallen out of the sky.  The reality is that I had spent many years, decades even, working hard, preparing, building my skills, subbing, playing with scores of different musicians and building my network before the opportunity presented itself.  I was at once lucky AND prepared, just as I had been when other great opportunities came along earlier in my career.

I hope I have been able to answer some of the questions in this article that people have been asking.  Thanks for reading, and as they say, “break a leg”

— Tom Hipskind

Professional Drum Tracking Studio Special note: During this difficult time of social distancing, I’m offering special discounted rates for all professional custom drum tracks. “Normal” prices are shown below; please contact me and I’ll be happy to work with you on getting a quote. I’m pleased to offer high-quality, affordable, multi-channel custom drum tracks for […]

— Tom Hipskind



Going forward in life, you have to seek for more knowledge. Still on type of drum kit “ANATOMY” in our last lecture we talked about the SNARE DRUMS. We learnt that the snare is a shallow drum, that’s between the legs of the drummer whilst, we also learnt that the shell is always made of metal wood with a depth of 6 and a diameter if around 12. But moving forward, we will be looking at the BASS “KICK” DRUM.As well we follow the lecture GOD will bless you. Musician probably guessed that this is the largest drum in the kit that produces the lowest pitch loom. Most Bass Drum are around 22′ in diameter, with a depth of about 16′ however, you can purchase smaller or larger varieties. Changing the diameter of the shell changes the notes pitch, allowing you to choose a size that works with the style of the music you play. The shells material affect the warmth or brightness of the note too. As for the skin, they have two, one either side of the shell. One is a skin and takes the hit from your drum pedal, the other is the resonator skin which faces the audience. Sometimes, the resonator skin has a hole cut into so that air can leave the kit quickly after being hit, this, in turn helps to reduce the notes sustain for a more defined sound. In terms of setup, it should be positioned on the floor in front of your
dominant limb. Because of its position, it’s played using a foot pedal whichstrikes the skin with a beater when you apply pressure to the footpad. The pedal is held in place by a clamping mechanism that clamps into it andcan be adjusted by tightening the spring, to add or remove tension while playing a rhythm in 4/4 timing, the bass drum is valley built on 1stand 3rd crotchet of a bar..


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