Not For Sale

I have recently received email asking if this blog is for sale. It is not.

I own the website www.drumwild.com and other sites containing “DrumWild.” At this time, I am still utilizing this identity, and will be continuing to do so.

Why anyone else would want to purchase my identity is beyond me, although I doubt that it is for humanitarian purposes.

WordPress sites are available for free. Anyone who wants one can just sign up and get one.

Again, my identity is not for sale.

Was I Successful?

In first grade we had a show-and-tell. Mine was simple. I asked the teacher, Mrs. Gettinger, for her pointer. The map of the United States was above the chalk board. I took the pointer, pointed to Hollywood, California, and told the class, “When I grow up, I’m going to move there and play drums.”

Of course, everyone laughed. Meanwhile, many of them had no idea what they wanted to do with themselves. It would be way too easy for me to bad-mouth Indiana, so I won’t. Besides, I may want to go there to retire before I’m 60.

Success is defined by the person who is striving for a goal, and not by the people around them. Long-term goals sometimes require modification due to changes in the cultural climate.

I got to LA around the time that the metal hair bands were about to die. Everyone was in the same boat. We were playing the Sunset Strip, starving to death, and pushing for our goals. Some made it, and some didn’t. Everyone wanted fame. Some got it, like Motley Crue and Poison. Some didn’t, like me. Others died trying, which was the saddest of all.

At the time, my goal was to be a rock/metal drummer. But the genre was on its way out, to be replaced by thrash metal. Guys like Metallica and The Bullet Boys took over. I played thrashing death speed metal for a while, but then decided that I wanted to live past 23. People all around me were dying of alcohol poisoning, drug overdoses, going to prison, and getting caught up in various things that would do any person in if they got involved.

It was time to modify my dream.

The genre I played was dying, and Grunge was the final nail in the coffin.

This was just the beginning.

Over the years and decades, other changes took hold. Live bands would move aside for DJs. Music stores would go out of business and give way to online purchasing (and piracy). The cassette tape would give way to the CD, then the MP3. The music industry drastically reduced their scouting programs, meaning they would stop discovering new bands on the Strip. Instead, they’d opt for manufactured acts designed to sell product. Producers would start losing their studios when people started recording at home on their own computers. Guitar Center would start selling Guitar Hero to make up for lowered sales of actual guitars.

Some of these changes took hold overnight, while others seemed to simmer. I knew they were coming. These changes forced me to modify my dreams. When it comes to music, the dream has to keep up with the times.

At first, it was all about being rich and famous. At best, fame is a fickle bitch. To witness evidence of this, all you have to do is turn on your television on Sunday, go to VH-1, and look for any “behind the scenes” or “where are they now” television show. You can turn to any “celebrity” reality show and see how many of the once-famous are now scraping the bottom of the barrel to get something.

As the times changed, my goal changed. Fame and wealth were no longer in the picture. Those were dreams of the young who hadn’t experienced much in life or art. Along with the times, there were a variety of incidents where I learned the hard way that getting inside the industry isn’t all it’s cracked up to be. There is the fantasy of what it’s all about, and then there is the reality. The reality of the situation can no doubt force dreams to be modified.

In lieu of fame and wealth, I opted for artistic creativity. That is, doing what I want, how I want, finding the market and tapping into it.

Today, my goals still include artistic creativity. That’s one side of it. This side is fed by being involved in a variety of original projects. If I’m lucky, these gigs will cover gas money. These bands are part of the DIY (Do It Yourself) Revolution, selling CDs from the trunk of the car and being part of the DIY scene in LA.

The other side involves keeping the older music alive; the music on which I grew up and learned. With this, I attend open jams and play those songs from the 60s, 70s, and 80s with other musicians who remember their love for these tunes. The love continues in our performance of these great songs.

There isn’t a week that goes by where I’m not on the stage or in the studio. I’m involved with a handful of amazing projects. The latest Noodle Muffin album, Long Live The Spin: More Regime Change, has my musical hand print all over it, from drums to rhythm guitar, lead guitar, fretless bass, and backing vocals. For every instrument I play, I have played it on any stage that matters, any stage that once mattered, and then some. I’ve met lots of my music heroes, have performed in front of many of my music heroes, have written songs with a few of them, and shared the stage with some amazing artists.

Was I successful?

Can success really be measured by money and fame alone? Or is there more to it; some personal satisfaction?

Last night I performed at SiteLA.org with Super Karma. Before the show, a friend of a friend of Karma’s (the singer) approached her. “Is he your drummer? That guy? I’ve seen him perform in Santa Monica. He’s legendary.” That made my year. I need to find out who this person is, since they didn’t approach me.

This could be considered a certain level of success.

As I tell my son, “I’m so underground that nobody in the underground knows who I am.”

Things get more complicated as we get older. My definition of success was no different. It evolved to the point that it was no longer determined by financial or pop measures. It was now “The Trifecta of Success.”

Part one is the satisfaction of playing drums in Hollywood and being a part of the scene; a part of music history. In this, I continue to find success and a great level of joy.

Part two involves stories. I’ve acquired a massive amount of stories out of my adventures in LA and Hollywood. For this alone, I’d not trade my experience for the world.

Part three involves regret. Most of us have heard that success is not a destination; it’s a journey. I had always told myself that I did not want to be an old man sitting in a rocking chair on a porch, wishing that things had gone differently. “What if” is a question that I did (and do) not want to ask myself, ever. Should I have to quit music altogether tomorrow, I’d have no regrets.

Was I successful?

You tell me.

I know the answer.

Something Wonderful for 20 Minutes Daily

I don’t often re-post things that I get in email, but this was something too important to keep to myself. Note that I would never re-post anything that was harmful or embarrassing, so don’t fear my email. I sat on this for at least a few weeks before making the decision to post it.

I had posted on a few forums, asking the question: Where do you look for paying gigs? In my mind, it was a simple question. I envisioned a drummer finishing up his paying gig, getting fired, or whatever scenario. He’s a professional drummer and needs to continue drumming to survive. Where does he look? Is there a magazine comparable to Variety? Does he go to a specific bulletin board in his town to look? Does he go to open jams? Does he broadcast that he’s available?

The conversations in these forums went from unhelpful to brutal. Some started providing harsh critiques of my website, stating that I had “asked for it.” The threads spun so far out of control that nobody knew what my question was about, and nobody had answers.

Frustrated and depressed, I wrote to Billy Ward about it. He runs one of the forums where I posted the question, and I will say it was the least toxic in the responses I received. I remembered that there is no accountability in these forums and everyone is a self-professed expert. I mean, the average part-time hobbyist in Nowheresville, Missouri isn’t going to really have anything to say. I also discovered that not many drummers from places like Los Angeles, New York, or Nashville participate in these forums.

Billy responded quickly to my email with some words of wisdom.

My personal viewpoint is discussed in my book, Inside Out, where I suggest playing something absolutely wonderful on the drums for twenty minutes everyday. I think gigs show up when you do that. Sounds goofy – or hippie-like to say the least, yet I think it works. I’ve also received lots of feedback from others who have done this and found that it works.

It’s very Buddhist-like advice. Basically, what you put out there is what you will get. I took this advice and applied it, not only to my drumming, but to other aspects of my life. I do something wonderful for 20 minutes daily with my drums, but then I go do and something equal for 20 minutes on the piano, guitar or bass. As a result, I may be doing some piano gigs soon, and have been playing bass at an open jam recently (as well as drumming).

I also landed a contract (day job) recently that I really love. I applied these words to my job search, making my interviews and communications more up-beat and “wonderful.” I had the job within 20 minutes after the interview ended (coincidence?). I apply it to the job daily, and have gotten some positive result.

I am discovering that it’s all about keeping my attitude and my abilities fresh.

For example, playing a shuffle was one of my weaknesses. In the past, I saw it as something I’d probably not need for one excuse or another. But then I decided to approach the shuffle as “something wonderful” that I could spend time learning. How much time? Oh, 20 minutes daily. Today, playing a shuffle is second-nature to me, and I can shuffle on the hi-hats with either my left or right hand.

In the coming weeks, I’ll be re-visiting drum triggering and other things I had done with Noodle Muffin 5 or 6 years ago. I was a tool that had been set aside for lack of need or use. Rebuilding that knowledge is my next “something wonderful” for drums.

Learning, building, experiencing, and adapting are all things that successful musicians must do in order to survive. Doing something wonderful for 20 minutes every day with your passion will bring it closer to the surface. It will instill confidence and satisfaction. Don’t view your rehearsals or writing sessions as a chore! Stop and make time for these things.

It only takes 20 minutes.

MIDI, Electronics & The Future of Dumming

The purists are going to disagree with this, but the future is inevitable.

As humans, we are basically bio-computers. We use electricity (biochemical) to send signals from our various appendages to our brain (computer chip and memory storage). The brain controls all of the various functions to make things work seamlessly, until it gets sick (a virus). Human evolution is no longer in the hands of Nature, and is now envisioned with a future where robots and humans become one.

This is a far cry from the thoughts of Vernor Vinge (“The Technological Singularity”), but it’s happening.

What does this have to do with MIDI, electronics and the future of drumming?

It’s just a big-picture vision of the future. We drummers have seen drum machines come into the picture and threaten to take us out of our thrones. This is a microcosm of Vinge’s vision, where Terminator-like robots show up and threaten our existence.

But what happened? Drummers adapted. They embraced drum machines as writing tools and as performance enhancers. Eventually, drummers incorporated MIDI into their performances by installing triggers to their drum heads. These triggers send a signal to the computer brain, which delivers a sound based on the MIDI channel, velocity, and other settings.

Now we have electronic drum kits. Lots of people are on the fence about it.

I went to the first-ever eDrum Expo in Pasadena, California a few years ago. At this expo, Omar Hakim described the convenience and efficiency of his Roland edrum kit. He gave an example where Madonna contacted him to do drums on an album.

First, he received the scratch tracks as an MP3 or WAV file via email. He imported these files into Pro Tools. Then he would begin crafting his song parts on his edrums. However, instead of recording the audio performance, he recorded the MIDI performance.

This enabled him to listen back to the performance and make adjustments. If he had one note that was off, he didn’t have to spend time re-recording the entire piece. Instead, he could move or re-draw the note in MIDI.

This is the part where the purists object. They believe that your physical performance should be the physical performance and nothing else. But at the end of the day, when listening to a recording, does the listener really know that one note was moved via Pro Tools?

For me, as an artist, I draw the line at excessive amounts of pitch-correction and cut-and-paste for vocals. But with a drum beat, if it’s a repetitive part of the song (i.e., techno), then I have no problem with generating a loop.

Back to Mr. Hakim.

He has recorded his MIDI performance in Pro Tools and has edited any problem notes, added things he might want, and so on. His next step is to configure the brain of his Roland kit. He will look at tuning, microphone angle, microphone distance, shell depth, room size, room type, material on the walls (cement, wood, carpet, etc.), panning, and a variety of other parameters available in edit mode.

Once he gets the drums sounding exactly the way he wants, he will then record the performance of the part by pressing PLAY/RECORD. He then makes an MP3 or WAV file and emails it back to the label. The will respond with their comments, if any.

When the part is approved, he commits the performance to Pro Tools, produces it, burns it to a DVD and sends it to the label. They mail him a check shortly thereafter.

He never had to leave his home. Time that could have been spent on multiple takes was spent on perfecting sound parameters that can sometimes take days or weeks to test, set and adjust. His part came in ahead of schedule and under budget.

Again, the purists will call this cheating. I disagree, citing that I can strike a hollow log with a stick, an acoustic drum with a stick, or a trigger with a pencil, or even press a key on a MIDI board and cause a program to generate a tone. It’s all the same thing. To me, it is also the same thing, whether I do a second take to fix a missing cymbal, record the missing cymbal and fly it in, or draw it on a MIDI program and import it into the part.

Artists must come to understand that the times change, the audience changes, and their expectations change. Those drummers who don’t believe me must go to their next gig with a hollow log and twigs instead of their standard kit, and report back about the response they received.

Depending on the style of music, audiences are on the fence about electronic drums. Country music will probably adopt electronic drums eventually, if they haven’t already. Industrial acts like NIN incorporate both into their live performances and recordings.

I don’t believe that acoustic drums will go away in our lifetime, simply because audiences (people like us) have expectations when we go to a live performance. Younger acts will be more forgiving and accepting, and thus music (and human) evolution continues. For now, the acoustic drums are still safe, expected, and desired. They’re very sexy, and there is a certain satisfaction a drummer gets from striking a drum head and having it speak through the wood.

Today’s smart drummer will acquire a working knowledge of MIDI. They will also learn how to use programs like ACID, Frooty Loops, and other new technologies that threaten the existence of the drum machine.

Kind of funny, no?

Auditions

Over the years, I’ve had a variety of auditions. For as many auditions as there have been, I’ve encountered an equal number of pitfalls. Some can be down-right embarrassing!

Obviously, you want to show up early and prepared. But what else?

Below are some pointers that can help you with your audition.

Band Goals and Objectives: I list this one first because it’s big. Is the band trying to “make it?” Are they hobbyists having fun? Do they want to be a cover band that plays weddings, or a tribute band that wears costumes?

I would say that most of my bands in the past broke up because there was one person in the band who wasn’t on the same page. Imagine a band where the lead singer / guitarist / songwriter decides he’s not having fun any more and quits to pursue his teaching career. Yes, this really happened, after I had spent hundreds of dollars and hours planning, organizing and conducting a demo recording session. The demo became obsolete just days after it was mixed.

Information About Yourself: Before you lug your drums out or make that drive, give them as much information about you as possible. Most bands in the Los Angeles area have strict requirements when looking for a musician. I’ve lost auditions for a variety of non-music-related issues, including my hair not being long enough or not the right color, being too tall/short/fat/skinny, too young/old, and so on.

Create a Website: One audition I remember losing because I “wasn’t Asian enough.” I’m not Asian at all, but that’s what they wanted. I could have saved some time by giving them my information. This is why I created my official site (here). I can just direct them to my site and they can see current videos and pictures, as well as hear samples of past work.

You can use a social networking site if creating a dedicated website of your own is too much. However, having a dedicated website is better, not just because it won’t get deleted for no good reason, but it also shows your dedication to your craft.

Types of Auditions: Are you auditioning alone, or is this a cattle call? Ask them. This is important to know. If it’s a cattle call, they should be providing a drum kit. What could happen is that they could possibly make you the first audition and ask you to bring your drums. Once you’re there, they might ask you to let other drummers play your drums. This is unprofessional, not only because your drums will get pounded by a line of strangers, but also because it will take up your time. It also puts you on the spot. If you refuse to allow it, then you’ll lose the audition.

Cattle call + no drums provided = No audition.

If it’s an individual audition, ask if you need to bring drums out. Rehearsal studios usually have “house kits” of sorts. The down-side is that they’re usually abused, not easy to adjust, and sound horrible. You can go out ahead of time and check the drums out. You want to sound your best, so make a judgment call and do what is right for you.

Audition Material: Ask if they have recordings or songs they want you to learn. Sometimes they’ll just want to play covers to get a sense of where you are before giving you audio files or sheet music. In Los Angeles, sheet music is rare, but it does come up. Ask if sight-reading will be required. If you don’t read music, then let them know. It saves everyone time and frustration.

Do Not Expect an Immediate Answer: You may encounter a situation where you audition and they love you enough to say “You’re in!” Let them know that you appreciate their enthusiasm, but you want to sleep on it and make a non-emotional decision the next day.

This is essential, not only because you really don’t want to make an emotional decision, but also because you need to leave some room for discussing business before making a deal.

Remember That Auditions Go Both Ways: See above. They might love you, but maybe you didn’t love them. It happens.

Audition in Two Stages: You have the performance part of your audition completed, and it was a success. You asked them to call you in a day or two if they like you, and they do. The band said they love you and want you to join.

What next?

Let them know that you want to talk business before accepting their offer. After all, something must be in it for you! Being eager to join only means that you’ll accept their offer without talking business. Next thing you know, you’re working for free and don’t own a piece of the action should the band succeed. You’re volunteering to help them out. You run the risk of getting cut out and will have nothing to show for your efforts.

Whomever calls you, let them know that you want to meet the entire band at a quiet bar/restaurant to discuss the details. Make sure they serve alcohol at this place.

You meet there and sit to discuss business. Is the band currently making money? Are the members getting paid? If so, how much? Is everyone involved working toward a potential goal of getting signed, meaning nobody is getting paid? If there is no pay, do you get a cut of the action when the band signs? What about CD sales? Does everyone in the band participate in promotions activities? Do you have to chip in money for rehearsal time, a lockout or recording time?

These are just some of the questions that need answers.

While you’re talking about these details, observe the behaviors of the other members. Are they drinking excessively? Do they joke around in a way that you don’t like? Are you just getting a bad vibe? Pay close attention and make mental notes.

Just like the first part of the audition, do not decide or agree at the meeting. Thank them for the information and let them know you want to sleep on it for a night or two. If paperwork is involved, take it to a lawyer for review.

Never, ever make an important decision like this on the spot.

If they want you to make a decision then and there, it might not be the right situation for you. Getting a new band member is a big deal and should be taken seriously. Rushing into it is irresponsible and sloppy. It’s an indicator of how things are run.

Other Details: Is it a “dressed” audition? In other words, do they want you to show up as if you’re playing the gig? Most auditions I have done in the past were not “dressed.” At one cattle call audition, a guy showed up dressed like Prince. The guys couldn’t stop laughing.

Apparently, he had failed to ask the appropriate questions.

These are just some of the pointers that I have to offer. Joining a band is something that shouldn’t be taken lightly, as it requires your time, energy, and attention (not to mention gas money!).

If you have a question about auditions, send your query to drumwild@gmail.com.

On Being A Sub

Lots of working bands out there know the value of having a sub available.

A major band was in the midst of a world tour, when their drummer fell off a riser. His injuries were so severe that his parents were flown out, as they were concerned that he wasn’t going to survive. In fact, they thought he was dead when they found him!

They had gotten a drummer to replace him. It was a guy who was “on his heels for a decade” according to a conversation I had with him. This drummer who almost died is someone I admire as a person and drummer, so I won’t name him here.

9 months after his injuries, he still hadn’t gotten a phone call to go back. He was concerned. I commented, “I think that other dude stole your gig.”

His response changed my thinking about subs.

He said, “The gig isn’t there to be stolen. The guy who owns the project is in charge and he makes the ultimate decision, not the drummer who is the sub.”

How true!

This story has a happy ending, as he got his gig back when he was fully recovered and rested.

While there is a risk that the band owner will opt to keep the sub instead of their regular drummer, it’s something that is rare from what I have seen.

Before my conversation with this amazing drummer, I was not too keen on the idea of being a sub. It sounds like playing second-fiddle, mainly because it is.

But what else is it?

It’s an opportunity to meet more musicians. The more musicians who hear you play, the more referrals you can get. Imagine a scenario where you get called by a band to fill in while their regular drummer is incapacitated or unavailable. Maybe the gig pays $50, or maybe it pays nothing, but you take it. The show is a hit.

What you do not know is that the guitarist in the band is friends with a guy who is a tour manager for a major act. They’re having drinks one night, when he gets a phone call. Seems the band is in trouble because the drummer broke his arm and their next show is in three days!

The guitarist tells him that they had this amazing sub who kicked ass on the drums and gives him your number. Of course, he doesn’t want to sacrifice his own drummer. You get the gig over the other guy.

That is but one of many different ways that it can go down. Networking involves more than talking to people or just knowing them. It’s also about them knowing your talents, abilities, personality, and goals.

Lately, I’ve been doing open jams (specifically this one that I wrote about recently) and putting myself out there as a sub. It’s a great way to get known in a way that’s better than just doing gigs. Anything you do increases your chances. I believe that being available as a sub and doing things like open jams makes you even more visible, thereby increasing your chances.

These days, I’m eager to be a sub, not just for the added exposure, but because it provides the challenge of playing different types of music, as well as the challenge of working with different types of personalities. There is the added challenge of learning a massive amount of new material and staying fresh with it. This keeps your brain sharp.

All of this activity also boosts your confidence levels. As artists, we often times take our own talents for granted and do not see it or hear it through the eyes and ears of others. When dozens of bands say that you’re good and give you references, then you know without a doubt that you’ve got something going on.

If you are a drummer or band leader, and you are interested in having a sub drummer available, please contact me through my website.

Adrenaline Rush

I have never found myself to be addicted to anything, including the adrenaline rush. I do understand how it can become addicting. Last night reminded me how it feels.

In my networking activities, I have met some of my drumming heroes. One of them (whom I won’t name out of respect for his privacy) invited me to an open jam in his neighborhood. I had told him that I was interested in acquiring paying drumming gigs. This open jam involved some people who were possibly in need of a sub drummer in the event that their drummer couldn’t make it.

I accepted without even thinking about it. It was excitement, danger, and a chance to meet some new people.

We meet up at the venue and set up his old Rogers kit (which sounded sweet!), then have a drink and some snacks while the other musicians set up. The guitarist is warming up with some Steve Howe, which was a strong indicator of the musicianship behind the people who are involved in this jam. These guys are world-class musicians.

There is a strange scheduling occurrence where there are two bands scheduled to play. From what I’ve heard, this doesn’t normally happen. This means the jam will get cut short. My friend talks to everyone and tells them that he wants a warning when they have 15 minutes left, because he wanted ensure that I was going to get some stage time.

That’s a pal!

Before they go on stage, my drumming friend tells me that they sometimes “pull things on me” in the form of suggesting songs to play that he either didn’t know or hadn’t played in a long time. The sense of danger increases.

The band takes the stage. They don’t even have to get to the chorus of the first song for me to know that these guys are incredible musicians. That, and they’ve got one of my drum heroes on the stage with them.

I quickly assess the situation:

* I am in a venue where I have never played.
* These are musicians with whom I’ve never jammed.
* They will want to play songs I do not know.
* I will play a drum kit that I’ve never played before.
* One of my drum heroes will be watching.
* There is an audience.
* This is not just a jam, but it’s also an audition for a band that needs a drummer for a few gigs.

Those are the ingredients for maximum danger and a kick-ass adrenaline rush.

While this particular drum hero (I hate using that term, but have no other way of expressing my admiration for this person) and I have been friends for over 5 years, I have the highest regard for his accomplishments as a drummer, performer, and all around human being. He has offered sound advice over the years, as well as inspiration. He’s also the key ingredient for the enhanced rush; like the Red Bull of the party.

While I love the danger, I don’t want to be stupid about my approach. I pay close attention to what is going on. I can see that everyone is a master of eye-contact communication on the stage. They offer up cues on breaks and endings that are unmistakable.

Without warning, my friend waives me up. I take my sticks up and sit down. He had said that I could re-adjust the kit, but I decided to be risky and leave everything as it was. The floating tom was somehow rotating out of position, which made for fun when trying to re-position it while playing. Gear failure is also an added factor in the rush.

The guys throw me a softball by making our first song “Rebel Yell” by Billy Idol. I knew the song well enough, breaks and all, so it went off without a problem. My confidence is steady and slightly increased.

Then they pull out the second song. I can’t even name it, because I’ve never heard it before. I remember it was something by The Edgar Winter Band. The bassist explains that he’s going to tell me about the breaks, and there’s one part where I “pop,” and then just watch for the ending. At this point, I realize that they’re probably a bit pumped with adrenaline from having an unfamiliar drummer behind them. That’s got to be unnerving. We get through the song with no problems.

The last song is a blues song that incorporated a blues jam of sorts. While the blues jam can be considered the most trite thing in the universe, these guys made it feel alive. It was on the slow, tasty side and long.

The audience seemed to love the performance. As they called for the band change, I stepped from the stage to go outside and let the sweat evaporate as I enjoyed a job well done.

The feedback I got indicated that they loved what I did. The band said that it turns out their drummer would be available for those upcoming gigs, but I gave them my card in case they needed a sub.

Also, I got invited to go back next week!

A Note About Drumming Forums

There are a handful of forums out there that are “dedicated to drumming.” At least, this is the claim. I have had experiences with these forums over the past 8+ years. This blog serves to convey my experiences, observations, and advice on use. Trust me, I have made some big mistakes on these forums, so I’m not totally blaming them. But I do give credit where credit is due.

There are a few different types of forums. One type is the forum that is very specific in nature. A good example of the specific is the Virgil Donati forum. To be a member of a forum like this one, you MUST be a fan of the specific focus of adoration. In this case, it’s Virgil Donati. I respect Virgil’s work and regard him as an innovator on the kit. I’ve seen him perform at The Baked Potato several times.

However, his forum is a different story. Most of the threads just kiss Virgil’s ass, talking about how fast he is, how powerful he is, or just how great he is on the drums. There are threads that go on and on about either Virgil or the classic “Virgil vs. X” (X = other drummer) threads. To participate in these forums and not get flamed, you MUST be a Virgil Donati fanboy. No matter what, you must be prepared to defend Virgil’s honor.

Again, I love Virgil Donati, but not enough to spend hours per day in a forum agreeing with fans. It seems tedious and tiring.

The other type of forum involves general drumming. What all of these forums have in common is that there is an underlying theme that serves to promote the site owner’s products or philosophies. Nothing wrong with this, since they’re footing the bill. However, sometimes there can be pitfalls associated with these types of forums, depending on your own philosophies.

FORUM A revolves around a drum manufacturer and his products. It was a decent forum, even though sometimes flaming would get out of control. This is a sign that the moderation efforts on the forum are spotty and questionable. In any forum situation, favored members who contribute more will often times be afforded some leniency when it comes to the rules of the forum, which vary from place to place.

In FORUM A, I asked what I thought was a simple question:

Where do you find the paying gigs?

On the surface, this does look like a simple question. To add more depth to it, you can create a scenario: You’re a drummer and your current gig has ended. Where do you go to look for your next gig? A publication? A website? Network at a specific club? Where do you turn?

Unfortunately, the question was so simple that it went completely over the heads of the forum participants. It started out innocently enough with them ignoring the WHERE TO LOOK aspect of the question, replacing it with suggestions on HOW TO PREPARE yourself to be ready to receive gigs.

They’d offer advice, like:

* Go play with bands for free and pay your dues.

* Be punctual and show up on time for everything.

* Learn how to sing.

* Practice your rudiments.

The list went on and on with things that had nothing to do with the question of WHERE TO LOOK for paying gigs. I figured that they’d at least say where THEY go to look for these paying gigs. But nobody had anything.

Then the conversation degenerated to the point of flaming. When this happens, you’re done for. They started to critique my use of the moniker “DrumWild,” said my website looked horrible, and other things. These comments could have been delivered in a way that was less of an attack. Nonetheless, these comments had nothing to do with my question. Ironically, the people who posted harsh things said that “I asked for this advice.”

No. I did not ask for this advice. I asked about WHERE TO LOOK for paying gigs.

I left the forum and gave it some thought. Most of the participants are NOT in the major USA coastal cities, so they have no idea of how to find paying gigs at all. Plus, the majority are amateurs and hobbyists who have no interest in earning money for their drumming.

The conversation in my thread took another turn, which was perplexing. The basic comment is that, “If you are in drumming to make money, you’re doing it for the wrong reason.” This comment was delivered by someone who claimed to be “on the road,” and making money drumming.

Why is it that HE is getting a check for drumming, and that is okay, but if anyone else wants to do this, they’re in it for the wrong reason? It was as if he was hinting that I picked up the sticks yesterday and am a beginner who is learning with high hopes of fame and millions of dollars and fans. This couldn’t be further from the truth.

While it may have helped to put my personal and professional experience out there, this is dangerous because they can use this against you if they determine that you don’t fit in.

My question never got answered in this forum.

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FORUM B revolve around a specific drummer’s lessons. This is most productive and helpful. What is not helpful is that this drummer allows his religion to infiltrate the forum. I would try to refrain from bringing my own points of view on religion into the fold. Meanwhile, there were a bunch of religious drummers with religious screen names chatting about “Drummers for Jesus” events, drumming for “Him,” and other religious-themed conversations. For the most part, I’d try to avoid these.

I actually paid a $25 lifetime membership fee to join these forums before completely understanding that their discussions would be peppers with religious speak. Not only that, but opposing viewpoints are not allowed. This forum is guarded by a few bulldog moderators who have absolutely nothing to do with their lives except stay in the forums, day in and day out.

The amount of time this one particular moderator spends in the forums is so overwhelming that I thought maybe the profile belonged to several other people. But the words, sentences, and general tone are all the same. So it’s one person with nothing to do. Perfect for a forum moderator, but not much else.

I had quit the forum a while back and told the owner why via email. He hit me up on IM and begged me to give it another chance. He wanted me to come back. After about 20 minutes of convincing on his part, I decided to give it another chance.

This second chance lasted less than one week.

Someone had started a thread about business. The owner — the very person who begged me to come back — was commenting in this forum about how it’s easy to start a business. He was saying that it’s “simple,” so just do it.

Business has never seemed simple to me. There are so many things to consider. In this case, he had a drum shop. So I asked him questions about storefront rental, business licenses, business taxes, inventory insurance, inventory acquisition, utilities, salaries for workers, workers’ comp insurance, medical insurance, and so on. Basically, the things that are required to run a business. I don’t know them all, but I know just enough to ask questions.

This “Christian” man replies, telling me that he does not appreciate that I am “challenging” him. In his own words:

“This is MY fourm. If you don’t like it, you can leave.”

Finally, I figured out why he begged me to come back. It was so he could give me the axe himself. Makes him look like less of a failure.

An internal source had contacted me after reading the blistering thread in the forum. He told me that they had a “secret Christian forum” that was made visible only to those who were “true Christians” and worthy of participating. He said that he was in this forum for a while, until they considered him to be a threat and took away his access. He informed me that they were discussing me in this secret forum, and had planned this move all along.

The attack made no sense, as I was asking legitimate questions and was not challenging him one bit. However, the majority of the people participating in the forum didn’t catch on that it was an ambush, and simply forgave it. I got booted for asking legitimate questions about business.

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FORUM C is actually a good forum, and I say this because the owner is a good-hearted person. He actually replies to my emails in a way that makes sense to me. He’s honest about the music business and my efforts to get involved.

The underlying theme of this forum is simple: The owner observes the conversations and then bases his articles or lessons on conversations that occur. These conversations benefit his teachings and articles, which in turn benefits the drummers who read his writings or learn from him. Without a doubt, this is THE most honorable underlying theme I have ever encountered with any site on the internet.

I had also posted the WHERE TO FIND paying gigs thread in this forum. It was similar to the other forum in that the people didn’t get the question and most of the drummers were in similar locations. But at least they tried. I did get ONE response that was specific to my question, which was nice.

I’m taking a break from this forum for a while, but I suspect that I will go back to it in the future.

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COMMONALITIES

Both of these general forums have many different things in common.

* The majority of the drummers are over 35 years of age.

* Most are located in the South or Midwest.

* A secondary agenda (sales, promotions).

* A clique that bands together to attack if they suspect that you’re threatening the status quo.

As I write this, I’m located in the Los Angeles area. LA and New York should have tens of thousands of drummers between the two major metropolitan areas. Yet you’re hard-pressed to find 4 or 5 LA drummers in any of these forums. FORUM A has 3 or 4, FORUM B had 3 (but lost them all), and FORUM C has none, except for me (the owner of C is in New York).

This makes it difficult for me to fit in with any of these forums, because there is nobody else in the room that is having the same experience that I’m having. They can’t relate to what I am saying, so they’ll misconstrue my words as being bitter (when I’m being factual), or they’ll think that I’m lying because it couldn’t POSSIBLY be that way.

In describing a specific scenario, some will misread the tone and indicate that there is “whining” involved. I have to let them know that I’m not whining, I’m just asking about alternatives. This gets interpreted as being “defensive.” Again, I chalk this up to the forum participants NOT being in my region of the world. They just don’t understand how it works.

While I have a strong idea of how things work, since I’ve been here almost 23 years, I am still interested in improving my playing, my approach, and my business sense. Unfortunately, a drummer who is located in Los Angeles or New York will not acquire any additional knowledge in these forums that will benefit them down the road.

HELPFUL HINTS

If you are still curious about using online drumming forums, here are some helpful hints to guide you and help you have a better experience.

HOBBYIST: I highly recommend online drumming forums for the hobbyist who is interested in talking about gear, local gigs, church gigs, church activities, or the pure basics.

NON-LA/NY: The online drumming forums are also recommended for those who are not living in Los Angeles or New York.

LURK: This is the biggest thing. If you can lurk (snoop, or check out without posting) in a forum before joining, then this is recommended. You can see if people are discussing things that interest you. It’s an easy way to find out if you’ll fit in.

Some forums (like FORUM B) require membership before you can post. There is a free membership and a premium membership ($25 lifetime). In this case, it’s bet to set up a free membership, lurk around a lot to make sure it’s right for you, and then ask about membership benefits before signing up.

CONVERSATIONS: Keep them general, keep them light, and don’t post personal experiences in the forums (especially if it’s a bad experience). General discussions are more likely to draw in more people who are eager to share opinions.

Serious posts won’t help you, as you will be disappointed with the responses. Take serious questions to PMs (private messages).

Posting personal experiences opens you up to personal attacks.

DEMOGRAPHICS: Check out the membership. Most usernames have their location listed underneath them, to the left of their posts. If you are in a major metropolitan area and you see a bunch of people who are in Tennessee, Indiana, and Missouri, this is an immediate red flag that you should not join this forum or post in it. If you do post, you’ll find out quickly that none of you will have anything in common to talk about.

I don’t say this because I think LA and NY drummers are somehow better than the rest. It’s just a different experience. These drummers have nothing to add to your experience. In some cases, jealousy shows up. This happens if they wanted to make the move to LA to try to make it when they were young, but they didn’t try it and missed their chance. Be prepared to receive some flaming and general harsh words.

BUILD UP: If you post something and get negative responses, further research may show someone else posting the same question, worded differently, and people are responding in a sympathetic, empathetic or encouraging tone. This is not necessarily because their wording was better. It is because they’ve been there long enough to become a part of the community.

Start out by lurking. Then reply to some messages. After you’ve been there long enough in a participatory fashion, then consider starting a thread. Just don’t start too many threads, as it’s “attention-whoring.”

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Generally, the forums can be a good place for the drummer who is in the right location, the right scene, and who fits in with the underlying theme of the forum.

Again, my notes on forums are based on years of experience with these forums. Your mileage may vary, depending on your location and skill level.

The only thing I cannot figure out is why the LA and NY drummers aren’t participating. This is one mystery that may never be solved.