New Evans Website!

After many hours of creative brainstorming, design work, coding, and editing, we’re proud to announce the launch of our new website! The driving force behind the new site has been to make it as easy as possible for you to find the sound you’re looking for. We’ve also built a new video library, redesigned the artist pages, and revised the search capabilities. Here are some of the highlights:

Product Menu
The Product Menu appears when you place your mouse over the “PRODUCTS” heading in the navigation bar. From there, you can select products based on their application. From drumheads to drum keys, patches to practice pads; all are accessible from the Product Menu.

Product Selector
The new Evans Product Selector displays all products within a given category, arranged from darkest tone to brightest. You can read the descriptions of all products, see what artists use a given product, and even hear some audio samples before even clicking through to the product details page.

The refine menu at the top allows users to filter based on characteristics such as the number of plies, finish and size. Click a checkbox to filter down to products matching the selected criteria. Check multiple boxes to further refine your selection.

Artist Portal
The Artist Portal opens with 16 featured artists and tabs for new, drum set related, marching related, concert related and world related artists. Four featured artists are displayed at the top of each tab. Sort through artists alphabetically by first name or enter text to search by first or last name. An artist news feed is present on the left side of the page with endorsee updates.

Video Library
The Evans Video Library segments videos into tabs based on content. Featured and new videos are easy to find under their tabs, as are backstage interviews, lessons, how-to tutorials and the “How It’s Made” manufacturing series of videos. Related videos are shown on the right side of the page and related products below the video player.


Enjoy the new site!

Evans Sound Samples

One of the most difficult things about choosing new drumheads is that fact that you can rarely "try before you buy." It's not like all of our drumheads are sitting on identical drums in a store for testing (like cymbals).

We are proud to announce the launch of our drumhead sound library! Now you can listen to samples of each of our drum set heads on identical drums, tuned to the same pitch for consistency. Each head includes three samples, each at a different dynamic in order to allow for the most accurate comparison. All samples were meticulously recorded by Bob Gatzen. The sound samples are available on each of the Player Profile pages, allowing for quick and easy comparison of drumheads within a given profile.


Recommended Listening Environment
When listening to the samples, we recommend listening with quality headphones or larger speakers (built-in laptop speakers not recommended). The samples have not been equalized, compressed or mastered and will not be as loud as commercial recordings.

Recording Process
Microphone & Drum Configurations:
Snare Drum (Maple 14x4.5")
- Shure Beta 57A at slight angle to batter head, 1" from counter hoop
- Shure KSM 137 under snare drum, facing ground

Tom (Maple 12x8")
- Shure KSM 44 approximately 12" above head surface, aligned with snare drum counter hoop

Bass Drum (Maple 22x17")
- Shure Beta 98 approximately 6" off-center, facing pedal beater impact pad
- Shure KSM 32 approximately 2" off-center, 6" from resonant head

The sound samples have not been edited, enhanced or modified from the original recording.

What does this mean for you?
Now you’ve got another perspective when it comes to checking out new drumheads. The sonic information, combined with the detailed product information will help to make the decision making process even easier so you can focus on what counts, making music!

New Album from Evans Artist Ari Hoenig

About Lines of Oppression (due out in March 2011)

by Ari Hoenig

I came up with the title Lines of Oppression while on tour in Haiti. During the morning hours in Port au Prince there were lines around the block of people looking for work. Contractors would hire people on the spot if they needed laborers that day. In the lines there was always a lot of arguing, pushing and shoving going on; needless to say it was not a very pleasant scene. Sometimes people started standing in line right after work to have a better chance of being chosen to work the next day.

Lines of Oppression fits its title well, because the “line” (or melody line) of the song is rather oppressive. “Lines of Oppression” was also the name of a reggae band I loved when growing up in Philly.

The Lines of Oppression band is really a dream band of mine, and I’m grateful to have been able to put it together. This band has a particularly profound connection together and the ability to really converse when we play together. The interplay is off the hook! The music I wrote is for this band written with all the individual players in mind.

I really like the mix of written material with improvisation of this record. I’ve been thinking for a while about how to write original music that really lets the original voice of each musician sing. This is a combination I’ve been trying to find for years and I think it’s come to fruition on this record.

About the band

I met Tigran in Los Angeles when I played on his first record. He was 17. Tigran floored me with his intensity and ability. He’s a true prodigy.

Gilad I met when he studied with me at the New School. Since then, he has been a consistent collaborator of mine in my band and his. He is an amazing musician and always keeps me on my toes. The hookup we have together is so special.

Orlando started playing with me around 2007. I love his groove, the sound he brings, and his commitment to the music. He is also a retired professional cricket player so there’s that.

Chris I also met through giving lessons at the New School. He is such a strong and rhythmic player. What he brings to my music is irreplaceable.


About the songs

Lines of Oppression
I really love playing music but I absolutely hate writing it. I had the basic idea of this tune for a long time but didn’t actually try to make a song out of it for a year or so. I really didn’t try to write an oppressive line - it just came out.

Arrows and Loops
This was my attempt to write with the melody first. In the past I had usually written stuff primarily with a specific harmonic structure in mind. It’s called Arrows and Loops because of the way my hand notation looked on the page. Good for a title but very hard for the cats to sight-read.

Wedding Song
Wedding song is a pretty ballad, which was named for a young couple I met in Philadelphia who were there when we played this song for the first time. I asked the audience to suggest a title for the song and at the end of the night they came up to talk to me. They said wanted me to play this song at their wedding a few months later. Alas I never heard from them again.
There was a nice moment in the studio when we decided to put vocals on this track. Thanks to Chris’s vocal coaching, I made my singing debut here.

Ephemeral Eyes
This song is named after the stone that brings you back to life. It’s from a video game I was playing a lot at the time. Yes that’s right, named after a video game!

Rhythm
I wanted something Tigran could beat box with me. We recorded this last, after three full days in the studio. We did it at 4am and were delirious with lack of sleep.

How High the Moon
How High the Moon is Tigran’s arrangement of the standard song, which he said he wrote for me. It leads into his (outro) Higher to Hayastan. I really wanted a rockin’ end to the record so having this on it was an easy decision.

Moanin
This was probably the first jazz tune I ever played. Art Blakey has always been a big influence on me. I just heard the melody so strongly and wanted to make it sing on the drums. If you think it sounds a little weird, trust me it’s better that than me actually singing it.

Loves Feathered Nails
A pun on the saying “love never fails.” This was written with the theme in mind from Stanley Kubrick’s “Eyes Wide Shut.” It’s a haunting melody and so simple.

Ari Hoenig - drums, vocals
Tigran Hamasyan - piano, vocals, beat box

Gilad Hekselman - guitar, vocals
Orlando le Fleming – bass on tracks 1,3,5,6,7,8

Chris Tordini - bass on tracks 2,9,10, vocals

Winter NAMM 2011 Recap

It was an incredibly successful, enjoyable and generally busy winter NAMM show this year! We had all sorts of artists visiting the booth to hang out and sign autographs. Everyone from Steve Gorman (Black Crowes) to Chris Pennie (Coheed & Cambria), Giovanni Hidalgo to Jojo Mayer, and Peter Erskine to John Dolmayan (System of a Down) came by.

D’Addario booth, which featured individual brands including Evans Drumheads, Rico Reeds, Planet Waves Cables & Accessories and D’Addario Strings, was based around a club layout- complete with a stage full of instruments and accessories. Jojo Mayer’s drum set was showcased on the stage with his Evans G Plus coated white tom heads and Hybrid Coated snare head.

Evans artist Mark Guiliana and his group Beat Music put on a fantastic performance at the Sabian Live evening party during the show. Jojo Mayer came up to double drum with Mark Guiliana at the end of the set- quite the cool thing to witness!

Evans Drumheads was pleased to announce several new products and expansions in addition to a decrease in the price of drum set heads!

The long awaited 26” EMAD
You’ve asked for it and now you’ve got it! In addition to the 18, 20, 22 and 24” sizes, Evans Drumheads will now offer a 26” EMAD. The 26” EMAD offers a powerfully unbeatable BOOM that is sure to shake the stage.

Inked by Evans Collectible Heads
In addition to ordering custom Inked bass drum resonant heads, you can now order either a custom 12” collectible drumhead or a 12” collectible drumhead clock! Both make great gifts and/or items for your merchandise table at a show.

Inked by Evans Upgrades:
•18” and 26” sizes now available
•Use of certain drum brand logos
•Logo color options (Evans and drum brand)

VOTE: Modern Drummer Readers Poll

It’s that time of year again; time to vote in the Modern Drummer Readers Poll! We’re not telling you who to vote for, but we thought you might want to know which Evans artists have been nominated to the categories. Help us show them some love and vote!

Hall of Fame:
Richie Hayward

Mainstream Rock:
Phil Rudd

Alternative:
Glenn Kotche
Chris Pennie

Metal:
Brann Dailor
Gene Hoglan

Prog:
Marco Minnemann
Aquiles Priester

R&B:
Chris Coleman

Fusion:
Billy Cobham

Up & Coming:
Ulysses Owens Jr.
Billy Rymer

Educational Book:
Intro to Polyrhythms by Ari Hoenig
Rock Solid: Drums by Liberty DeVitto and Sean J. Kennedy

Educational DVD:
Great Hands for a Lifetime by Tommy Igoe
The Infallible Reason of My Freak Drumming by Aquiles Priester

Recorded Performance:
Dethalbum II (Dethklok) with Gene Hoglan

Voting ends on February 15th!

NYC Winter Jazz Fest Recap

It was a fantastic weekend for live Jazz in New York City. On January 7th and 8th, the Boom Collective presented the NYC Winter Jazzfest. Among the many musicians performing were Evans artists Mark Guiliana, Dafnis Prieto, Eric Kalb and Ari Hoenig.

Each put on fine performances with their own percussive flavor. Mark Guiliana took home award for most sets performed throughout the festival, playing with Nguyen Le, Donny McCaslin Trio and Now vs. Now over the course of both nights.

Check out some photos from the festival below:

Mark Guiliana performing with Nguyen Le at Zinc Bar

Dafnis Prieto performing with Proverb Trio at Zinc Bar

Eric Kalb performing with Charlie Hunter at Le Poisson Rouge

Mark Guiliana performing with the Donny McCaslin Trio at Kenny's Castaways

Ari Hoenig performing with Pilc/Moutin/Hoenig at Zinc Bar

The festival was sold soon after starting, with throngs of musicians and music enthusiasts piling into various venues in Greenwich Village. With Jazz music coming from both sides of the street, around the corner and down the block, there was something for everyone.

Perfecting Your Snare Drum Sound

The following factors should be considered when perfecting the sound of your snare drum.

Head Choice
This is the most obvious factor that comes to mind when people consider the sound of their snare drum. It makes perfect sense that the type of head used (single ply vs. double ply, reinforced vs. unreinforced, etc.) would have a strong impact on the sound of the drum.

Visit the Evans Player Profiles to find the best snare head for you.

Snare Wires
Choice of snare wires is the most often overlooked factor in achieving a certain sound from a snare drum. There are a wide variety of options available; 12 strand through 30 strand, twisted vs. individual strands, brass vs. steel. Here are some general rules to help you in your quest for the perfect set of snare wires:

Tuning
Your choice of tuning will not only affect the overall pitch of the drum but the resonance and timbre as well. Check out Bob Gatzen’s video on tuning your snare drum: Snare Tuning

Muffling
Use of muffling such as the Min-EMAD, E-Rings and other modifiers affects not only the sustain/resonance of the drum but the overtones present in the sound of the drum. The Min-EMAD helps to suppress unwanted overtones while retaining the desired attack and tone. The variable application allows you to fine tune the amount of damping taking place. The E-Rings simply “float” on the surface of the drumhead. The rings round out the sound of the drum by minimizing high-frequency resonance. This, in turn, shortens the sustain of the drum.