WGI 2012 Recap

Another fantastic season of WGI is in the books! Congratulations to all of the competing groups.

Major congratulations Riverside Community College (ProMark artists) for taking 1st in Independent Marching World with a score of 97.088 and Music City Mystique (Evans artists) for taking 2nd in Independent Marching World. Congrats to South Hills High School (Evans artists), Victor J. Andrew High School (Evans artists), Franklin Central High School (Evans & ProMark artists) for taking the top three (respecitively) in Scholastic Marching Open.

Also, congrats to George Mason University (Evans artists) for taking first in Independent Marching Open with a score of 94.900. Woodbridge High School (Evans artists) took first in Scholastic Concert World with a score of 99.600. Chattanooga Independent (Evans artists) took second in Independent Marching A with a score of 91.725.

As always, we've got plenty of "In the Lot" videos for you from Championships in Dayton, OH. Please visit http://www.youtube.com/user/EvansPercussion and http://www.youtube.com/user/ProMarkdrumsticks for more!

EVANS HIGHLIGHTS:

PROMARK HIGHLIGHTS:



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.

Building Your Home Studio

In this day and age, it’s very common to find musicians with their own home studios. Equipment is more affordable, descriptions of recording techniques are available on the internet, and there is greater motivation to be able to capture a performance.

Home studios offer the ability to track with whomever you want, whenever you want. Someone halfway across the world can send you a session file and you can lay down the drum tracks at your convenience. This is actually the direction that lots of music production is moving in. Professional session drummers are establishing their own home studios in order to reduce travel and setup time with the added convenience of tracking on your own time without any pressure.

Having a home recording setup also allows you to record your practice sessions, which can be a valuable method for improvement. As a follow up to the "Why You Should Record Yourself" post, we wanted to cover the basics of necessary gear for recording.

Putting together your own home studio can be a bit overwhelming at first, due to the wide variety of equipment available as well as the learning curve associated with making your own recordings. Here are the essential items for making a recording in order of signal flow;

Microphone > Preamp > A/D Converter > Recording Device

Before we open up this “can of worms,” it should be made clear that this is a very basic overview of the items necessary for a home studio.

Starting at the end of the flow, the recording device is what will actually store the recorded performance. This could be a standalone recording device (Such as the Zoom Handy Recorders) or even a computer with the necessary recording software.

If you’re going the route of a standalone recorder, it will likely include a mic preamp (or several) as well as the A/D converter. When researching recording devices, you will want to consider the number of microphones/tracks that you plan on recording simultaneously. This will dictate the number of necessary preamps and help you narrow down the specific recording device.

If you decide to go the computer recording route, you must first make sure that you have a capable computer. At the absolutely minimum, a machine with combined processing power of 4GHz and 2GB of RAM. When it comes to recording, more processing power and RAM is always better.

There is a wide variety of software available for computer-based recording; Everything from Pro Tools to Logic to Digital Performer and much more. The best piece of software is what works best for your needs.

To get the signal from your microphone(s) to your computer, you’ll need an interface. This is similar to the standalone recording device except that it will send the digital signal to your computer via USB or Firewire.

When it comes to microphones, the sky is the limit. At minimum, I would recommend a matched pair of condenser microphones to use as overhead microphones. This will provide a generally accurate representation of the sound of your drums and cymbals. Close mics, often dynamic microphones such as the Shure SM57 and the Beta 52a, help to capture more of the character of individual drums on your kit. Over time, and as money permits, you can add more microphones to your recording setup.

It should be noted that there are a wide variety of variables including acoustics, microphone techniques and recording methods that make all the difference in the end quality of your recording.

Happy recording!

Last Minute Gift Ideas For Your Favorite Drummer

Okay, it’s crunch time. Christmas is Saturday and you’ve got to figure out what to put under the tree for your drummer friends. Lucky for you, we’ve put together this list of gift ideas in a variety of prices (we decided to give them some festive titles though…)

"REINDEER" - Keys Galore
Is your Little Drummer Boy (or girl!) always losing their drum keys? Maybe they want to be able to swap out drumheads faster than anyone around. Maybe they’re in need of a strong and sturdy key always at the ready. Check out this assortment;

Wing Nut Key
Drill Bit Key
Magnetic Head Key

"SNOWMAN" - Educational Pack
Looking for the perfect all-in-one pack to keep your percussionist warmed up during the cold winter months (and all year round!)? The Tommy Igoe Educational Pack comes with everything they need; Tommy’s Great Hands for a Lifetime Hudson Music DVD and poster, 6” RealFeel Practice Pad and signature Tommy Igoe sticks.

Tommy Igoe Educational Pack

"ELF" - Head Packs
Does your favorite drummer suffer from DHS (Dead Head Syndrome)? Help them out with a new set of tom or snare heads!

Tom Packs
G1 Coated 2-Pack

"MRS. CLAUSE" - Bass Head Pack
Looking to give the gift of Christmas in the form of the perfect bass drum sound? The EMAD System is the perfect pack to get your batterista shaking the floor.

EMAD System Pack

"SANTA" – Custom gear!
Want to give your beat maker something one of a kind? An Inked by Evans gift card will allow them to create a custom drumhead all online!

Inked by Evans Gift Card

Happy Holidays!

New Product: System Blue Tenor Heads

The latest additions to the Evans line of marching drumheads are the System Blue Tenor heads, developed with the 14-time DCI champions the Blue Devils. The System Blue heads spent the past season being put to the test by the Blue Devils themselves. For the 14th year, the Blue Devils took the title of DCI World Champions and they did it with the Evans System Blue Tenor heads.

Design
The System Blue Tenor head is a 2-ply design with 7mil top-ply and 7.5mil bottom. This combination delivers tonal clarity and projection while also increasing durability and pitch stability, reducing the need for frequent tuning.

The series also utilizes Evans’ unique Sound Shaping Technology™, a damping technique that targets unwanted overtones and provides the control needed to enhance attack, projection, and note definition. The damping pattern on each head also provides a visual reference for the optimal ‘playing zone’ for each drum, offering a target for less experienced lines.

“The heads sound great. They last longer than any other head we’ve had on our drums and they look pretty cool too.” –Scott Johnson (Blue Devils)

Hear a sample of the System Blue Tenor heads "in the lot" with the Blue Devils: Blue Devils with System Blue Tenor Heads

Check out the in-depth review by Steve Weiss Music on their blog.

Evans at PASIC 2010

Evans Drumheads is pleased to announce its success at this year’s Percussive Arts Society International Convention.

PASIC is the world’s largest percussion event, featuring over 120 concerts, clinics, master classes, labs, workshops, panels and presentations and took place from November 10 – 13 at the Indiana Convention Center in Indianapolis, Indiana. The program showcases all areas of percussion, including drum set, marching, keyboard, symphonic, world, recreational, education, music technology, and much more.

The Evans booth showcased drum set replicas of setups for Peter Erskine, Jojo Mayer, Horacio “El Negro” Hernandez and Jerry Gaskill. Evans also featured various artist clinics and concerts, including performances by Chris Coleman, Thomas Pridgen, Dom Famularo, Marcus Santos, Jeff Queen, and many more.

(More photos here)

Click to watch PASIC 2010 Videos

In addition, Evans debuted the Hybrid-S Marching Snare Head as well as the System Blue Tenor Head. Inspired from the design of the award-winning Hybrid batter series, the Hybrid-S (Hybrid-Soft) Marching Snare Batter features two unique fibers that, when blended together, deliver a soft and sensitive feel with superior snare response desired by the world’s top marching ensembles. The System Blue tenor head was designed in cooperation with the Blue Devils percussion staff, the head is a 2-ply design with 7mil top-ply and 7.5mil bottom. This combination delivers tonal clarity and projection while increasing durability and pitch stability, reducing the need for frequent tuning.

This year marked the arrival of the first ever Puresound Custom Pro Challenge. Contestants were to change a set of Puresound Custom Pro snare wires as fast as they could. Over $2,000 in prizes was given away to various participants and the Custom Pro Champion, Caleb Pickering, won the challenge with a final time of 24.2 seconds!


Visit our Facebook page to see more photos from PASIC 2010.

Chip Ross on Evans Timpani Head Redesign

Introduction to Evans
About 10 years ago, I heard that Evans had created a timpani head that was designed to be like a tucked calf skin head; with pretension that actually had a tone. I was immediately intrigued and tried one. It sounded incredible. There was a full, long resonance and a very clear pitch right off the bat. I was sold.

A few years later, they began production on what is known as the Strata line. These are a synthetic Mylar head but lightly coated to simulate the darker tone quality of a calfskin head. I immediately liked these and they’re still my preference for Evans products. In fact, my first set of these lasted for 2 years. It was extraordinary that they sounded so good for so long

Product Issues
When I eventually had to change this set I received an order and, upon mounting the first one, I noticed a popping sound as the tension was increasing on the head. This was unusual and something I hadn't experienced before. Even after the head was fully mounted, this sound remained very noticeable every time I'd increase the tension via the pedal. Unfortunately, this symptom became a familiar and consistent sound as I mounted other heads, even of different sizes.

Then another unfortunate ingredient entered the mix; heads started failing. Or in other words, when tension was increased during mounting, the pitch would suddenly drop and the sound became extremely “false.” The head was literally coming out of the tuck. Now there was real cause for concern.

Resolving the Issues
I was impressed and extremely grateful that Evans was immediately ready, willing, and able to jump on these issues. A thorough investigation led to some conclusive results and a complete redesign of the head.

The production team learned that the “popping” sound and subsequent "failing" of the heads was due to a lack of integrity in the glue bed. The hold of the insert ring wasn't as strong as it needed to be, and the pour of the glue wasn't filling up the glue bed cavity completely.

They decided to go with a thinner insert ring (1/16" instead of 1/8"). A thinner, yet just as strong a ring, has less contact with the head in the glue bed, and would also allow for more space in the "crevasse" to be filled by the glue. Also, they've added a perforation at the bottom of the ring which creates a stronger glue hold of the ring itself. And lastly, the insert ring is positioned slightly closer to the outer wall of the "flesh hoop;” also enabling a more durable hold. After this re-build was completed, I was sent a couple of heads to test.

The initial visual inspection was impressive. I mounted the heads and the results were terrific. No pops or crackles, and the sound was beautiful, with a clear and centered pitch. I immediately called production to express how pleased I was.

Behind the Scenes
I've always felt there was an immediate and receptive line of communication with Evans, and I'm really pleased to have such an active and successful relationship with them.
After placing an order, I’d receive heads, look them over and offer my visual perspective before mounting them on the drums. If there was a structural issue that was visible or, if after mounting there were problems, I’d speak with production. They’d then revise and send a replacement right away.

It’s difficult for the average customer to be aware of the workings of the company beyond the end product. I’ve been fortunate to see that, behind the scenes, there's a great team of people at Evans who truly want the product to be at its best. They’ve been patient and have worked very hard to refine the process and address the issues. In addition, the time and money they've invested into revising their timpani head line is extensive.

I'm excited about the future of their products. Those who are purchasing from Evans can be confident they are getting the top of the line.

About the Author:
Charles Ross (Rochester Philharmonic/Eastman School Of Music/Brevard Center)
Influences: Fred Hinger, Gerald Carlyss, Cloyd Duff, David Fein, and Alan Abel
www.esm.rochester.edu/faculty/ross_charles

Dave Mattacks Discusses Snare Drum Sounds

Ask ten drummers what they’re looking for in a snare drum sound & you’ll likely get ten different answers. The usual descriptions often come up "Fat /Big" etc., but when one digs beneath the surface, especially if one has been doing this for a while,those replies can get very detailed. I think that with few exceptions,"Tone" is relatively high on everyone’s agenda & while we (hopefully) all agree that there’s no substitute for a great touch, having a basic handle on not only the ability to tune a drum well but to understand the effect different heads have is important. It’s worth spending a few minutes reading up on the different characteristics.

For me & the snare drum sound I’m after, it’s usually a 300 Opaque on the bottom & a G1 Coated or Power Center Reverse Dot on top. I’m learning that the drum is the thing that makes the different sound ; occasionally I’ll "Amplify" a snare’s tendencies with an appropriate head - for example an EC2 coated or an ST Dry on an (already)dry-sounding snare, but typically I’ll put on the heads listed above. What’s important here is consistency from head-to-head ; if you have two supposedly identical 14” batter heads that simply aren’t ( like some manufacturers) your reference point gets blurred.

It’s also really important to get decent snare wires. I use Puresound and they have a staggering array from which to chose (dry / wet – wide / narrow) so you can take that snare drum further in the direction it’s already headed. And if you haven’t "Got This" already, be very careful how you actually set the wires up. Too close to one side or the other &/or with only the slightest twist [ on the horizontal plane ] & you’re not making the most of your investment !

Finally, to re-iterate, how you strike it is probably more important than anything - & that doesn’t mean “ how hard you can hit it “ either. Good luck !