I needed to add some low end to my 20 inch kick drum so I decided to give the KickPort a try. For those of you not familiar with the KickPort, it’s a small plastic tube that gets inserted into the kick drum’s resonant head. Attached to the tube is a rubber flap that is used to seal the KickPort once it’s inserted. It’s claim to fame is that it boosts the kick drum in the same manner as a bass reflex speaker cabinet boosts low frequencies.

I decided to go to Guitar Center to pick one up. It comes with a 5 and 1/4 reinforcement ring; however, I was told that it works better if you cut a 5″ diameter hole instead.

My resonant head had no port, so I decided to make the 5″ hole for the kickport. I have to admit, it made the process a little challenging since the kickport itself is almost 5″ in diameter. I had to remove the resonant head from the drum and place heavy duty rubber bands around the cumbersome rubber flap of the KickPort in order to nudge it into place.

The 5″ hole creates a really tight fit for the Kickport, which gives it solid stability.

Using my iPhone, I did a lofi recording with and without the Kickport using the same resonant head.

Here is the audio using a REMO Emperor coated resonant head with a 5 and 1/4″ hole without the KickPort :

Without Kickport by orodrummer

And here is the audio using REMO Emperor resonant head with a 5″ hole and KickPort:

With Kickport by orodrummer

You can hear the KickPort takes away some boom and adds punch and low end.

The only downside is that I don’t hear as much tone as before. KickPort’s documentation states that it increases tone, while other websites are stating that different resonant heads yield different results. If you want to know more, check out the blog post from recordinghacks.com  http://recordinghacks.com/2009/03/16/kickport-review/

I think the KickPort has a solid look. Artist and fellow Changing Modes bandmate Grace Pulliam did a fine job painting the 20″ head shown below -I have to admit, the KickPort fits right in:).

Here is the behind the scenes:

And here is the final rendition of the video:

Twelve years ago, I bought a pair of custom molded musician earplugs with Etymotic Research filters. I remember liking them a lot because they were comfortable and evenly reduced low, mid, and high frequencies. As luck would have it, I only wore them for a few years because I carelessly lost them after playing a show in upstate New York.

Since then I have tried every non-custom type of earplug. The foam plugs turned sound into mush. Hearos were a little better, but were not comfortable to wear for long periods of time. I’ve used in-ear monitors, which helped manage the sound. However, without that technology, I constantly found myself playing without ear protection during rehearsals and gigs.

A few months ago, I decided it was time to purchase another pair of custom musician earplugs. Since I was happy with my first pair of ER filters, I didn’t have to spend time researching what I wanted. However, I did have to decide between ordering a do-it-yourself “impression kit” for the ear molds or having professional audiologist do it.

I decided to go to an audiologist because I was also way overdue for a hearing test. It’s more expensive to go this route but Etymotic Research claims to get more accurate molds from the pros.

Musicians Earplugs have interchangeable attenuator buttons that come in three levels–9db, 15db, and 25db. I went with the 9db and the 15db–both seem to cut down enough of the dangerous levels. If I’m singing and playing drums I need the 9db so I can hear myself better. For everything else I’ve been using the 15db. The molds plus the filters cost about $180 for the pair. Add another $40 if you want to get more than one pair of filters. If you’ve never wore them but are interested in getting a pair, then I recommend the 15db as a good baseline.

Here’s the link to their site: http://www.etymotic.com/ephp/erme.aspx

Here is the interesting part: It’s all improvised compositions that are led by a single conductor. The conductor uses hand signals to communicate with the ensemble to create the piece in real time. For example, pointing to a section and making a fist would mean to stop playing. The conductors also decide volume, tempo, type of rhythms, and just about anything else they want. Regarding the rhythms, it seems they use hand numbers for different style beats. They had a keyboard player join in later in the set and the crowd was happy. This video was from another night, but it sounds like the same keyboard player.

Another interesting element is that there are multiple conductors. Each conductor works for about three pieces and then another conductor takes over the helm. When the conductors are not conducting they play in the ensemble. Needless to say, each conductor has their own style so we got a taste of everything. Towards the end of the set, the ensemble invited the crowd to join in with (clave) hand claps and body movements. Here is a video I took during the first set. We loved every minute.

Playing drums is a physical challenge. The longer you play the greater the probability of developing a repetitive-stress related condition (RSI) or carpel tunnel syndrome (CTS) symptoms. These types of injuries are also called “overuse injuries” because they are the result of repetitive use and stress to the soft tissues of the body (muscles, tendons, and joints) without allowing proper time for healing. Sometimes an acute injury (injury related to a single event) can lead to an overuse injury. Since I’ve had more than a few acute and overuse injuries to deal with, I’d like to share some insights on what I’ve learned over the years.

1. Rest

If you are dealing with an overuse injury than rest should mean no high impact activities. Low impact activities such as swimming, walking, stretching, and yes, even playing drums will help. For an acute injury rest pretty much means rest. For how long, well, that depends on the severity of the injury. I’m covering overuse issues for this post so I won’t get into any acute injury details; however, it’s important to know what type of condition you are dealing with before moving forward with healing.

2. Technique

Once you’ve figured out what you are dealing with it’s time to focus on your drumming technique. If you haven’t yet studied the Moeller method, now would be a good time to devote energy and time to it. Although the Moeller technique won’t cure any overuse issues on the spot, it’s great for preventing these types of injuries, as well as your overall playing. I recommend Jim Chapin’s DVD entitled “Speed, Power, Control, Endurance”.

3. Body Movement

I’ve recently started taking Alexander Technique classes and I have to admit I really wish I started this technique when I was younger. It’s great for any musician but I think it’s especially helpful for us drummers. Basically, this movement technique helps you become truly aware of your whole body and your tension areas. You can practice this technique while doing Moeller exercises. You can also practice this technique while doing just about anything. Private lessons with a good teacher is the best way to get started; however group classes, which can be more affordable are becoming popular for beginners.

Check out this video that features my instructor Mark Josefsberg:

4. Sleep

Many of us don’t get enough sleep. Unfortunately, lack of sleep is one of the major causes for repetitive injuries. Sleep helps the body repair tissues and rejuvenates the nervous system. Get to know your body and how much sleep it needs for you to have a full tank of gas before you start your day. The quality of your sleep is just as important. I’d rather get six hours of uninterrupted sleep than nine hours of turbulence. I found that good quality sleep is really vital to managing any stress related condition.

5. Yoga

Yoga is great for increasing flexibility and releasing tension. I started taking yoga shortly after I was diagnosed with CTS. After two months, the tingling and numbness in my hands disappeared. If you haven’t taken a class, I recommend starting with a beginner Hatha or Vinyasa class. If you go to a class while having a CTS flare up, it’s best to modify some of the poses. Make sure to tell the instructor before the class starts what you are dealing with. On the other hand, if your not having a flare up then you should focus on strengthening the muscles around the injured area. Check out this yoga journal article about healing CTS.

6. Building Muscular Support

Once you’ve allowed yourself enough rest it’s time to bring on the weights. It’s important to build some muscle mass surrounding the chronically injured area. This helps circulation in the weakened area. The stronger muscles thus help support the whole area. However, it is a balance and the trick is not to overdo it. Ease in to it. Start with light weights, high reps, and focus on your form and movement.

7. Stretching Before you Play

It’s common sense to always stretch before doing any strenuous activity. However, sometimes we forget (I admit it) –once we see drums our primal instincts take over and we are too excited to do anything except make noise:). The good news is we don’t have to stretch immediately before playing to gain the benefits. I like to stretch at least an hour before a gig and then focus on keeping loose and warm right up to show time. I do a combination of yoga and hand stretches –getting into the stretch details would entail a separate post. For now, check out this samba drummer’s stretches if you need a few ideas: http://www.puppetista.org/drums/stretch.html

8. Joint Support Supplements

There are a lot of supplements on the market that claim to work wonders. I have taken glucosamine along with chondroitin during stress flare ups and more recently for preventive measures. I can’t say for sure if these supplements work but I am certain that I’ve never had any side effects. I also think they might  work well as a placebo effect and if they give you confidence to work through a mentally challenging condition, then more power to them. The main drawback is the money. The better brands can be expensive and most manufactures say you need to take the supplements for at least two months before organic change can occur.

9. Diet (Treat Your Body Like a Temple)

Since both CTS and RSI symptoms are caused by inflammation it makes sense to eat foods that can give you anti-inflammatory benefits. Basically, you want to stay away from saturated fats and refined sugars.  I’ve slowly added more raw foods into my diet over the years and it’s made a big difference.  Some herbs may also have an anti-inflammatory effect. Ginger, basil, and willow bark have worked wonders for me.

Dr. Linda Mundorff recommends reducing the consumption of alkaloid-containing fruits, vegetables, and spices (many in the nightshade family of plants) that may trigger inflammatory-related joint problems.

• Tomatoes
• White potatoes
• Eggplant
• Sweet and hot peppers
• Pimentos
• Paprika
• Cayenne pepper

You can read the rest of the article here:

http://www.disaboom.com/nutrition/best-inflammation-diet-top-5-rules

10. Confidence

Although I’m mentioning it last, it’s probably the most important tip in beating any stress or repetitive injury. These type of injuries can be mentally draining because of the length of time they effect you.We get used to our bodies healing in a certain time frame. I was freaking out after about three months of dealing with my right shoulder tendonitis. I started doubting my technique as well as my body’s ability to heal. I decided to take a few weeks off from the gym but that just made the condition worse. When I returned to the gym I did circuit training and that helped. That gave me confidence to start working on my stick technique and to further my holistic studies. I had to learn how to work through discomfort and not give in to the mental negativity that arises.

And this is what it sounds like after production.  I synced the audio using iMovie:

Depending on your performance, a live gig can either be bliss or torture. Some nights we are just “in the zone” and other times nothing seems to go right.  As musicians, we know there are lots of external variables that can lead you in either direction –quality of sound system, being able to hear yourself, drunk sound engineer, etc. Although some of these variables might be out of our control, here are a few tips that can help keep us in the zone.

Before the Gig:

1. Multiple full band rehearsals

In big cities, where rehearsal spaces are overpriced and empty beer cans are the main ambiance, it’s no wonder we try to skimp rehearsals. As a general rule for bands that play original material, I like to have no less than three full band rehearsals with the material and set list being established before the first rehearsal. If your working on new material I recommend you allocate separate rehearsal time for that. For a Changing Modes show, we usually allocate three or four rehearsals for new material and then another three or so with the set-list. If your a singer-songwriter working with hired pros the rule of three might be challenging but well worth the effort. Try to book the rehearsals as close to the gig as possible.  As musicians, most of us have some memory issues.

2. Allocate time to focus/meditate the day of the gig.

If your not on tour and your playing at home be prepared to have many distractions –family, pets, girlfriends, boyfriends, internet, video games, etc.. It’s important to relax well before the show. Shut down the phone, turn off the computer and relax. Visualize the performance and the challenge that lies ahead.

3. Always ask for a sound check

Some venues will offer them and others won’t. Sound checks are mandatory in most upscale venues and if your playing one you should prepare a stage plot. However, if your playing dives sound checks might be harder to come by. As another rule of thumb, no matter what level the venue is, always ask for a sound check. If they won’t agree to it request a line check (checking output on all cables). Some venues will only sound check the first band, while other venues ask for money. Since every stage (or dive bar) sounds different, acclimating before the show is vital and is worth the investment.

During the Gig:

4. Making sure it sounds good on stage (more vocals in the monitors please)

Your band will sound different during performance time than it did during sound check. It’s good practice to make sure everyone is comfortable after playing the first song. Spending the time to tweak the stage sound after the first song is a necessary evil.

5. Making sure it sounds good in the audience

Too many times bands sound amazing on stage but the audience hears something very different. This is why pro bands tour with their own sound engineer (and some with their own sound systems). Until you get to that level, allocate someone to actively listen in the audience and give them authority to manage the sound engineer. Choosing this someone might be a little challenging since they should know your sound and have good ears. A musician friend or someone that has a vested interest in your music are both good choices.

6. Engage the Audience

With the exception of shoegazers, engaging the audience should be considered part of your performance. Guitar players that are fronting the band should practice tuning and speaking to the audience simultaneously. If your not quick on your feet, then you might want to think about speaking content beforehand. If your playing a local show, try to engage the entire audience, rather than just your friends.

7. Go with the Flow

Live performances are never perfect. You never know if someone will break a string, forget lyrics, or count off the wrong song. Your job as an entertainer is to just go with the flow. Don’t react negatively to anything that could throw you off. It’s better to react as if you were expecting it. Think of these flubs as opportunities to connect with the audience.

8. Tell people who you are

There will always be people in the audience that don’t know anything about the band. Share some info with the audience. You can break the glass by sharing a personal story that involves the band members.

After the Gig:

9. Work the room

NOW’s the time to mingle with the audience and try to get as many people to sign up on the mailing list. It’s a great opportunity for you to network, get feedback, and get fans.

10. Tip the Sound guy

Depending on the venue it might be a good idea to tip the engineer. Some venues  allocate money from the door for this purpose, so make sure you ask first. If the engineer exceeded your expectations than you can still give him/her something. Five or ten bucks is still better than nothing and they will remember you for it.