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I think all drumers with a dominant hand experiences this. The way I've been best able to get my hands even were 3 steps (for me anyway ) First, play all your rudiments with a click. On all 3 go for longer periods of time, but make sure everything is clean before you crank up the speed. 2nd I'll play 16th noted 4 bars of 16ths 9n each hand, and throw 8n a ...


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I've seen several drummers use different techniques to play the "JB triplets ", but imo, and experience heel toe is by far the easiest. You just don't sit, and play em at 100 bpm. It took me several weeks at 45 min a day to get it. Watch the guy Jared on Drumeo. It's a youtube vid, and he explains it perfect. Yes, you will see you knee raise a bit (like JB) ...


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I am assuming you are talking about the Pro Tools Beat Detective? Well I didn't use Pro Tools much, but I'll speak from my understanding of quantizers and electronic music. It is really important with all music and certainly all programs even more so to keep the beat steady. If you slow down significantly, or even only slightly for quite a few bars, ...


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When I produce a track I have my snare drum slightly higher than the kick and then build the other elements around that. Hats much lower, tom/bongos at similar volume to main kick, as with cymbals. It boils down to personal preference, but the most important element with electronic kits is to ensure the spectrum doesnt get muddy with hits striking the same ...


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Having learned to play the drums "the hard way" (i.e. autodidact + electronic kit first; acoustic only really after a few years), I urge you to figure out the volume differences between instruments on an acoustic kit first, especially between different instrument families (snare, bass, toms, crash, ride, hats, etc). Try to setup your electronic instruments ...


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I would say it is all down to personal preference because essentially you could hit different components softer with an acoustic kit to get the effect you describe, unfortunately you don't get that privilege with an electronic kit (to a certain extent). Just play about with it; Record some flows and riffs and if one component is drowning stuff out, dampen it ...


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I came from an ancient-style rudimental background, and in college had to learn to play set in about two weeks. Obviously, there was no set in my dormroom, so most of learning independence happened away from the instrument. I would suggest a two-pronged approach, since just a pad really isn't the same as set, but a set without hands is almost as bad. Learn ...


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The Great thing about drums, is that it is a truly organic and primitive method of making sound, it can be performed on any and all materials (not recommended on Breakable surfaces - Glass etc) but any material that makes a sound can be used as a drum, pots and pans, desk and books (I annoy my workmates daily with that one) seats, bus handles, even your ...


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Most of the practicing I've done in my life has been without the kit. The trick is to train your brain signal paths to move differently than they are naturally programmed (e.g. your right hand and right foot kind of naturally want to move together, but you train them to move separately). Your limbs can do it, and practice (with or without a kit) will get ...


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The graphic you have shown us in not any sort of "drum score" that I've ever seen. Where did it come from? As a live drummer, you've got two hands and two feet. As computer programmers we can write as many simultaneous sounds as we like of course. Keeping to what's physically possible for a real player can be a good rule so as not to muddy up the ...


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I think achieving full symmetry is really hard because for most people there are differences between their right and left hands, both physically and mentally. That being said, my best results for keeping both hands at similar technical levels has definitely been working through the classic rudiments and alternating which is the "lead" hand in the rudiment. ...



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