From Modern Drummer Magazine

Billy Cobham—nov 98

-- I’m playing where I’ve been, playing my history. But I don’t want to just stay there. I want to take it further, pull the listener somewhere else. And maybe that’s when you’ll hear me make a mistake, when something I’m trying to do isn’t fully formulated. But to me, that’s music.

-- There’s a certain tempo region between fast and slow that is tremendously difficult to control. It’s a region of tempos that doesn’t feel natural that makes you want to slow down or speed up. To play material that falls in this region takes a lot of focus; it’s a matter of sustaining the notes and the spaces between the notes, and having an understanding of what it will take for me to keep it going. Key element: posture. If I don’t sit well, nothing works. Nothing. My body won’t be comfortable and the groove will not be grounded.

-- I come from the Miles Davis school, where what’s done is done. You’re hearing what we were feeling at the time, good or bad, right or wrong. Take it with the mistakes, because that’s part of the music.

-- Being able to read well is imperative for me. Sometimes it’s not required, but many times it is. If you work with me, it’s a must. Musicians have asked about auditioning for my band. They’ve given me great-sounding tapes, but many of them haven’t been able to read well. Sorry, call me when you learn how. Time goes by too fast, and reading music is the fastest way to communicate ideas to other musicians.

-- When laying it down, first of all, you have to keep your upper body loose, and that looseness should extend all the way down to your wrists and fingers. While most of your power should come from your center, when playing time you should be primarily moving only your wrists and fingers. Once everything is relaxed, playing with conviction becomes merely a mental process. And by the way, playing time with authority has nothing to do with volume. You should be able to strongly express the groove at any volume level. It’s just a mental process of knowing what you want to do and being in control of what you’re playing. That gives you the confidence to lay it down.

-- There are a lot of factors involved in developing a strong-sounding single-stroke roll, but the bottom line point you have to keep in mind is the sound you’re trying to produce. What makes a roll sound good—and this goes for singles, doubles, or triples—is that all of the strokes must be played evenly. It takes a lot of work to develop both hands evenly. Even to this day one of my hands is a bit stronger than the other. You also have to think about where you hit the drum. The best, most consistent sound comes from hitting the drum in the same spot with both sticks as precisely as possible. Playing in the center of the drum gives you the biggest sound. Other factors include having matched sticks and what drum you’re rolling on. A tighter head requires a faster roll, as does a smaller-diameter drum. You have to get used to varied responses from different drums. Another important factor is playing off the drum. I never play into a drum—that uses too much energy. I bring the sticks up immediately. To help me do that, I position the snare drum almost flat and the toms are only slightly angled.

The main point about developing chops is simple: practice. It all gets down to putting in the time by practicing.
-- I found that the French grip is an easier way to gain response from the head of a drum. But it’s not the only grip I use. When you’re playing larger drums, where the head response isn’t as good, the palms-down, German grip works better. So I may alter the grip I’m using as I’m moving around the drums, depending on the size of the drum. This brings to mind using the stick as an instrument unto itself. Where you hold the stick plays a major roll in the sound you get. So I’ve been experimenting with holding the sticks at different spots—unorthodox points—just to see what types of sounds I can come up with. For instance, if you shimmy up or down on the stick, you can get very different sounds on the snare drum. At some points in a solo I’ve even tried holding the sticks way down at the tips, just to see what sounds would be created. Occasionally I’ll drop a stick because I’m using it in an unorthodox way, but that’s okay, the point of all this is to make music. And there are a lot of different ways to play. . .

-- I think the main thing for me is that I’ve always been interested in finding a different sound or approach—going in a different direction—just to see what’s there. Some things worked, others didn’t. But that’s all just part of being a musician. It seemed like the logical route to take.

Giovanni Hidalgo—nov 98

-- The conga is not an easy instrument. Sometimes you have to play hard with a lot of movement and energy. But I practice with the purpose of being relaxed and in control. When you play conga, it’s like you are in complete, deep meditation. Sometimes, when the music is very exciting, you can lose some of the control of your emotions. That’s cool too, because we are humans. But the more you control emotions, the better. You have to know how to breathe, how to concentrate, how to control the movements.

-- Drumming is all about counterpoint and balance, as opposed to always being about making statements.
Dave Weckl—march 01

-- One of my practice routines lately is working on things that I’m not comfortable doing, or can’t do at all. This is all in the sense of what I call “facility-building practice,” which really is just foundational technical exercises. In other words, it’s independence-based, involving more of the left foot and hand & foot combinations to make things flow comfortably and naturally.

-- A continuum is what I like to experience when I play. I think this refers to a sense of what a listener responds to. It’s a continuum of comfort in what’s going on musically. When there’s a glitch in the flow of a fill or a groove, you disrupt the continuum and interrupt the way it was feeling good.

-- Everything I do is quarter-note based, even if it’s floating, complex, abstract waves of sound. I always try to maintain a pulse throughout what’s being played. What I was actually talking about in terms of practicing is just a continuum of flow, of body motion. It’s the working together of what is being played and what is not, in a sense of notes and space. The body is “flowing motion” in that space, creating the feel and the time of the notes. Even if there’s a lot of notes going on, there’s still the motion of the body that really dictates where they fall. That flow has to be kept consistent, even if it’s complex groupings of hand & feet combinations.

-- I’m continuing to work on my left foot—I think I’ve been saying this for the past ten years—working it into becoming a more usable musical entity in my playing.

-- I try to be sensitive to what’s going on around me and to be able to follow the soloist. People ask me how I do this and that and come out on 1. It isn’t that abstract! It’s not free, most certainly, and it’s definitely based on the quarter note. It’s everybody playing together and it’s me following the soloist, or vice versa. I take pride in making the soloist or the people that I’m playing with feel comfortable, grounded, and free. Also, I want to give them ideas to play off of, and to complement what they’re doing.

-- With coated Ambassadors on birch drums, the sound is more open and natural. With a double-ply head a drum isn’t going to be as loud or project like a single-ply head. Emperors give me a more concise, punchy tone. They are very quick and get out of the way. Ambassadors are more airy and take up more space. The birch shells are a little brighter and they project a bit better. They’re not as warm as the maples. And the maple bass drums have more low end.

-- There’s a lot involved with tuning drums well. For example, I find most people tune floor toms too high, especially the top head. What happens is they get high-pitched, ringing harmonics. Those overtones are going to carry and really be problematic, possibly causing feedback in the system. The first thing an engineer is going to want to do is EQ it out and maybe gate the hell out of the drum. Having said that, every room is different. It’s all experimentation, and if you follow an exact formula, sometimes it won’t work.

Getting back to that floor tom, if the bottom head is too tight and you’ve got the top head loose, the low tones of the top head will ring excessively. It’s a fine line and you really have to experiment. Another problem is not the drum you’re tuning but other drums. I’ll fine tune one by hitting other drums because there’ll be harmonic problems. The 12” is the worst culprit for both snare and bass drum. If it’s tuned too low, the bass drum will set it off and you get this long-lasting, low ring. If the top head is tuned too high, the snare will pick it up and you’ll get the high harmonics of the tom when you hit the snare drum. People have trouble identifying what the problem is: You’re hitting the snare drum and something I ringing. You assume it’s the snare drum, but it’s not. It’s a harmonic from another drum that’s being set off by the snare drum.

I’ll hit the snare drum and usually find one problem lug and de-tune it—or tune the tom a little lower. Generally, if there’s a harmonic ringing, it’s almost always the lug that’s tuned to that pitch. It might be two lugs, but very rarely is it the whole drum.

-- Generally, for my maple kit, I use Remo clear Emperors on the tops of the toms and Ambassadors on the bottoms. I tune the bottom heads slightly higher than the tops. That might change if I get too much long-lasting low-end ring. By reversing the tuning ever so slightly I can control that aspect of problematic ringing toms—especially floor toms.
For the snare drum, I use coated Ambassadors on top and Ambassador snare-side heads on the bottom. The bottom head is always tensioned tighter.

-- I find that I have to re-tune all the time for different rooms we’re playing in, for the different sound systems in those rooms, and for what I want the drums to sound like from a musical standpoint on that given day.
-- I’ve never been a fan of locking in together with the bassist to play a specific kick part. Most of the time it’s almost impossible to avoid flams. I prefer counterpoint bass/drum or just pieces of the rhythm that one or the other is playing. Either part alone will carry the groove.

-- Concerning stick control and where the stick is held and the location of the fulcrum, in a nutshell, it’s about rebound and letting the stick do fifty percent of the job instead of it being an up-stroke/down-stroke event—which it is, and has to be, when you’re playing from the thumb and the first finger. The way you get the stick back up is to pick it back up. But in order for rebound to happen and the action/reaction principle to occur, there has to be a pendulum action in the hand. There has to be a seesaw, and the way to get that is to have a balance point from the thumb and the middle finger.

It’s not wrong to do all the work yourself, it just takes a lot more effort and changes the focus. It made me think too much about the physical aspect of drumming versus getting to the music. It’s the ability to let go and realize that I don’t have to work so hard, that I’m able to work from a free, conceptual approach.

-- A lot of people get asked why they play the drums, and I’m kind of astounded at the answers. It tells me they’re missing the point, for themselves and for human nature in general. To be able to create that kind of feeling in another human being is really deep. That’s why I’m doing what I’m doing. It’s what, in my opinion, I’m supposed to be doing, why I’m here. I enjoy and need to figure out ways to get better and to keep progressing. The goal is to be completely free and uninhibited, to say what I want to say without there being anything in my way mentally or physically. It’s always a gas to learn something.

At the other end of the spectrum, being a musician is a hard life. There are frustrating, dark moments, and it’s sometimes hard for those close to us to understand why we must do what we do. But every time I play and get that positive, human response, it all comes into perspective. It becomes very easy to stay positive.

Steve Gadd – july 83

-- There’s no secret; you just do the job. Your next job is based on what you did on the last one. In this business, it’s word of mouth. You don’t have managers and you’re not going out hiring P. R. people to help you. It’s honest. You get called for something, and if you do it, you might get called for something else. But you’ve got to do what you get called for. Let’s not forget that you’ve got to do that before you get called for the next thing.

Shelly Manne—oct 81

-- It’s more important to play with other musicians. I’ve always felt that playing is the most important thing. You learn something every time you play. It’s the experience of playing that, over the years, make you a good player.

Vinnie Colaiuta—oct 93

-- I just practice with as much patience as I can and enjoy it while I’m doing it. I was practicing eight hours a day, and one day I asked Billy Cobham how much he thought I should be practicing. He said not to think in terms of time. He said, even though you have something difficult to work on, enjoy it while you’re doing it, instead of thinking how long it’s going to take you to get it together
-- You can’t be everything; nobody is everything. You just do what you do, and you try to do that as well as you can. And if somebody doesn’t like it, too bad.

Peter Erskine—nov 93

-- I used to think that creative music-making implied that I react to everything around me. But if you’re not careful, you’re commenting on everything that is played, which is one step away from Mickey-Mousing everyone else’s ideas without contributing your own statements.

-- When I was younger I felt the need to always leave a few fingerprints at the scene of the crime. But I can play a tune now and not feel that urge. Just the touch and the placement of the beat should reveal that it’s me playing, and I don’t otherwise feel that I have to call too much attention to it.

Jeff Porcaro—feb 83

-- In this business, you have to put up with temperaments sometimes, but you should never have to put up with abuse. I’ve seen situations where it’s a guy’s first session, and a producer or artist destroys him in front of a lot of well-known musicians. And I’ve seen guys cry in the studio. People can get affected that way, but you can’t let someone do that to you. They’re just people, and you’ve got to put everybody in perspective.

-- A helpful hint for anyone who is doing sessions, really the number one rule is, don’t even be thinking about what you’re going to do, or how people in the studio are going to look over and dig that you’re doing a good job. Try to be completely aware of the song; try to hear the song as many times as possible and play for the song—not for yourself or for the contractor or for whomever else.

Jack DeJohnette—april 83

-- When you say you’ve been influenced by someone, it should mean that you took certain things from that person’s style to help you find your own direction. It’s a chain that goes on, and you can’t avoid it. Nobody can come through here and say that they didn’t come from somebody else.

-- (june 95) It’s great to be able to hold a groove, because some things call for simplicity and that simplicity says it all. There is a time and place for everything. You have to use your intuition to know when to do something and when not to. Those are the things I especially learned from Miles.

Tony Williams—june 84

-- Everyone has prejudices and fears. But anyone with experience knows that if you do take a couple of years to study something, several years later you will be very glad that you spent that amount of time improving yourself. Sometimes you don’t realize how much good something has done you until years later.

-- I choose my cymbals in the same fashion that I tune my drums. I try to get the cymbals to sound good together as a group—homogeneous as a group—but individually they also sound distinctive, so that you know which I’m hitting. If you’ve heard that cymbal once and you hear it again, you know it must be that cymbal.

Art Blakey—sept 84

-- Freedom without discipline is chaos; you have to have some discipline. A lot of young drummers are real good: their reflexes are good and everything, but will they be able to do that when their seventy years old? Will they have enough discipline? Discipline means to relax: can they relax? That’s what it takes to play the drums.

Terry Bozzio—dec 84

-- Life is a roller coaster, and any artist lives on that roller coaster. You just have to remember that when you’re going down, all that momentum is going to send you back up to the next dizzying height. That’s just the way it is.

-- (july 94) I am one of the luckiest people on earth because I have something I love to do. I had been reading Joseph Campbell, whose wonderful words are, “Follow your bliss.” That’s the key to life: whatever excites you, follow that. Most people don’t have the guts to do it, or they don’t recognize it when it happens.

Steve Smith—feb 93

-- I have noticed that throughout my development as a musician, from the time I was nine years old, I’ve always had people who were mentors, people who really gave me a lot of inspiration—and also, people who really believed in my talent. I find that to be a really important aspect in the development of a player, especially regarding confidence. I notice that people who don’t grow up with a mentor-type person sometimes struggle with a level of confidence.

-- One of the things I enjoy about being a drummer is just the process of improving and practicing. I really enjoy practicing. I enjoy the process of getting there.

Danny Carey—feb 97

-- The best thing about success is not having to have a day job and just being able to concentrate on the music. I’ve spent my entire life avoiding jobs and work. I never bought into that way of life because it didn’t seem to make people very happy. What’s funny is the rest of my family isn’t like me in that way at all. I think it took my parents aback a little when I started getting so into drums. They came from an era of that hardcore work ethic, and they didn’t necessarily see music and drumming as the most responsible way to go through life. But they didn’t really do anything to discourage me, either. They never had any disrespect for musicians, and they also paid my way through college.

I’ve always been disciplined about the drums. Music came easy to me in terms of opportunities and certain skills you need as a player. I’ve always been able to pick things up pretty quickly, but I still needed to pratice—and still do—if I want to make anything sound natural and consistent.

-- I always appreciated guys like Cobham and Buddy so much because no matter how fast they played, you could always hear every note. That’s the kind of articulation that rudiments and corps work can bring to your playing.
The trick with keeping strokes crisp and clear even during busier fills is to make sure there’s space between your notes. Even on the really fast tom fills or quads, I try to leave some air in there by being as precise as I can with the notes. And you know as a drummer when you’re being tight with that or not. When your playing is labored or lazy, like if you’re cheating your strokes or you’re dragging your doubles, you might get by in a show, but you can definitely hear on tape. You can tell that by feel, also—how the sticks feel bouncing off the heads and how sharp you are with your control.

-- I still love playing jazz when I get the chance, but I don’t know if it’s something I’d like to do on a full-time basis. I really get into jazz when it’s really electric, but I’m not of the age yet where jazz thoroughly satisfies me. I like to play things with a little more power to them—while I still have the strength to play it! One of the great things about Tool is that I feel like I can use a lot of my chops and apply enough of my training to keep me satisfied on a technical level, yet the music also has enough emotional power for me to bury myself in.

-- When we recorded Undertow, I tuned my drums to match particular pitches coming from the guitars. It’s not that you can’t really hear the difference if you don’t tune to specific pitches, but when you do, it makes the drums sound bigger and fuller and makes things more powerful overall. With some kits, I think it would be impossible to do that, and you’d drive yourself crazy trying to make your drums match the tones of the guitars. I mean, it’s hard enough just keeping drums in tune. But most of our songs are in D, and I’ve been lucky enough to have drums that tune easily to the triads in the key of D.

-- When laying down tracks, I don’t really pysch myself up as much as I try to go into a meditative state. I try to remove myself from the room and bring things in that will help bring out as much of my subconscious as possible.
It only took me four or five days to put down all my drum tracks for Aenima, which was a lot quicker than we expected. And it wouldn’t have taken that long except that I hit pretty hard and I like using thin heads in the studio, so we were changing heads between every two or three takes—and always between songs—and it’s just another chore you have to go through. But to get the live, bright sound I like, that’s just something I have to do.

-- I’ve always been of the belief that you have to hit a drum hard to make it sound good, especially in louder sections. That sets the whole shell in vibration as opposed to just the head, and the sound is just so much more complete and satisfying. But when you hit hard and play the kind of music we do, it can really wear you out, especially when you’re not in touring shape, and you can hear the difference between the first take and the third take.


-- I think cultivating your own style means absorbing anything and everything that has to do with drumming. It also means cultivating stuff in your life outside of drumming, and allowing your attitudes and emotions to come into play. As drummers, we’re all different people inside. Whether anyone realizes it or not, drumming is the most emotional instrument. It takes so much emotion to pick up a stick and hit these damn things. It’s aggression, it’s subtlety; it has to be emoted in order to make them sound the way they sound.

-- You’re with different musicians all the time in the studio, and you have to be able to get along with all of them. But it’s a great way to get a chance to hang out with other players and learn where a violin player’s head is at or a saxophone player’s head is at. It’s a good melting pot of so many things, not just music—and that’s what makes the music. The ultimate outcome of all those emotions and attitudes and chemistry is the music.

-- I don’t use tape on my drums, I just leave them wide open. I use coated Ambassadors on top and clears on bottom. When specifically asked for that open sound, you have to hit the drum a certain way to make it really ring, just off center a bit; there’s a sweet spot there. And then you probably don’t care about consistency so much.

-- When asked what goes through my head when tracking, it’s beyond that. I always try to think of myself as the listener: what would a listener be doing while this music is on? Dancing in the bathroom with a towel? I also think of the attitude of the song and what kind of attitude I need to have while I play the song. I’m listening to the music, the lyrics, what the singer is saying, how different chords and harmonies in the music make me feel, and I’ll go from that. On every take I try to make it a different thing and think about different aspects.

-- I’ll miss the studio if I’m on the road, but I love the road as much as I do the studio, and I feel that at this point in my career I can walk away from the studio work and then jump back in. Plus, if I’m not around to do it, I know there’s a whole list of drummers who could cover it, and I’m fine with that. When it’s all said and done, it’s like one giant family—the whole drumming community of the world. There’s room for everybody.

In that first year or two, when I was starting to get studio work, Jim Keltner would ask me, “Curt, you been working?” and I’d say, “ No, I haven’t been working, and I’m a little frightened about when the next gig will be coming. I’ve been waiting by the phone.” He would laugh and say, “You know, I’ve been dealing with this for a long time. What I’ve learned is that when I’m working, I work, and when I’m not working, I don’t. When I don’t work, I go on vacation. I do things I like to do. And while I’m just enjoying myself, the phone is ringing. You have to learn to trust that.”
It took a while, but sure enough, Jim was right. We all need balance.


- Snare tuning: heads are medium tight.
- Doesn’t like a lot of mics on kit. Likes ‘open’ sounding snare. Believes in not miking up the kit. Only has kick in wedge.
- You should be able to play on any kit and still sound like you.
- Hung out and grew up with Steve Jordan, studied with Tommy Campbell and Kenwood Dennard.
- Believes in recording yourself and playing to click for endurance building.
- Practices really difficult things at 38 BPM, 50 BPM, 100 to 200 times.
- Likes playing on blue gel pads, pillows. Believes in playing on a slightly dead surface. Pillows are the best. Doesn’t play on pads.
- Uses in-ears and does his own monitoring, like Weckl. Doesn’t like guitar or vox in monitor, likes the natural sounds of things.
- Studying in another part of the world for, say, three months, it’s hard to not integrate those rhythms into your playing.
- Mapex has great tour support. Important to get your gear around to each venue, wherever you are.
- In the music business, people get around to doing things when they get around to it.
- Keeps toms two inches apart [in diameter]. Easier to tune / separate that way. Likes to tune his toms in intervals of 4ths.
- Uses a 20” kick to stay out of Doug Wimbish’s [Living Colour Bassist] way in terms of bass frequency.
- You have to know your bass frequencies.
- He practices on different kits, using different feels, working on different time signatures.
- A lot of drumming is muscle memory. Re: other styles, you have to develop muscles to play those styles.
- The right side of the brain controls the left side of the body, and vice versa. Why not set up kit left-handed?


- Get good heads. Understand heads. Heads off factory keep shell round.
- The more you know, the better off you are.
- BC sits very high. Keeps his shoulders relaxed, sits straight. No tension in neck. Can play three to four hours a day without getting tired. Toms are really easy to get to. Chokes floors so they don’t ring (sustain). Tom set up emulates the balafon. A parabola.
- You should keep the academics of music fun. Hitting a wall happens when you get bored. Reading and writing music is a very loose, effective way to communicate with other capable musicians.
- Payment comes from in the music and the support.
- BC practices in his head. Concepts.
- You make your mistakes, then you learn (foundations). Then you’re in. Then you get creative.
- The drums will only affect who you are and what you know.
- Learn your foundation. You have to have something to say to engage people.
- Intensity can be very soft. You should be a dynamic person – we don’t speak without dynamics.
- Used to put books under arms to concentrate on restricting arm movement.
- Understanding how other musicians approach the music is very key information as a writer.


- one thing you can’t learn from books is improvisation
- It takes a long time to learn your licks.
- Improvising is doing things you know off the cuff
- Often there’s gap between technique its proper application on the kit
- Using dynamics in busy playing brings out the melody of the drums
- when you can play something and count it, you own it
- record yourself
- play with abandonment. Still this depends on the music.
- Gotta use your brain to grow, too
- Counting space is hard
- Reading is ear-training backwards. Reading makes your ear better.


- Monitors: have to be careful. Better to hear things acoustically. It’s different for every situation. SG even tweaks his mix for every song.
- If it’s a dead room, SG needs to hear a bit of himself in his wedge. Likes to hear the vocals and soloist. Likes to lock in with rhythm players. Is sure to get what he needs in a mix.
- Paul Simon always does long rehearsals and long soundchecks, constantly changing things.
- It’s great being a drummer. We never grow up.
- Take one lick, get as much mileage out of it as you can.
- Likes a loose kick pedal spring so the beater comes back parallel to floor.
- Have to have right kind of headphones in studio. They must block out acoustic (room sound) of your drums. Whatever you’re hearing in the cans should be louder than the sound of you.
- Click has to be louder than you in your headphones [if you’re in your cans at all]. Gotta hear everything else louder than you.
- “My influences are all you guys and everyone else who can play. It’s about sharing. If it makes me want to dance, I want to figure it out!”
- SG loved marching grooves and drum corps.
- Learning things together, with other people, is a great way to learn. A two way thing. Enjoy the process of learning.
- Students should be encouraged to do things that are fun. They’ll get better at the instrument, learning faster. They should go with passion.



John Bonham - http://ca.youtube.com/watch?v=0A154OavghI
Neil Peart - http://ca.youtube.com/watch?v=8AFy7piA8UQ
John Bonham - http://ca.youtube.com/watch?v=r0JXGDQOVSk&feature=related
Brian Blade - http://ca.youtube.com/watch?v=pNaQub7Gru0&feature=related
Vinnie Colaiuta - http://ca.youtube.com/watch?v=tBgyKoWPC5Q
Dennis Chambers - http://ca.youtube.com/watch?v=0MTs5EDRoS8
Steve Gadd - http://ca.youtube.com/watch?v=D5ZM2Q14zJk
Jim Keltner - http://ca.youtube.com/watch?v=C_bgVWupPAY
Davide Direnzo - http://ca.youtube.com/watch?v=1bfjXdOrwP8
Paul Brennan - http://ca.youtube.com/watch?v=WkfGD0ErojM&feature=related
Terry Bozzio - http://ca.youtube.com/watch?v=AQt2inyxNNg
Billy Cobham - http://ca.youtube.com/watch?v=GKrH8xDkjp4
Horatio Hernandez - http://ca.youtube.com/watch?v=9yR-ts4PbaE&feature=related
Anga - http://ca.youtube.com/watch?v=lslWY-tIvtk&feature=related
Paco Sery - http://ca.youtube.com/watch?v=rRQ5NmtbhPY&feature=related
Elvin Jones - http://ca.youtube.com/watch?v=Ir8OrY1dFc4&feature=related
Max Roach - http://ca.youtube.com/watch?v=Zc_RV2rZhz4&feature=related
Buddy Rich - http://ca.youtube.com/watch?v=EfGd53pmiZs&feature=related
Dave Weckl - http://ca.youtube.com/watch?v=YRF7HHzqrG4
Alex Acuna - http://ca.youtube.com/watch?v=t2TcpTV64ig
Gene Hoglan - http://ca.youtube.com/watch?v=9vgHGo453-M&feature=related
Adrian White - http://ca.youtube.com/watch?v=ScVwnJ_QW4A
Blair Richard Martin - http://ca.youtube.com/watch?v=Rpy8l3vNub4
Luis Orbegoso - http://ca.youtube.com/watch?v=Pc0LtYYEj6E
Chris Lesso - http://ca.youtube.com/watch?v=YQd3duybkjQ
Shamakah Ali - http://ca.youtube.com/watch?v=dBYDT8WgeD4
Dom Famularo - http://ca.youtube.com/watch?v=L4Zpm33LLK8&feature=related
Greg Hutchinson - http://ca.youtube.com/watch?v=7993Y7_MBM0&feature=related
Dodo Nkishi - http://ca.youtube.com/watch?v=GjTuODELW1A&feature=related
David Garibaldi - http://ca.youtube.com/watch?v=0d60DJ3URgU&feature=related
Mike Clark - http://ca.youtube.com/watch?v=lPGRiSmjf-w
Danny Carey - http://ca.youtube.com/watch?v=JVbFrl9wLBA&feature=related
Earl Palmer - http://ca.youtube.com/watch?v=Sb9E2O5SiGU
John 'Jabo' Starks - http://ca.youtube.com/watch?v=ey2qm-y7G7U
Clyde Stubblefield - http://ca.youtube.com/watch?v=Z3xSXc1vy5I&feature=related
Simon Philips - http://ca.youtube.com/watch?v=NuS8rHf1KPM&feature=related
Tommy Campbell - http://ca.youtube.com/watch?v=k-9V7gJkK3Q
Trilok Gurtu - http://ca.youtube.com/watch?v=oXoe5Uita_A&feature=related
Zakir Hussain - http://ca.youtube.com/watch?v=As1OMMcHXFs
Giovanni Hidalgo - http://www.tothestage.com/MediaDetail.PAGE?ActiveID=1172&MediaId=707
Glen Velez - http://ca.youtube.com/watch?v=fB0hE-YlfzQ
Zachary Alford - http://ca.youtube.com/watch?v=Mr-qcKmphCY&feature=related
Dave Grohl - http://ca.youtube.com/watch?v=gtphYnoKnyU
Jack Irons - http://ca.youtube.com/watch?v=8r01YiEgNa0
Dave Lombardo - http://ca.youtube.com/watch?v=FEt5TP81wfs&feature=related
Carter Beauford - http://ca.youtube.com/watch?v=dfiPYNd0BzY
John Blackwell - http://ca.youtube.com/watch?v=5KpiruT9jOM&feature=related
Mickey Hart - http://ca.youtube.com/watch?v=SUZRC2LEUKE
Jimmy Cobb - http://ca.youtube.com/watch?v=hBwrv6RtvtA
Papa Jo Jones - http://ca.youtube.com/watch?v=GrKShqNkcnI
Philly Joe Jones - http://ca.youtube.com/watch?v=rSvehgKsFTM
Tony Williams - http://ca.youtube.com/watch?v=N_ZNZUsBPFo
Abe Laboriel Jr - http://ca.youtube.com/watch?v=8zNs8NtOa9g
Ustad Alla Racka Khan - http://ca.youtube.com/watch?v=ALZpNazAVts
Virgil Donati - http://ca.youtube.com/watch?v=n--nDc_mb1Y
Larry Mullen Jr. - http://ca.youtube.com/watch?v=cUTj4jgj1s0&feature=related
Chris Layton - http://ca.youtube.com/watch?v=tWLw7nozO_U
Chad Smith - http://ca.youtube.com/watch?v=LuibdktNlWQ
Michael Spiro - http://ca.youtube.com/watch?v=oDPRz0J45gc
Jesus Diaz - http://ca.youtube.com/watch?v=VhWJn8-_7VA&feature=related
Larry Wright - http://ca.youtube.com/watch?v=3SaxSzDzxGw
Kodo - http://ca.youtube.com/watch?v=jPdOmY1BjAU&feature=related
Mike and Tony- http://ca.youtube.com/watch?v=pPp5Z3N0wjQ&feature=related
Matt Sorum - http://ca.youtube.com/watch?v=Tek8_Tni48w
DonPham -
Jesse Capon -
Maurizio Valente-
Pandit Kamalesh Maitra
Len Goins -
Steve Smith-
Dave Abruzzese
Matt Cameron
Carl Allen
Phil Collins
Brad Wilk
Steve Gorman
Jesse Shapiro
Steve Jordan
Alex Van Halen
Brann Dailor