Chords for DAVID BENDETH DRUMS for STEVEN SLATE DRUMS 4 & TRIGGER
Tempo:
85.975 bpm
Chords used:
Bb
Eb
Ab
C
Gb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Gb] [Fm] [Bb] At the age of 18 to 23, [Gb] I learned [F] everything I needed to know about drums.
[Gb] Then he came [Bb] up and he played on the record and he said,
this is the worst [Gb] sounding kick drum I've ever heard in my life.
[Ebm] [Bb] [Gb]
[Bb] It damaged me so bad that I wanted to come back and have the best [Gb] sounding kick drum
that anyone [Bb] had ever heard.
[Eb] It just needed an oil drum.
[Ebm]
[Bbm]
You don't forget certain sessions.
[Gm] Especially [Eb] when they're your own.
You remember [Ebm] them like they were yesterday.
[Bbm]
[Ebm] I always was fascinated with drums.
I [N] realized almost at a certain point that without a great groove, there was no song.
And then I ended up in New York working with drummers like Lenny White, Billy Cobham,
who to me really understood all about bebop and groove and funk.
And that's where it really came together.
Doing sessions, listening to their playing, working in odd time signatures,
and then listening to the way records are made,
which back then was everybody in a room together.
And then when I started to mix, I realized I could soundscape my own sound.
And that was what was really exciting.
The ability to be able to create my own drums and not be a drummer
is the coolest feeling in the world.
Especially when you get the biggest kick or the most powerful snare
and just make the song rise out of the ashes like a phoenix
and make the chorus just pop.
So I loved learning about rhythm.
I loved learning about drums.
And being able to finally be in my own studio gave me the ability to experiment.
[D]
[Bb] [A] [D] Steven Slate, Sanctuary, here to help us to create [Bb] the drum sound that [A] you're getting today.
We [D] were sitting here yesterday and we were listening to the Tom [C] Toms
and we were thinking, you know, they sound okay.
[Bb] Everything kind of sounded plain.
And I just said, you know what, let's drop the gloves.
[G] [Bb] [Em] [D] We [C] took the bottom heads off, stuck a bunch of [Bb] Moongel on there
and just got some super wacky [G] sounds that I think are going to [Em] really work [D] well
when you blend in the samples with them.
[Bb] Because when you're using [A] samples, you're not getting a big boom sound.
You're getting just a thwack.
[Eb] You're looking for something that just cuts.
I think it was a great decision.
It just sounds completely different than the stuff I've done in the last few sessions.
[C]
[Eb] [Ab]
[F] I'm going to go through some of [Bb] the outboard gear [C] today.
What I've got here right now is this Fortin EVE original 1073.
[Ab] I've had my eye on this console for about 15, [Bb] 20 years and finally it became available.
I [C] took four strips.
It was in a planetarium in Canada.
These are pretty well pristine.
[Ab] They've never been used because the planetarium only had a [Bb] stereo.
[C] Here, these are my favorite compressors.
[D] They're the ADR and they're [Dm] stereo, 760s.
A lot of the drum sound that's created here at the House All Out is through these ADRs.
I've had them for a long time.
This is an SSL compressor that [Bb] Dan Korniff made.
That is a fantastic piece.
I love this piece.
Basically, it goes to the [Abm] SSL bus compressor and then we run it out through Dan.
[Bb] Dan makes these and [Eb] they're [Ab] sensational.
[Eb] These are consecutive [Bb] serial number [C] 1176s and you can join them together [Bb] in stereo.
[Ab] If you're going to get one compressor, this is the one to get an 1176 block bass.
It's just the best.
This is my [C] secret weapon here.
This is an SBX-90.
[Bb] It's worth about $60.
[Ab] I love using it as reverb.
I love using it on the snare.
A lot of that [Eb] Paramore sound [G] comes from an SBX-90.
This console is in use [Ab] every day.
In my opinion, all the greats [C] use this console because it has a lot of headroom.
[G] It has a very [C] organic sound.
It's phenomenal for rock music.
You can really push this [Ab] compressor hard.
You can sum [C] it and push things in a way that you can't really do on a knee, for example, or an API.
It just has a [Eb] sound.
Okay, we're going to have a look through the mics today.
[Bb] [Eb] Basically, what we've got here is we've got the D112 and there's a [Abm] backwards monitor [Eb] here that's basically for [Bb] the sub.
On the snare, we've [Cm] got a 57.
Then [Bb] underneath is a [Eb] Sennheiser 441 and it's sitting again about 3 to 4 inches [Ab] off the bottom [Cm] of the snare.
On the hi-hat, [Gm] we have a V67, [Eb] which is a pencil condenser mic.
[Ab] [Eb] It's pointing down at [Ab] an angle, again, 4 or 5 inches [C] off the hi-hat.
We have a China with a [Bb] Royer [Ab] 122.
I think this will be one of the first Chinas that will be available on the Steven Slate kit.
Moving on is the first tom.
We had some different microphones on here yesterday.
One thing we did was take the heads off the bottom.
I really wanted to hear more like a cannon effect [Bb] and decided to go a little bit more aggressive.
[Cm] What we've got here is a 57, again, on the 57 on rack 1 and 2.
[Bb] I've got gels.
This one [Eb] has two, this one has one.
I love the gels because it deadens it out and it doesn't give too much ring.
[Cm] This is [Bb] a snare that Lenny White had lent us.
I [Cm] just love the sound of this.
This is an Ocaltree snare, which is a custom-made [Ab]
with an attack drum head on it.
It weighs about 20 [Eb] pounds.
[Bb] It's really [C] cool.
And of course I have the Vinnie Paul.
[Bb] Steven Slate had [Ab] called me right after Misery Business came out and he said,
you know, [Eb] what are you [C] using in the studio?
What is that sound?
This [Bb] is the snare drum we used.
I was [Ab] a little scared actually to even talk to him about it
because I had no idea that we created something very special that people were going to be using.
[F] [Bb] Now I'm doing this thing with Steven Slate because I [Gb] believe
that there's many different great sounds in music [Bb] and many different influences.
And what I'm trying to [Gb] do is create a situation where you can use these [Bb] drums
and use these cymbals and use the [Gb] room to make music exciting [Ab] again,
not [Bb] to make just the drums exciting.
Whatever [Gb] you're doing with these drums, whatever [Bb] you're trying to create,
[Eb] take some risks, take some chances with them.
[Ebm] Add your own drum kit to them.
Whatever you think you need to do, [Bbm] use things to their advantage.
Don't overload all the time.
[Eb] And I think that's what Steven Slate has.
I think he's given [Ebm] all a fantastic palette to just work from.
Make things come to [Bbm] life.
Enjoy them.
[Ebm] That's why I think Steven [Bb] made them in the first place, because they are there as tools.
[Gb]
[Bb]
[Gb]
[Gb] Then he came [Bb] up and he played on the record and he said,
this is the worst [Gb] sounding kick drum I've ever heard in my life.
[Ebm] [Bb] [Gb]
[Bb] It damaged me so bad that I wanted to come back and have the best [Gb] sounding kick drum
that anyone [Bb] had ever heard.
[Eb] It just needed an oil drum.
[Ebm]
[Bbm]
You don't forget certain sessions.
[Gm] Especially [Eb] when they're your own.
You remember [Ebm] them like they were yesterday.
[Bbm]
[Ebm] I always was fascinated with drums.
I [N] realized almost at a certain point that without a great groove, there was no song.
And then I ended up in New York working with drummers like Lenny White, Billy Cobham,
who to me really understood all about bebop and groove and funk.
And that's where it really came together.
Doing sessions, listening to their playing, working in odd time signatures,
and then listening to the way records are made,
which back then was everybody in a room together.
And then when I started to mix, I realized I could soundscape my own sound.
And that was what was really exciting.
The ability to be able to create my own drums and not be a drummer
is the coolest feeling in the world.
Especially when you get the biggest kick or the most powerful snare
and just make the song rise out of the ashes like a phoenix
and make the chorus just pop.
So I loved learning about rhythm.
I loved learning about drums.
And being able to finally be in my own studio gave me the ability to experiment.
[D]
[Bb] [A] [D] Steven Slate, Sanctuary, here to help us to create [Bb] the drum sound that [A] you're getting today.
We [D] were sitting here yesterday and we were listening to the Tom [C] Toms
and we were thinking, you know, they sound okay.
[Bb] Everything kind of sounded plain.
And I just said, you know what, let's drop the gloves.
[G] [Bb] [Em] [D] We [C] took the bottom heads off, stuck a bunch of [Bb] Moongel on there
and just got some super wacky [G] sounds that I think are going to [Em] really work [D] well
when you blend in the samples with them.
[Bb] Because when you're using [A] samples, you're not getting a big boom sound.
You're getting just a thwack.
[Eb] You're looking for something that just cuts.
I think it was a great decision.
It just sounds completely different than the stuff I've done in the last few sessions.
[C]
[Eb] [Ab]
[F] I'm going to go through some of [Bb] the outboard gear [C] today.
What I've got here right now is this Fortin EVE original 1073.
[Ab] I've had my eye on this console for about 15, [Bb] 20 years and finally it became available.
I [C] took four strips.
It was in a planetarium in Canada.
These are pretty well pristine.
[Ab] They've never been used because the planetarium only had a [Bb] stereo.
[C] Here, these are my favorite compressors.
[D] They're the ADR and they're [Dm] stereo, 760s.
A lot of the drum sound that's created here at the House All Out is through these ADRs.
I've had them for a long time.
This is an SSL compressor that [Bb] Dan Korniff made.
That is a fantastic piece.
I love this piece.
Basically, it goes to the [Abm] SSL bus compressor and then we run it out through Dan.
[Bb] Dan makes these and [Eb] they're [Ab] sensational.
[Eb] These are consecutive [Bb] serial number [C] 1176s and you can join them together [Bb] in stereo.
[Ab] If you're going to get one compressor, this is the one to get an 1176 block bass.
It's just the best.
This is my [C] secret weapon here.
This is an SBX-90.
[Bb] It's worth about $60.
[Ab] I love using it as reverb.
I love using it on the snare.
A lot of that [Eb] Paramore sound [G] comes from an SBX-90.
This console is in use [Ab] every day.
In my opinion, all the greats [C] use this console because it has a lot of headroom.
[G] It has a very [C] organic sound.
It's phenomenal for rock music.
You can really push this [Ab] compressor hard.
You can sum [C] it and push things in a way that you can't really do on a knee, for example, or an API.
It just has a [Eb] sound.
Okay, we're going to have a look through the mics today.
[Bb] [Eb] Basically, what we've got here is we've got the D112 and there's a [Abm] backwards monitor [Eb] here that's basically for [Bb] the sub.
On the snare, we've [Cm] got a 57.
Then [Bb] underneath is a [Eb] Sennheiser 441 and it's sitting again about 3 to 4 inches [Ab] off the bottom [Cm] of the snare.
On the hi-hat, [Gm] we have a V67, [Eb] which is a pencil condenser mic.
[Ab] [Eb] It's pointing down at [Ab] an angle, again, 4 or 5 inches [C] off the hi-hat.
We have a China with a [Bb] Royer [Ab] 122.
I think this will be one of the first Chinas that will be available on the Steven Slate kit.
Moving on is the first tom.
We had some different microphones on here yesterday.
One thing we did was take the heads off the bottom.
I really wanted to hear more like a cannon effect [Bb] and decided to go a little bit more aggressive.
[Cm] What we've got here is a 57, again, on the 57 on rack 1 and 2.
[Bb] I've got gels.
This one [Eb] has two, this one has one.
I love the gels because it deadens it out and it doesn't give too much ring.
[Cm] This is [Bb] a snare that Lenny White had lent us.
I [Cm] just love the sound of this.
This is an Ocaltree snare, which is a custom-made [Ab]
with an attack drum head on it.
It weighs about 20 [Eb] pounds.
[Bb] It's really [C] cool.
And of course I have the Vinnie Paul.
[Bb] Steven Slate had [Ab] called me right after Misery Business came out and he said,
you know, [Eb] what are you [C] using in the studio?
What is that sound?
This [Bb] is the snare drum we used.
I was [Ab] a little scared actually to even talk to him about it
because I had no idea that we created something very special that people were going to be using.
[F] [Bb] Now I'm doing this thing with Steven Slate because I [Gb] believe
that there's many different great sounds in music [Bb] and many different influences.
And what I'm trying to [Gb] do is create a situation where you can use these [Bb] drums
and use these cymbals and use the [Gb] room to make music exciting [Ab] again,
not [Bb] to make just the drums exciting.
Whatever [Gb] you're doing with these drums, whatever [Bb] you're trying to create,
[Eb] take some risks, take some chances with them.
[Ebm] Add your own drum kit to them.
Whatever you think you need to do, [Bbm] use things to their advantage.
Don't overload all the time.
[Eb] And I think that's what Steven Slate has.
I think he's given [Ebm] all a fantastic palette to just work from.
Make things come to [Bbm] life.
Enjoy them.
[Ebm] That's why I think Steven [Bb] made them in the first place, because they are there as tools.
[Gb]
[Bb]
[Gb]
Key:
Bb
Eb
Ab
C
Gb
Bb
Eb
Ab
[Gb] _ [Fm] _ [Bb] At the age of 18 to 23, [Gb] I learned [F] everything I needed to know about drums.
[Gb] Then he came [Bb] up and he played on the record and he said,
this is the worst [Gb] sounding kick drum I've ever heard in my life.
[Ebm] _ [Bb] _ _ _ _ _ [Gb] _
[Bb] It damaged me so bad that I wanted to come back and have the best [Gb] sounding kick drum
that anyone [Bb] had ever heard.
[Eb] _ It just needed an oil drum.
[Ebm] _
_ _ _ _ _ _ [Bbm] _
You don't forget certain sessions.
[Gm] Especially [Eb] when they're your own.
You remember [Ebm] them like they were yesterday.
_ _ _ _ _ [Bbm] _ _
[Ebm] _ I always was fascinated with drums.
I [N] realized almost at a certain point that without a great groove, there was no song.
And then I ended up in New York working with drummers like Lenny White, Billy Cobham,
who to me really understood all about bebop and groove and funk.
And that's where it really came together.
Doing sessions, listening to their playing, working in odd time signatures,
and then listening to the way records are made,
which back then was everybody in a room together.
And then when I started to mix, I realized I could soundscape my own sound.
And that was what was really exciting.
The ability to be able to create my own drums and not be a drummer
is the coolest feeling in the world.
Especially when you get the biggest kick or the most powerful snare
and just make the song rise out of the ashes like a phoenix
and make the chorus just pop.
So I loved learning about rhythm.
I loved learning about drums.
_ And being able to finally be in my own studio gave me the ability to experiment.
[D] _ _ _ _ _
_ _ [Bb] _ [A] [D] Steven Slate, Sanctuary, here to help us to create [Bb] the drum sound that [A] you're getting today.
We [D] were sitting here yesterday and we were listening to the Tom [C] Toms
and we were thinking, you know, they sound okay.
[Bb] Everything kind of sounded plain.
And I just said, you know what, let's drop the gloves.
[G] _ [Bb] _ [Em] _ [D] We _ [C] took the bottom heads off, stuck a bunch of [Bb] Moongel on there
and just got some super wacky [G] sounds that I think are going to [Em] really work [D] well
when you blend in the samples with them.
[Bb] Because when you're using [A] samples, you're not getting a big boom sound.
You're getting just a thwack.
[Eb] You're looking for something that just cuts.
I think it was a great decision.
It just sounds completely different than the stuff I've done in the last few sessions.
_ _ [C] _ _
_ _ _ _ [Eb] _ [Ab] _ _
[F] I'm going to go through some of [Bb] the outboard gear [C] today.
What I've got here right now is this Fortin EVE original 1073.
[Ab] I've had my eye on this console for about 15, [Bb] 20 years and finally it became available.
I [C] took four strips.
It was in a planetarium in Canada.
These are pretty well pristine.
[Ab] They've never been used because the planetarium only had a [Bb] stereo.
[C] Here, these are my favorite compressors.
[D] They're the ADR and they're [Dm] stereo, 760s.
A lot of the drum sound that's created here at the House All Out is through these ADRs.
I've had them for a long time.
This is an SSL compressor that [Bb] Dan Korniff made.
That is a fantastic piece.
I love this piece.
Basically, it goes to the [Abm] SSL bus compressor and then we run it out through Dan.
[Bb] Dan makes these and [Eb] they're [Ab] sensational.
[Eb] These are consecutive [Bb] serial number [C] 1176s and you can join them together [Bb] in stereo.
[Ab] If you're going to get one compressor, this is the one to get an 1176 block bass.
It's just the best.
This is my [C] secret weapon here.
This is an SBX-90.
[Bb] It's worth about $60.
[Ab] I love using it as reverb.
I love using it on the snare.
A lot of that [Eb] Paramore sound [G] comes from an SBX-90.
This console is in use [Ab] every day.
In my opinion, all the greats [C] use this console because it has a lot of headroom.
[G] It has a very [C] organic sound.
It's phenomenal for rock music.
You can really push this [Ab] compressor hard.
You can sum [C] it and push things in a way that you can't really do on a knee, for example, or an API.
It just has a [Eb] sound.
_ Okay, we're going to have a look through the mics today.
[Bb] _ [Eb] Basically, what we've got here is we've got the D112 and there's a [Abm] backwards monitor [Eb] here that's basically for [Bb] the sub.
On the snare, we've [Cm] got a 57.
Then [Bb] underneath is a [Eb] Sennheiser 441 and it's sitting again about 3 to 4 inches [Ab] off the bottom [Cm] of the snare.
On the hi-hat, [Gm] we have a V67, [Eb] which is a pencil condenser mic.
[Ab] _ [Eb] It's pointing down at [Ab] an angle, again, 4 or 5 inches [C] off the hi-hat.
We have a China with a [Bb] Royer [Ab] 122.
I think this will be one of the first Chinas that will be available on the Steven Slate kit.
Moving on is the first tom.
We had some different microphones on here yesterday.
One thing we did was take the heads off the bottom.
I really wanted to hear more like a cannon effect [Bb] and decided to go a little bit more aggressive.
[Cm] What we've got here is a 57, again, on the 57 on rack 1 and 2.
[Bb] I've got gels.
This one [Eb] has two, this one has one.
I love the gels because it deadens it out and it doesn't give too much ring.
[Cm] _ This is [Bb] a snare that Lenny White had lent us.
I [Cm] just love the sound of this.
This is an Ocaltree snare, which is a custom-made [Ab] _
with an attack drum head on it.
It weighs about 20 [Eb] pounds.
[Bb] It's really [C] cool.
And of course I have the Vinnie Paul.
[Bb] Steven Slate had [Ab] called me right after Misery Business came out and he said,
you know, [Eb] what are you [C] using in the studio?
What is that sound?
This [Bb] is the snare drum we used.
I was [Ab] a little scared actually to even talk to him about it
because I had no idea that we created something very special that people were going to be using. _ _ _
[F] _ [Bb] Now I'm doing this thing with Steven Slate because I [Gb] believe
that there's many different great sounds in music [Bb] and many different influences.
And what I'm trying to [Gb] do is create a situation where you can use these [Bb] drums
and use these cymbals and use the [Gb] room to make music exciting [Ab] again,
not [Bb] to make just the drums exciting.
Whatever [Gb] you're doing with these drums, whatever [Bb] you're trying to create,
[Eb] take some risks, take some chances with them.
[Ebm] Add your own drum kit to them.
Whatever you think you need to do, [Bbm] use things to their advantage.
Don't overload all the time.
[Eb] And I think that's what Steven Slate has.
I think he's given [Ebm] all a fantastic palette to just work from.
Make things come to [Bbm] life.
Enjoy them.
[Ebm] That's why I think Steven [Bb] made them in the first place, because they are there as tools. _
_ [Gb] _ _ _ _ _ _ _
_ [Bb] _ _ _ _ _ _ _
_ [Gb] _ _ _ _ _ _ _
[Gb] Then he came [Bb] up and he played on the record and he said,
this is the worst [Gb] sounding kick drum I've ever heard in my life.
[Ebm] _ [Bb] _ _ _ _ _ [Gb] _
[Bb] It damaged me so bad that I wanted to come back and have the best [Gb] sounding kick drum
that anyone [Bb] had ever heard.
[Eb] _ It just needed an oil drum.
[Ebm] _
_ _ _ _ _ _ [Bbm] _
You don't forget certain sessions.
[Gm] Especially [Eb] when they're your own.
You remember [Ebm] them like they were yesterday.
_ _ _ _ _ [Bbm] _ _
[Ebm] _ I always was fascinated with drums.
I [N] realized almost at a certain point that without a great groove, there was no song.
And then I ended up in New York working with drummers like Lenny White, Billy Cobham,
who to me really understood all about bebop and groove and funk.
And that's where it really came together.
Doing sessions, listening to their playing, working in odd time signatures,
and then listening to the way records are made,
which back then was everybody in a room together.
And then when I started to mix, I realized I could soundscape my own sound.
And that was what was really exciting.
The ability to be able to create my own drums and not be a drummer
is the coolest feeling in the world.
Especially when you get the biggest kick or the most powerful snare
and just make the song rise out of the ashes like a phoenix
and make the chorus just pop.
So I loved learning about rhythm.
I loved learning about drums.
_ And being able to finally be in my own studio gave me the ability to experiment.
[D] _ _ _ _ _
_ _ [Bb] _ [A] [D] Steven Slate, Sanctuary, here to help us to create [Bb] the drum sound that [A] you're getting today.
We [D] were sitting here yesterday and we were listening to the Tom [C] Toms
and we were thinking, you know, they sound okay.
[Bb] Everything kind of sounded plain.
And I just said, you know what, let's drop the gloves.
[G] _ [Bb] _ [Em] _ [D] We _ [C] took the bottom heads off, stuck a bunch of [Bb] Moongel on there
and just got some super wacky [G] sounds that I think are going to [Em] really work [D] well
when you blend in the samples with them.
[Bb] Because when you're using [A] samples, you're not getting a big boom sound.
You're getting just a thwack.
[Eb] You're looking for something that just cuts.
I think it was a great decision.
It just sounds completely different than the stuff I've done in the last few sessions.
_ _ [C] _ _
_ _ _ _ [Eb] _ [Ab] _ _
[F] I'm going to go through some of [Bb] the outboard gear [C] today.
What I've got here right now is this Fortin EVE original 1073.
[Ab] I've had my eye on this console for about 15, [Bb] 20 years and finally it became available.
I [C] took four strips.
It was in a planetarium in Canada.
These are pretty well pristine.
[Ab] They've never been used because the planetarium only had a [Bb] stereo.
[C] Here, these are my favorite compressors.
[D] They're the ADR and they're [Dm] stereo, 760s.
A lot of the drum sound that's created here at the House All Out is through these ADRs.
I've had them for a long time.
This is an SSL compressor that [Bb] Dan Korniff made.
That is a fantastic piece.
I love this piece.
Basically, it goes to the [Abm] SSL bus compressor and then we run it out through Dan.
[Bb] Dan makes these and [Eb] they're [Ab] sensational.
[Eb] These are consecutive [Bb] serial number [C] 1176s and you can join them together [Bb] in stereo.
[Ab] If you're going to get one compressor, this is the one to get an 1176 block bass.
It's just the best.
This is my [C] secret weapon here.
This is an SBX-90.
[Bb] It's worth about $60.
[Ab] I love using it as reverb.
I love using it on the snare.
A lot of that [Eb] Paramore sound [G] comes from an SBX-90.
This console is in use [Ab] every day.
In my opinion, all the greats [C] use this console because it has a lot of headroom.
[G] It has a very [C] organic sound.
It's phenomenal for rock music.
You can really push this [Ab] compressor hard.
You can sum [C] it and push things in a way that you can't really do on a knee, for example, or an API.
It just has a [Eb] sound.
_ Okay, we're going to have a look through the mics today.
[Bb] _ [Eb] Basically, what we've got here is we've got the D112 and there's a [Abm] backwards monitor [Eb] here that's basically for [Bb] the sub.
On the snare, we've [Cm] got a 57.
Then [Bb] underneath is a [Eb] Sennheiser 441 and it's sitting again about 3 to 4 inches [Ab] off the bottom [Cm] of the snare.
On the hi-hat, [Gm] we have a V67, [Eb] which is a pencil condenser mic.
[Ab] _ [Eb] It's pointing down at [Ab] an angle, again, 4 or 5 inches [C] off the hi-hat.
We have a China with a [Bb] Royer [Ab] 122.
I think this will be one of the first Chinas that will be available on the Steven Slate kit.
Moving on is the first tom.
We had some different microphones on here yesterday.
One thing we did was take the heads off the bottom.
I really wanted to hear more like a cannon effect [Bb] and decided to go a little bit more aggressive.
[Cm] What we've got here is a 57, again, on the 57 on rack 1 and 2.
[Bb] I've got gels.
This one [Eb] has two, this one has one.
I love the gels because it deadens it out and it doesn't give too much ring.
[Cm] _ This is [Bb] a snare that Lenny White had lent us.
I [Cm] just love the sound of this.
This is an Ocaltree snare, which is a custom-made [Ab] _
with an attack drum head on it.
It weighs about 20 [Eb] pounds.
[Bb] It's really [C] cool.
And of course I have the Vinnie Paul.
[Bb] Steven Slate had [Ab] called me right after Misery Business came out and he said,
you know, [Eb] what are you [C] using in the studio?
What is that sound?
This [Bb] is the snare drum we used.
I was [Ab] a little scared actually to even talk to him about it
because I had no idea that we created something very special that people were going to be using. _ _ _
[F] _ [Bb] Now I'm doing this thing with Steven Slate because I [Gb] believe
that there's many different great sounds in music [Bb] and many different influences.
And what I'm trying to [Gb] do is create a situation where you can use these [Bb] drums
and use these cymbals and use the [Gb] room to make music exciting [Ab] again,
not [Bb] to make just the drums exciting.
Whatever [Gb] you're doing with these drums, whatever [Bb] you're trying to create,
[Eb] take some risks, take some chances with them.
[Ebm] Add your own drum kit to them.
Whatever you think you need to do, [Bbm] use things to their advantage.
Don't overload all the time.
[Eb] And I think that's what Steven Slate has.
I think he's given [Ebm] all a fantastic palette to just work from.
Make things come to [Bbm] life.
Enjoy them.
[Ebm] That's why I think Steven [Bb] made them in the first place, because they are there as tools. _
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