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VOLUME 12, NUMBER 6
Cover photo by Ebet Roberts
Photo by Ebet Roberts
His work with Black Oak Arkansas, Pat Travers, and Ozzy Osbourne
established Tommy Aldridge as a role model for a whole generation of
heavy rock drummers, and his current gig with Whitesnake is spread-
ing his influence even further. Here, he happily gives away his "secrets
of success."
by Teri Saccone
16
His mastery of odd time signatures came in handy on gigs with Don Ellis
and Frank Zappa, and Ralph Humphrey is now sharing his expertise
with others as a teacher at P.I.T. He discusses his career and his current
work with Free Flight.
by Robyn Flans
22
LUIS CONTE
With credits ranging from Madonna to Al DiMeola to The Tonight Show,
Luis Conte has proven that players with feel will always be in demand.
He talks about the requirements for making a living as a percussionist,
and explains the differences between Cuban and Brazilian instruments
and rhythms.
by Karen Pershing with Brian Kilgore
26
SELF-MADE MEN:
Many of the businesses that exist to supply drummers with equipment
were started by other drummers. We speak with Mike Stobie, Fred
Beato, and Randy May, who offer advice to drummers that want to start
their own business.
by Rick Van Horn
30
MD TRIVIA CONTEST
Win a set of Drum Workshop Turbo pedals.
34
EDUCATION
ELECTRONIC INSIGHTS
Threshold Of A Drum
by Bob Mater
CORPS SCENE
"Who Are These People, Anyway?"
by Dennis DeLucia
92
SHOP TALK
Buying Used
by John Clarke
100
38
THE MACHINE SHOP
All That Jazz
by Clive Brooks
NEW AND NOTABLE
126
TEACHERS' FORUM
Music And Perfection
by Brian Alpert
94
40
JAZZ DRUMMERS' WORKSHOP
Composing And Improvising
by Peter Erskine
PROFILES
PORTRAITS
J.C. Heard: Jazz Veteran With A
Message
by James Dennis Corcoran
IN THE STUDIO
Tips From A Recording Engineer
by Craig Krampf
98
44
CLUB SCENE
The Whole Package
by Rick Van Horn
70
HEALTH & SCIENCE
Holistic Help For Drummers' Injuries
by Dr. Jan I. Stromfeld, D.C.
118
KEYBOARD PERCUSSION
Brian Slawson
by Brooke Sheffield Comer
46
CONCEPTS
Time
by Roy Burns
ROCK CHARTS
Tommy Lee: "Wild Side"
by James Morton
122
86
58
NEWS
UPDATE
EQUIPMENT
PRODUCT CLOSE-UP
New Remo Products
by Bob Saydlowski, Jr.
BASICS
Power Fills
by Jim Pfeifer
6
INDUSTRY HAPPENINGS
124
76
ROCK 'N' JAZZ CLINIC
In Pursuit Of Odd Time: Part 2
by Rod Morgenstein
42
DEPARTMENTS
EDITOR'S OVERVIEW
78
ELECTRONIC REVIEW
Roland PM-16
by Jim Fiore
2
READERS' PLATFORM
4
TRACKING
A Chorus Line
by Hank Jaramillo
54
ASK A PRO
10
Roland TR-626 Rhythm Composer
by Mark Hurley
IT'S QUESTIONABLE
12
82
55
DRUM MARKET
116
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Investing
In The
Future
The current technology in electronics has given
drummers more options than ever before in the
history of the instrument. Electronic sets, drum
machines, sequencers, samplers, and the whole
incredible world of MIDI offer mind-boggling
potential.
Once upon a time we could all stay on the
cutting edge just by keeping abreast of the latest
in drum and hardware design, cymbal innova-
tions, and a growing list of accessory items. But
the scope of the industry has widened drastically
over the past five years. Unfortunately, along
with our widened horizons comes concern over
both expense and obsolescence. The technology
can put a serious financial burden on any drum-
mer wishing to maintain state-of-the-art status.
Let's talk about expense first.
The positive side, for those who can't afford to
get involved right now, is that prices will proba-
bly, in time, come down. If you bought a VCR
five years ago, I'm sure you can recall spending
over $1,000. An improved version can be pur-
chased for as little as $250 today. Of course, you
have to be willing to wait for prices to decrease,
and waiting can present its own set of problems.
There's also the option of buying used. There's
nothing wrong with searching out a good deal in
the used equipment market, if you can't afford the
latest item right out of the box. It's a sensible way
to get in on the action without going into serious
financial debt.
Another obvious concern is obsolescence.
"New equipment comes out so fast. How do I
know that what I buy today won't be outdated
tomorrow?" is a comment I often hear. It's a valid
concern, and yet there's not much we can do
about it in any area of high-tech merchandise. The
truth is, if you're determined to sit back and wait
for the ultimate version of an item, which does
everything it will ever do, you're probably going
to wait forever. Engineering and design teams are
paid to develop new products and improve upon
past models—and improve they will. It's not a
plot against the consumer. It's simply technology
on the move, and it will always be that way. So
waiting often becomes a futile endeavor.
Making an initial investment is certainly a gam-
ble of sorts, as is everything in life. What needs to
be determined is, if you're really serious, how
long can you realistically afford not to get
involved? You could be losing a lot more than
your initial investment in terms of hands-on prod-
uct knowledge, valuable experience, and long-
range income potential.
What's the answer? My suggestion would be to
purchase that which you can reasonably afford, if
only to keep up on what's happening. The entire
field of electronics is moving much too quickly for
any musician to run the risk of being left behind in
the dust. I honestly wouldn't be concerned with
the obsolescence factor. That's a battle none of us
can win. Why should we expect anything we buy
today to equal what will be available in five years?
It's difficult to find a place where the old adage
"He who hesitates is lost" rings more true than in
the area of drums throughout the '80s. He who
hesitates too long will surely lose out in the long
run. It's your decision to make—and a most seri-
ous one at that.
EDITOR/PUBLISHER
Ronald Spagnardi
ADMINISTRATIVE MANAGER
Tracy Kearney
CONTRIBUTING WRITERS
Susan Alexander, Chip Deffaa, Robyn Flans,
Simon Goodwin, Karen Ervin Pershing, Jeff
Potter, Teri Saccone, Robert Santelli, Bob
Saydlowski, Jr., Lauren Vogel, T. Bruce Wit-
tet.
ASSOCIATE PUBLISHER
Isabel Spagnardi
ADMINISTRATIVE ASSISTANT
Joan C. Stickel
DEALER SERVICE MANAGER
Josie Cuaycong
SENIOR EDITOR
Rick Mattingly
MODERN DRUMMER Magazine (ISSN 0194-4533)
is published monthly with an additional issue in
July by MODERN DRUMMER Publications, Inc.,
870 Pompton Avenue, Cedar Grove, NJ 07009.
Second-Class Postage paid at Cedar Grove, NJ
07009 and at additional mailing offices. Copyright
1988 by Modern Drummer Publications, Inc. All
rights reserved. Reproduction without the permis-
sion of the publisher is prohibited.
SUBCRIPTIONS: $24.95 per year; $44.95, two
years. Single copies $2.95.
MANUSCRIPTS: Modern Drummer welcomes
manuscripts, however, cannot assume responsi-
bility for them. Manuscripts must be accompanied
by a self-addressed, stamped envelope.
CHANGE OF ADDRESS: Allow at least six weeks
for a change. Please provide both old and new
address.
MUSIC DEALERS: Modern Drummer is available
for resale at bulk rates. Direct correspondence to
Modern Drummer, Dealer Service, 870 Pompton
Ave., Cedar Grove, NJ 07009. Tel: 800-522-
DRUM or 201-239-4140.
POSTMASTER: Send address changes to Modern
Drummer, P.O. Box 469, Cedar Grove, NJ 07009
ISSUE DATE: June 1988
CIRCULATION
Leo Spagnardi
Crystal W. Van Horn
Susan M. Dobkowski
Alyssa Klein
MANAGING EDITOR
Rick Van Horn
ASSOCIATE EDITORS
William F. Miller
Adam Budofsky
SALES PROMOTION MANAGER
Evelyn Urry
EDITORIAL ASSISTANT
Cynthia Huang
CONSULTANT TO THE PUBLISHER
Arnold E. Abramson
ART DIRECTOR
David H. Creamer
MODERN DRUMMER ADVISORY BOARD
Henry Adler, Kenny Aronoff, Louie Bellson, Bill
Bruford, Roy Burns, Jim Chapin, Alan Dawson,
Dennis Delucia, Les DeMerle, Len DiMuzio,
Charlie Donnelly, Peter Erskine, Vic Firth, Danny
Gottlieb, Sonny Igoe, Jim Keltner, Mel Lewis, Lar-
rie Londin, Peter Magadini, George Marsh, Joe
Morello, Andy Newmark, Neil Peart, Charlie
Perry, Dave Samuels, John Santos, Ed Shaugh-
nessy, Steve Smith, Ed Thigpen.
ADVERTISING DIRECTOR
Kevin W. Kearns
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