Protejati-va urechile !

Nivelul sunetului este masurat in decibeli.Zgomotul produs de o convorbire normala se situeaza intre limitele de 30 si 60 db.
Nivelul de 20-30 decibeli este inofensiv pentru organismul uman, acesta este fondul sonic normal.
Limita sunetului este 80 decibeli. Sunetele de 130 decibeli provoaca senzatia de durere, iar cele de 140- 150 decibeli sunt insuportabile si duc la pierdera auzului,indiferent de durata expunerii. (in secolele trecute exista termenul de moarte sub clopot)
Zgomotul unei lovituri de premier cu rama sanatos ajunge la circa 126 decibeli adica la fel de tare ca un pickamer.Mai multe masuratori au indicat ca un nivel de zgomot NORMAL in timpul unei repetitii (tobe,chitara electrica,bas,voce) se situeaza intre 90-110 decibeli.
Un fond sonor de 90 decibeli poate duce la pierderea auzului daca expunerea este mai mare de 8 ore/zi.
O pereche de casti de protectie poate reduce nivelul zgomotului cu 15-37 decibeli ceea ce inseamna ca teoretic e ok sa stati 8 ore repetand/studiind.Practic castile/antifoanele pot avea o marja de eroare de +/- 5 decibeli astfel incat 4 ore/zi sunt suficiente petru exersatul la tobe sau repetitii.Daca incercati sa va puneti vata in urechi trebuie sa stiti ca ea reduce zgomotul cu 7 decibeli ceea ce e ok pentru 90 minute de studiu/repetitii la un volum mai mic.
Timpii de expunere mentionati mai sus NU garanteaza pierderea auzului dar pot duce la ea la fel cum poti auzi excelent dupa 20 de ani de expunere la zgomot fara nici un fel de problema.
Printre efectele negative ale zgomotului datorita expunerii la sunete puternice o sa enumar hipoacuzia, hiperacuzia si tinitusul(acufene).
Trauma sonora defineste hipoacuzia(scaderea auzului) sau hiperacuzia determinata de expunerea la zgomot.
Hiperacuzia este o senzatie subiectiva care consta in perceperea exagerata a zgomotelor in urechi.
Trauma sonora poate fi indusa atat de o unica expunere la un zgomot foarte intens, cat si de expunerea repetata si prelungita la zgomote mai putin intense. Scaderea treptata a auzului dupa o expunere cronica la zgomot este mult mai frecventa decat cea cu debut acut, aparuta ca urmare a expunerii la un zgomot foarte intens si de scurta durata. Aparitia traumei sonore prin afectarea celulelor senzoriale ciliate ale organului Corti de la nivelul urechii interne, este influentata de doi factori: caracteristicile fizice ale sunetului si susceptibilitatea individuala.

Tinitusul sau acufenele reprezinta tiunit in ureche.Tuturor ni s-a intamplat sa ajungem acasa dupa un concert zgomotos si cand ne bagam in pat sa ne tiuie urechile.In cazul tinitusului tiuitul este continuu si nu se opreste.Niciodata.
Plus ca nu exista tratament pentru nici un exemplu din categoria traumei sonore.

De aceea se recomanda folosirea antifoanelor atat cand studiati cat si cand sunteti la repetitie.De asemenea se recomanda a se repeta la un nivel normal.De foarte multe ori trupele prefera sa isi dea volumul instrumentelor la maxim in timpul repetitiilor pentu a acoperi tobele ajungandu-se la o galagie generala din care nimeni nu mai intelege nimic.

Tipuri de antifoane existente:

1.Antifoane din burete poliuretanic

desi nu sunt destinate muzicienilor,isi fac treaba fara probleme,sunt cele mai accesibile ca pret (intre 1-5 lei) si se gasesc in majoritatea farmaciilor de la noi.Avantajul folosirii lor este ca reduc destul de mult nivelul zgomotelor (25-35 decibeli).Dezavantajele lor ar fi ca reduc volumul pe toate frecventele si uneori nu intra perfect in ureche.


2.Antifoane cu filtre(lamele)

aceste antifoane au niste lamele moi pentru adaptarea optima in canalul auditiv in functie de nivelul decibelilor.
Sunt mai scumpe decat cele din burete poliuretanic (6-15 lei) si reduc volumul cu 25 decibeli in special pefrecventele inalte ale premierului,cinelelor si a chitarei electrice, ceea ce este mai mult decat ok.Avantajul lor este ca vin intr-o cutiuta cu clema de prindere pentru pastrarea lor in conditii de igiena maxima si nu trebuie schimbate decat la 2 luni.


3.Castile antifon

sunt la fel cu cele folosite de muncitori in constructie.Se pun si se scot usor si de cele mai multe ori ofera o excelenta protectie.Reduc volumul cu 25-37 decibeli, sunt practice si sunt o varianta foarte buna pentru studiu si pentru repetitie.Ca si pret sunt mai scumpe, intre 10 si 100 lei insa nu prea arati cool daca te duci cu ele la cantare.Se gasesc de obicei la magazinele de bricolaj.



4.Antifoanele custom

Practic sunt cea mai buna varianta existenta dar si cea mai costisitoare(150-230 euro).Facute dintr-un silicon fin sunt dotate cu un filtru special care iti reduc volumul pe toate frecventele astfel incat vei auzi la fel numai ca un pic mai incet.
Partea intresanta este ca iti sunt facute chiar pe forma urechii trebuind sa mergi la un cabinet O.R.L. pentru a ti se lua mulaj.Reduc volumul cu pana la 25 decibeli.
Pretul relativ mare al antifoanelor de acest gen face ca ele sa fie destinate in general muzicienilor profesionisti.



In concluzie daca esti tobosar ar trebui sa te gandesti serios sa iti cumperi antifoane si sa te obisnuiesti cu ideea de a le purta.

What Bands Look For In A Drummer

1. Don't be late!
When you are late for a gig you get labeled as unreliable. If you are ever late or are going to be late, make certain you call the leader and explain the circumstances, and apologize for the inconvenience you are causing other affected parties. When you are late you are wasting valuable set-up, sound check, and practice time. The easiest way to ensure you are on time is to plan to be 30 minutes early.

2. Know the music
Listen and learn all the music for the gig you are playing at. If you are playing all original and un-recorded music than you should listen to the artists previous recordings and get a feel for what style of drumming they like.

3. KISS - "Keep it simple stupid."
Don't think that you need to show everyone how fast you can move around the kit. Most leaders are more concerned with "groove". If the song has no groove it becomes very hard to listen to for the crowd and even harder for the other musicians to play with.

4. Attitude
Always express how happy and excited you are to play with whomever you are playing with. If the leader thinks that playing with him is a burden to you he will not call you anymore. Get to know your fellow musicians who you are sharing the stage with. Even if you don't like some of them you must be nice. You want to build a good relationship with everyone.

5. Playing with a click
You must know how to play with a click. You don't want to have to stop in the middle of the song because the drummer can't keep the beat. I do not recommend playing every song with a click. When you are comfortable playing with a click then you can focus more on groove and not be worried about staying on time with the click.

6. Playing what they want
Sometimes you will have to play a groove that you think doesn't suit the song. You might be playing a groove that the leader tells you he doesn't like and asks you to play something else. Instead of throwing your sticks at him and telling him where to put them I recommend just playing the song the way they want it. You can play whatever you want when you go home at the end of the night with your paycheck. You can also pay the rent the too.

7. Monster Kit
I am a big kit type of guy, but it doesn't always work with every circumstance. Don't plan on taking up the whole stage with your huge ass kit. If you know that there is a big stage with lots of channels for mics and lots of room for other musicians than fly at it. However, if there is limited space then bring a smaller kit. The sound guys will love you more too.

8. Sensitivity
Don't play so loud! This is a mistake that too many drummers make. If the leader cannot hear his guitar or vocal and his monitor is cranked then there is a problem. Listen to the sound in the room and then you can make a decision about how you are going to play or what type of sticks you are going to use. It works both ways, I have been told to play quieter and I have also been told to play louder. Of course I like it way more when they say "LOUDER!", but don't get your hopes up...You should be able to play the drums with dynamics.

9. Memory
If you cannot remember all of the 2/4 bars, 7/8 bars, and 15/16 bars along with all the other parts that leaders want to add to their songs - you must write it down. There is nothing worse than going through a part of a song in practice if you just forget it when it comes time to play it in front of a crowd. If you do, your only hope is that you have an understanding leader. I hate the nasty looks from the head honcho after I miss a important part.

10. Play for fun, not for money
Everyone has to make a living, and I am not saying to just play every gig for free. However, that cannot be the only motivation for you playing the gig. If a leader senses that you are just in it for the money he is not going to want you back. Only ask for the check right when you are about to leave. Do not ask for payment prior to playing the gig.

Follow these guidelines and you're sure to have improved success in seeking regular gigs. With any luck you'll form some great relationships along the way. Good luck!

15 Drum Tips

1.Listen to "all" styles of music. This boosts your creativity on the drums and makes you more aware of how to approach these styles if you ever confront them in your band.

2. Warming up before a gig or rehearsals. This is terribly underestimated. Spend 20 to 30 minutes warming up with drum rudiments and related sticking exercises. Practice them with music playing through a MP3 or Ipod. It's a great motivator and you'll be very loose when you get ready to play.

3. Singles and Doubles. Drum rudiments are made up of doubles and singles. Learn to play these as cleanly, evenly, and correctly as possible. Do the same with doubles. They make up all the rest! Practice and master this on the drums and you'll find everything else comes a lot easier. This applies to those that play the rock band game too!

4. Study a melodic instrument (not just drumset). This will give you a valuable understanding of harmony, chord structure and overall music theory. You can then be more involved in the arranging of your band's songs. You can also write your own drum charts more efficiently.

5. Videotape yourself playing drums. You will be amazed at what you can learn from this. Everything from that stupid look on your face while your playing the drums, to the snare drum that's tilted at a 45 degree angle.

6.Drummers get a lot of flack. We get blamed for tempo fluctuations, etc. Many other musicians have never even practiced with a metronome, but they'll often be the first to speak up about it. Take the time to talk to your bandmates about the importance of their contribution to timekeeping.

7.Try to practice drums 20 minutes instead of 2 hours. This is a little self-applied psychological trick that really works! After 20 minutes, you usually feel propelled to practice much longer anyway. You want drumming to be fresh and exciting, not dreaded.

8.Diplomacy is everything! If you disagree with your fellow musicians about something, bite your tongue! Keep your cool and approach the matter patiently and with great thought before you speak. Don't burn any bridges by saying the wrong things. You just might have to walk back over those bridges one day.

9.Protect your ears! We can't stress this enough. Most musicians take this for granted. Buy a good set of ear plugs and start using them, especially while you practice. Drums are quite loud and ongoing exposure is detrimental.

10.After a drum lesson, go home and practice any drum beats, grooves, or fills right away on the drums while it's still fresh in your head. Otherwise you tend to forget a lot of what you learned. Take lessons seriously. You're spending money so pay attention, take notes, make charts, organize your drum lessons, tape the lessons, and anything else you can think of to make the most out of it.

11. Beginning drummers always want to learn fancy drum beats and drum fills right away. But you must crawl before you can walk. Take the time to get the basics down real good on the drums and then you can tackle the more challenging stuff.

12.Ergonomics: The physical aspect of your playing (posture, how you hit) has a lot more to do with your playing than you think. When you are properly balanced, you have a center, and when you are centered you can move more freely and relaxed without any wasted motion.

13.Roll your drumsticks on a flat countertop before buying them. This way you'll know if you're getting a straight pair.

14.Myth: Drummers get all the chicks. Not true ... Singers do! All the more reason to be a singing drummer, huh?

15.Myth:Lars Ulrich is the greatest drummer in the world. Fact: It's actually Ringo Starr(drummer from Beatles).

www.drumtips.com

Best drummers in 2009

In fiecare an, cea mai citita revista de specialitate din lume, Modern Drummer, organizeaza celebrul sondaj printre cititorii ei cu privire la cei mai bun tobosari.
Rezultatele pentru 2009 au fost urmatoarele:

HALL OF FAME - Mitch Mitchell (Jimi Hendrix Experience, RIP)

ROCK
1.Todd Sucherman (Styx,The Spinal Tap)
2.Neil Peart (Rush)
3.Xavier Muriel (Buckcherry)
4.Daniel Adair (Nickelback)
5.Chad Smith (Red Hot Chili Peppers,Chickenfoot,Chad Smith's Bombastic Meatbats)

METAL
1.Lars Ulrich (Metallica)
2.Tommy Clufetos (Rob Zombie,Alice Cooper)
3.Chris Adler (Lamb of God)
4.Tommy Haake (Meshuggah)
5.Joey Jordison (Slipknot)

PUNK
1.Travis Barker (Blink 182)
2.Tré Cool (Green Day)
3.Josh Freese (A Perfect Circle,Nine Inch Nails,Guns'N'Roses)
4.Pat Thetic (Anti Flag)
5.Brooks Wackerman (Bad Religion,Tenacious D)

PROGRESSIVE1.Gavin Harrison (Porcupine Tree,King Crimson)
2.Mike Portnoy (Dream Theater)
3.Neil Peart (Rush)
4.Danny Carey (Tool)
5.Thomas Pridgen (The Mars Volta)

ALL AROUND 1.Keith Carlock (Sting,Dan Steely)
2.Steve Smith (Vital Information,Mariah Carey,Savage Garden)
3.Vinnie Colaiuta (Frank Zappa,Bill Evans)
4.Dennis Chambers (Santana,John McLaughlin)
5.Steve Gadd (Eric Clapton,Joe Cocker,Ray Charles)

R&B/HIP HOP
1.Amir Questlove Thompson (The Roots,Jay Z)
2.Aaron Spears (Usher,Alicia Keys,American Idol Tour)
3.John Blackwell (Prince,Justin Timberlake,P. Diddy)
4.Teddy Campbell (Britney Spears,Backstreet Boys,Christina Aguilera)
5.Tony Royster Jr. (En Vogue,New Flava)

POP: 1.Keith Carlock
2.Rodney Howard (Avril Lavigne)
3.Kenny Aronoff (Lynyrd Skynyrd,Smashing Pumpkins,Meatloaf)
4.Carter Beauford (Dave Matthews Band)
5.Vinnie Colaiuta

TRADITIONAL JAZZ:
1.Peter Erskine (Weather Report,Diana Krall)
2.Jeff Hamilton (Ella Fitzgerald, Count Basie Orchestra)
3.Bill Stewart
4.Roy Haynes (Ray Charles,Chick Corea)
5.Jack DeJonette (Miles Davis,Mike Stern,Joe Zawinul)

PRACTICING DRUMS

There is a saying regarding practicing that has been attributed to the concert pianist Vladimir Horowitz and paraphrased by many. One version of this saying is: "If I miss one day I know it. If I miss two days my wife knows it. If I miss three days my audience knows it." That is arguably the consummate statement on the importance of regular practice.

The hours we all put into practicing technique are very important to us. We all do it to maintain or improve our playing. However, often much of the time spent behind the drums is not put to the best use.

Time spent practicing brings up the old debate of quality versus quantity. If the musician's focus is right, more can be accomplished in thirty minutes time than two hours of time with the instrument.

Many musicians do not really practice but "play" their instruments. That is to say that they sit down (or stand) with the instrument and play what they know. This can be great for the maintenance or polishing of certain techniques but, with those exceptions, no progress is being made.

The essence of the practice session should be musicality while striving for perfection and improvement. Even while practicing, the musicians should concentrate on playing music!

Perfection, improvement and musicality are the guidelines for a productive practice session

Perfection: Every technique should be done as perfectly as possible. This includes hand positions, stickings, stick height, wrist movements, touch, etc. Practicing wrong will develop improper technique - and all execution is affected by technique. To strive for perfection is the first step in practicing.

Improvement: Each practice session should create a challenge for the musician to accomplish something never previously done. This could be a new rudiment, piece of music, or exercise. It could also be a new tempo for an old exercise, etc. And the tempo does not necessarily have to be faster - just different. Old exercise books are excellent ways to improve. (Every book should be played at least twice, because it is never mastered the first time through.) But, whatever it is, some new accomplishment should be attempted at every practice session.

Musicality: The purpose of playing any instrument is to play music. And music should
be kept foremost in mind whenever practicing. Even when playing a rudiment or
technical exercise it should be thought of musically and how it can be applied to music. As stated earlier, musicality is the essence of playing an instrument.



The amount of practice time will vary from individual to individual and also from beginner to professional. A beginning drummer might practice thirty minutes to one hour a day and increase that to two hours per day as he progresses after the first year or so of study. If the student continues to be serious and is looking toward or is in a college program as a music major, the practice time should increase to approximately two to four hours per day. As steady engagements, playing situations and other responsibilities increase with a developing career (and with life in general) practice time then starts to decrease again. It might be one to two hours per day again or maybe two to four hours three times a week - whatever the individual needs are and professional and personal schedule allow. But, whatever the situation allows, practice should be continued throughout one's professional life under any conditions.

I have made a list of some important points that if adhered to should not only make your practice session more productive but also more enjoyable. (We all enjoy what we're doing much more when we can see advancement and improvement.)

1) Watch Your Hand Position: this is the No. 1 problem I have found with drummers and students - from beginner to advanced. Whichever grip you use, when practicing always be sure your hands are in the correct position. It just doesn't make sense to put time in practicing technique and not have your hand positions correct. These positions are used for a reason and your development will be limited if you do not use them correctly. Once your hand position improves you will find your playing will become much cleaner and faster.

2) Stick Height: this is different from sticking in that it refers to how high you bring the sticks. Whether you work from a full 90 degree position, a 45 degree angle or anything in between the important point is that both sticks return to the same height. Because most of us are not ambidextrous we have a tendency to favor our strong hand and bring that stick to a higher position than the weak hand. This means one stick is traveling a shorter distance to reach the drum whenever a stroke is made. Think about it. It stands to reason that if one stick is traveling eight inches and the other only five inches, the stick farther away has to move faster to reach the drum in the same time interval as the closer stick. This also means the rebounds will be weaker with the closer stick. Are your Single Stroke and Long Rolls uneven? Stick height is probably at least part of the reason - along with the Hand Position and Sticking. Concentrate on these three common problems and you will see a vast improvemet in your technique.

3) Play Off The Drum: unless they have learned this somewhere along the way, most drummers, especially heavy hitters, play down into the drum instead of off it. When making your stroke think up and bring the stick away from the head immediately after striking it. Some teachers describe this as "drawing' or "pulling" the sound out of the drum. The shorter the time the stick is on the drumhead the more resonant and responsive the drum will be. Thus, a cleaner and fuller tone and increased stick speed.

4) Learn And Practice The Drum Rudiments: even if you only spend a minimal amount of time on them do at least something. If you only study one rudiment a week - just one - you will have learned all 26 in exactly six months. You do not have to be a rudimental champ but the knowledge will be a definite plus - and you'll feel good about your accomplishment besides.

5) Work With A Metronome: use it at different speeds including the slowest ones. It won't make your playing stiff but will improve your time and meter. And, if you ever encounter a click track in the recording studio you will be thankful for any time spent with a metronome.

6) Keep The Practicing Habit: We all know that occasionally time is at a premium and a full practice session is impossible. On those days at least do something - even if it's just a 10 or 20 minute keep-in-shape or warm-up routine.

7) Strive For Perfection: be as perfect as possible when practicing. There is no sense in putting in the time and hard work if you don't go for perfection. Be your own worst and toughest critic and don't sell yourself short.

8) Vary Your Practice Routine: this is especially helpful when practice time is limited. Sometimes it is better to look at your practice sessions on a weekly instead of a daily basis. One day spend the majority of the time on hands, another on independence, another on reading, another on rudiments, etc. and be sure to rest for a few minutes between segments or five minutes per half hour. This will help avoid overuse or strain of your muscles. Be sure and spend some time creating and just playing. Some teachers suggest you do it at the end of your practice session. However, I have found it often works better to do it at the very beginning to get it out of your system. Then you can just focus on what you planned to work on that day.

9) Keep Challenging Yourself: never be satisfied. Try to be working on something new at all times - a rudiment, book, rhythm - and once that is accomplished, whether it takes a day, a week or a month, move on to something else new. Strive to constantly improve during each practice session.

These previous tips should be concentrated on only while practicing. Once you are at rehearsals or the gig don't think about them. Concentrate on the music and feeling relaxed and comfortable. If you use these tips diligently every time you practice you will find they will creep into your playing without your realizing it and you will see a vast improvement in your technique and playing in a few short months

Copyright 1999 Mat Marucci
http://www.matmarucci.com/

Musical Instruments Museum (MIM)

Muzeul Instrumentelor Muzicale se afla in capitala Belgiei,Bruxelles.Muzeul adaposteste o colectie de peste 1500 instrumente de prin toate colturile lumii.
Este impartit pe 4 nivele:instrumente mecanice ,instrumente traditionale,instrumente de orchestra si instrumente electronice.
Fiecare vizitator primeste o pereche de casti controlate prin infrarosu.Cand ajungi in dreptul unui instrument auzi in casti muzica acelui instrument printr-o inregistrare.
In muzeu se mai afla o librarie,o sala de concerte(evident nu se tin concerte de rock sau indie),un gift shop si un restaurant situat chiar pe terasa unde poti admira Bruxelles-ul de la inaltime.
Ca plusuri pot spune urmatoarele:
- mi-a placut in mod deosebit cladirea in sine ce adaposteste instrumentele,cladire in stilul "art nouveau",cocheta,micuta si avand un farmec aparte.
-Romania e si ea reprezentata cu 2 sau 3 instrumente:cornul,dramba si inca ceva dar nu mai tin minte exact ce era.pentru cei mai old school cu siguranta le-ati vazut si auzit de zeci de ori in emisiunea "Tezaur Folcloric" a doamnei Marioara Murarescu in fiecare vineri de la 20.30 acum 20 de ani.
-studioul de inregistrari antic alaturi de atelierul unde se fac piane sunt fabuloase.

Ca si minusuri as putea spune ca ma asteptam la mai multe instrumente in special din categoria celor moderne la mai multe sali.Un etaj intreg ocupat gift shop pare cam mult avand in vedere ca batea vantul pe acolo.Ideea restaurantului e si ea un pic aiurea, strict comerciala dar avand in vedere ca la ora 11 dimineata era plin ochi e de inteles.
Una peste alta daca aveti drum prin Bruxelles merita vazut.

Tips for building confidence on the drums

The power of words
To begin with, we must pay close attention to what we say to and about ourselves.Confidence is a state of mind.If you're walking around thinking, "i'm a horrible drummer-my time is weak,i'm uncoordinated...",how could you possibly feel confident when you sit down to play? It doesn't matter if these negative messages are true or not;they'll affect you nonetheless.
Sometimes people will speak poorly about themselves to others because they think that this being modest.In truth,this is just another way of sabotaging our self-confidence by emphasizing the negative.Therefore,when speaking to others,as when speaking to youself,choose to send empowering messages.This doesn't mean that you should be dishonest.Simply choose to emphasize the positive.

The skills for the job

There are some times when we have a good reason not to feel confident-like when we genuinely don't possess the skills required to accomplish the task at hand.If you feel a lack of confidence in a certain area of your drumming,maybe it's for a good reason.Developing self-confidence in a certain area of drumming involves thoroughly studying and practicing the skills involved in that area.

If you're still a beginner on the drums,you may feel a lack of confidence in all areas of drumming.Again,this is completely normal.Let's face it:there's a lot involved in drumming.There are fills,beats,rudiments,reading,soloing and countless other things to be learned.An important step is to proactivley increase and improve the skills that you possess.There are many ways to do this.In addition to taking lessons,you can read drumming magazines and books,watch DVDs,and even check out drumming exercises online.Take advantage of all of these methods to boost your skills.


Getting experience
It's completely natural to feell a lack of confidence when you find yourself in an unfamiliar situation.Obviously,the solution to this is to increase the number of situations that are familiar to you.In other worlds, get as much actual experience as possible.Join a band and sit in at jam sessions.The more you play with others,the less foreign it will seem,and the more confident you'll feel about making music.
When you doing this,it's a good idea to play with other people at the same level as you,otherwise the results can be disatrous.

The company you keep
Sometimes it can be difficult to find people who are positive and supportive.People can be discouraging,even if they have good intentions.When i was first embarking on my music career,I encountered a lot of resistance and discouragement...especially from my own friends and family.Despite their lack of knowledge about the music industry,they tried to convince me that there was no way to make a living in music.
At every opportunity,I spoke to professional drummers about their experiences in the music business,i went to clinics,took lessons etc.So my confidence remained intact.

Failure on the road to succes
Finally,keep in mind that no one is perfect.Even the greatest of the great have weaknesses,flaws,off days and occasional bad luck.Master drummers sometimes get fired.Musical giants sometimes realize that they need to revamp their entire approach

When you're the one having an off day or facing a personal weakness,keep it in perspective.It happens to everyone.If you do that you can't miss.


Matt Ritter
Modern Drummer Magazine