DRUMS IN BROOKLYN 6 - Sleep "Dragonaut"

Drum cam view. I accept all critique, flame, etc below in the comments.
Sleep "Dragonaut" live at Brooklyn Steel, July 26 2018.
Thanks to Frank Huang of Max Volume Silence for the footage! / frankj3210

[@jason_roeder]

RIP Ikea Lappljung rug. Best drum rug ever made.

[@adamdzi-mb8cx]

Hell yeah! Hope you will upload more videos ❤

[@Neanderthrillz]

Sleep's "Live at Third Man" is one of the best live albums ever ever. I probably listened to some part of it every single day last year. Amazing, inspiring work, all 3 of yous guys. Thanks for so much great music!

[@lance___]

Sleep forever!

[@bransonmifsud5019]

I imagine you're quite busy, but I figured I'd ask. What is your approach to drum tuning and being able to cut through the mix in a band like this with such low-tuned and distorted, mid-forward instruments? I've done sound locally and I'd like to get better at communicating w/ drummers on how to work better together to achieve a better overall mix for everyone involved. Sounds great, lovely groove

[@jason_roeder]

Hi thanks for asking. Unfortunately most of what needs to happen to get a good stage mix happens in the practice room way before the gig. Find a mix of cymbals that have the bandwidth and projection to cut through, and play dynamically to match. Drum head selection, tuning, shell type etc has *some* effect but I think the important thing is to play appropriately. Loud guitars? Don't tap the drums. Don't be afraid to hit them hard and make it loud to match. Don't make the FOH tech struggle to gain up the drums into feedback just to be heard. I compare it to a vehicle - a sports car is nimble and quick but can't carry much. A truck can carry a heavy load but is not as nimble and quick. In some cases you have to be the truck. It sounds corny but heavy music needs heavy drums. In the mean time? You have to tell the bass and guitars to pull down the stage volume slightly until the drummer figures out how to cut through. All that being said... I use double ply batter heads tuned low, single ply resonants tuned a little higher until they sustain well. Snare is cranked until it sings but not so high that it chokes out. Birch shells for tighter, punchier projection (maple is prettier sounding but it doesn't punch the same way). Tenor marching sticks with a barrel tip for more "umph".

[@bransonmifsud5019]

@@jason_roeder Thank you very much for taking the time to give such a thoughtful and nuanced response. There's some great information here, and I'll be sure to keep it in mind moving forward. Hope to see you and the rest of the guys at a Sleep show one of these days. Have a lovely day.

[@davidavila8805]

You’re an amazing drummer man. I’m a drummer myself and I hope to get as nearly as good as you someday .

[@NemanjaDrljaca]

This is theater worthy

[@Benjamin-om3ih]

Hi Jason Im sure you get these questions all the time so please pay no mind if its annoying haha I was wondering if you could say agew words about your drum sound on recordings. I absolutely adore it, particularly the kick. But overall just the breathing room the kit has sounds so wide and open, its like a dream. Im struggling with drum mixing tutorials encouraging to mix very processed and tight. Not a sound i am enjoying. Also, what size kick do you use and how to you get it to sound so great? Thanks for reading. I saw you play in Auckland and it was an incredible moment in my life. Been listening for nearly 20 years. Thanks for your contribution to music.

[@elliotcadieux]

fuckin amazing

[@hetewei]

great

[@cwb197]

No critique from me, you rule.

[@chadaliath]

are you using 17" hi hats there?

[@jason_roeder]

18" Paiste 2002 Mediums

[@chadaliath]

@@jason_roeder thanks