Chickenfoot

Joe Satriani, Chad Smith, Michael Anthony, Sammy Hagar Join Forces For New Group "Chickenfoot"



Four of rock music’s most successful and influential musicians are combining their talents to create the much anticipated rock group Chickenfoot. Guitar hero Joe Satriani, Red Hot Chili Peppers’ drummer Chad Smith, former Van Halen bassist Michael Anthony, and frontman Sammy Hagar’s new project has found the four working side-by-side for the last few months recording their self-titled debut album, Chickenfoot, which will be released in June, 2009.

Long before these four rock icons came together to form Chickenfoot, they already had filled the pages of rock history with enough individual mind-blowing chapters to boggle the mind of any fan or musician alike. Satriani had his own blazing solo career as a much respected guitar virtuoso; Chad Smith is the drummer of world renowned rock band The Red Hot Chili Peppers; and Michael Anthony and Sammy Hagar have been working together since their days as lead bassist and singer, respectively, in Van Halen. These talented individuals were aching to work together in a band that produced rock like they never have before.

The self-titled debut is an 11-track hard rock album that sets a "new standard" for rock music in the new millennium. Produced by Andy Johns (Led Zeppelin, The Rolling Stones) and mixed by Mike Fraser (AC/DC, Metallica), the band is not lacking energy or enthusiasm in this project.

For more information about Chickenfoot and the upcoming self-titled debut album Chickenfoot, please visit www.chickenfoot.us.

courtesy: moderndrummer

Zildjian Pitch Black Cymbals

Zildjian Cymbals has announced that it will produce the first ever run of all-black cymbals in its 385 year history.

“Pitch Black™” cymbals are available in a full range of sizes and models and are designed specifically for Rock and Metal applications. The series features eight models including a 22-inch Ride, 20-inch Crash Ride, 18 and 16-inch Crashes, 13-inch Splash, 15-inch Mastersound HiHats, 14-inch HiHats and an 18-inch China.”

“Utilizing a proprietary coating process, all Pitch Black™ cymbals are made from Zildjian’s high performance Bronze 12 Alloy which features enhanced tin content for a richer sound. The coating process allows the cymbals to be durable and visually striking while still opening up as a cymbal should. Heavier weights and large sizes combined with new profiles, cups, lathing and hammering techniques help to deliver the brightness and presence required for Rock and Metal applications.”

I don’t know much about the sound of these yet, but they look very cool. I am pretty sure purists will still want traditional cymbals, esp considering how expensive they are, although this is a great choice of a cymbal for the player who wants a different visual aesthetic for their drum kit while still having great sound.

courtesy: harmony-central.com

Ryan Yerdon, Getting Animalistic

It turns out that Ryan Yerdon was once quite in touch with his sensitive side. Surprised? Well, before joining Puddle Of Mudd, which is famous for its ballsy, riff-laden rock epics, Yerdon played with the more indie-minded vocalist Carina Round, whose style demanded far more laid-back drumming. “It was really subdued and spaced out,” Ryan recalls. “I’d play fat snares that were somewhat detuned, and I’d use different kinds of heads. I would experiment and put different things on my snare, like pieces of paper or my wallet.”

Shift to Yerdon’s current gig with Puddle Of Mudd, and you’ll find that the two approaches couldn’t contrast more. “The Puddle gig calls for an animalistic, bashy headspace,” Ryan says. “I give up a bit of sensitivity, but when we have breaks in touring and I do a session, I’ll notice that I always sound better because I’ve been playing to a click five nights a week.”

In addition to gigs with Puddle Of Mudd, Yerdon has worked with Weezer, Gavin Rossdale, and Dweezil Zappa, among others. “Being versatile is important,” he says. “It helps the library inside your head grow bigger and allows you to incorporate ideas from other types of players.”

courtesy: moderndrumer.com

Nine Inch Nails Drummer, Josh Freese, Leaving After US Tour

It’s official…Josh Freese is leaving Nine Inch Nails sometime during their upcoming US tour. Front man, Trent Reznor, wrote a message to fans on the band’s web site:

Freese has explained that his reason for leaving is nothing personal with Reznor and they have mentioned that they will remain friends.

“Josh Freese [NIN's current drummer] fans, be sure to check out a show on the upcoming North American leg of the tour, as sadly they will be the last ones he’s playing with us. He informed me he’s leaving the tour at the end of this year. Yes, we are still dear friends. No, I’m not sure what we are going to do.”

Maybe he should ask his fans for advice… He has already recently asked fans to take an online survey saying,”As we’ve moved from the familiar world of record labels and BS into the unknown world of doing everything yourself, we’ve realized it would benefit us and our ability to interact with you if we knew more about what you want, what you like, what you look like naked, etc.”

Maybe he should follow in Radiohead’s steps, doing a video remix contest or Weezer by getting fans to come play at their shows.

courtesy: drumtom

Jason Bittner “What Drives The Beat” DVD

Shadows Fall drummer Jason Bittner is featured on a new Hudson Music DVD release entitled “What Drives The Beat.” The DVD features over 3 hours of peformance and instructional footage from the two-time grammy nominated, multiple readers poll-winning drummer.

One segment titled “Double-Bass Crash Course” will be a highlight for many drummers.

“The step-by-step method for developing foot control, power, endurance and speed is explained and demonstrated in detail while foot cameras and split-screen shots augment the instructional material. 16th, Triplet, 32nd, Combo, Shuffle, Ruff and Blast Beat patterns are covered with all the examples and exercises included in an exclusive PDF eBook that can be printed and used for lessons and practice.”

Some other segments featured include…
# The Basic Beats and Fills of Metal Drumming
# Applying Rudiments
# Hand and Foot Technique
# Developing Both Feet Evenly
# Two-Handed Ride Patterns
# How To “Metalfy” Jazz, Funk, Shuffles, Slow Blues and World Beats
# Soloing



Jason Bittner will preseumably be featured playing on one of his Tama Starclassic drum kits on this DVD, and it’s something well worth picking up if you’re a metal drummer.

courtesy: DrumTom

LARS URICH EQUIPMENT

LARS' EQUIPMENT:
Note, drum sizes are sometimes stated as "14x5.5" or similar when known. The first number is the diameter (size) of the drum while the second is the depth. Wood type is quoted beside the kit name as the wood type influences the sound of a drum kit considerably.

Before Kill Em All:
Ludwig kit with Yamaha hardware (stands, pedals etc). Before he got sponsorship with Tama. May have recorded Kill Em All using it.

Kill Em All gigs:
-Tama Imperialstar (mahogany shells)
6 toms, probably 12,13,14,16,18,18 sizes. Sometimes seen with 'rototoms' (special one headed drums that are tuned by turning an outer ring), which can be heard on Kill Em All. They were probably 8" and 10" versions. Colour seems to be a cherry red. Very little known otherwise.


Lars Ulrich zymbals


Ride The Lightning & the Master Of Muppets
-Tama Superstar (Birch)
Used throughout the tours, same setup as before. Seems to be same colour also. Drums appear to be same diameter sizes, but deeper. Apparently he used a metal Ludwig snare for recordings. Tended not to have any resonant heads on toms, as Metallica played tended only to play large venues, and drums were therefore always miked up.

(Can be seen in photograph)
Used Remo pinstripe batter heads on all drums except snare drum, which was a Remo coated CS.
Lars Ulrich alive

Master Of Muppets & Garage Days
-Tama Imperialstar (Mahogany)
24"x16 bass drums, 12,13,14,16,18,18 toms and a 14x5.5 or 14x6.5 metal snare. Drums were in a mirror chrome finish. Tama Titan hardware used all round. This kit was used till about 1986.

Lars Ulrich on stage

And Justice For All. Used till 1991
-Tama Granstar II (birch)
This was the famous black and white Tama kit that Lars used throughout justice, and the black album. This was a signature kit (Lars Ulrich is the only Tama endorsee to ever have a signature kit!) and was actually sold as part of the Tama line as a complete set for a limited time. This was white, with black hardware.

Drums:
-14x6.5" Bell Brass/14x8" Birch Snare Drum
-Two 24x16" bass drums
-10x10",12x11",14x13",16x15", toms and two 18x16" floor toms

Towards the end of the 80's, this setup changed slightly:
-14x8" birch snare drum
-Two 24x16" bass drums
-12x11",13x12",14x13",16x15" toms and two 18x16" floor toms

Cymbals: (All Zildjian)
-Two 14" Z Custom 'Dyno Beat' Hi Hats
-17" and 18" A Medium crashes
-16",17" and 18" A Rock crashes
-20" Z Custom China
All cymbals were in 'brilliant' finish

Hardware (all Tama):
- 6x Titan HC104TB Cymbal Boom Stands
- 2x HP45 Pro Beat Pedals
- Titan HS90 Snare Stand
- Titan HT90 Throne
- Lever-Glide HH95NL Hi-Hat
- HH95XH X-Hat
- 2x 65 Multi Clamp

Heads:
Remo clear Pinstripe batter heads on toms and bass drums. Remo 'Ebony' (black) Ambassadors as resonant heads. Snare head was a Remo coated CS with reverse dot and ambassador snare side resonant.

Sticks:
Regal Tip 5B - Lars Ulrich model. Also used grip tape when playing.

Lars also had the same kit in "gun smoke blue" (picture 7)

Early 90's tours
-Tama Granstar II (Birch)
Lars scaled down his signature kit to 4 toms coming up to the Load album and made other changes.

Drums:
14x6.5" Bell brass snare
-Two 24x16" bass drums
-12x11, 13x12 toms and two 18x16" floor toms

Cymbals: (All Zildjian)
-Two 14" Z Custom 'Dyno Beat' Hi Hats (main set on left and a second set on his right)
-Two 17", two 18", one 19" A medium crashes
-18" Oriental China Trash
-20" Z Custom China Boy
-20" A Custom Swish or 19" A China Boy
All cymbals were in 'brilliant' finish

Hardware (all tama):
-8x Titan HC104TB Cymbal Boom Stands
-Titan HW 99N Double Tom Stand
-2x HP45 Pro Beat Pedals
-Titan HS90 Snare Stand
-Titan HT90 Throne,
-Lever-Glide HH95NL Hi-Hat
-HH95XH X-Hat
-2x 65 Multi Clamp

Heads:As before, all Remo clear Pinstripe batter heads on toms and bass drums. Remo 'Ebony' (black) Ambassadors as resonant heads. Snare head was a Remo coated CS with reverse dot and ambassador snare side resonant.

Lars Ulrich drums


Load/Reload/S&M
Tama Starclassic Maple. In "sparkle silver" colour(NB:used a different kit for recording load and garage)

Drums:
-14x6.5" Bell Brass Snare Drum
-10x9" and 12x10" toms. 16x16" and 18x16" floor toms
-Two 22x16" bass drums

Cymbals: (All Zildjian)
-14'' Z Custom 'Dyno Beat' hi-hats
-Two 17", one 18", one 19" A medium Crashes
-20'' A Rock ride/20" A Custom Ping Ride
-18'' Oriental Trash china
-12'' Z Custom splash
-20'' Z Custom china

Hardware:
Tama:
-7x Titan HC104TB Boom stand
-2x CA45 Cymbal Holders
-HTW99 or HW99N Tom Stand,
-2x HP45 Pro Beat Pedals
-Titan HS90 Snare stand
-Titan HT90 throne,
-Titan Lever-Glide HH95NL Hi-Hat Stand
-3x 66 Multi Clamps,

DW:
-505 Hi-Hat Clutch
-6323 Hi-Hat Attachment
-2x 6348 Bass Drum Anchor

Heads:
All Remo clear Pinstripe batter heads on toms and bass drums. Remo coated Ambassador resonant heads. Snare head is a Remo coated CS with reverse dot and ambassador snare side resonant.

Sticks:
Ahead Lars Ulrich Model

Lars Ulrich equipments


St. Anger to present day
Tama Starclassic Maple in 'Green Sparkle'

Drums:
14x6.5" Bell Brass Lars Ulrich Signature Snare (LU1465BB)/14x6.5" Diamond Plate Steel Lars Ulrich Signature Snare (LU1465)

10x9" and 12x10" toms. Either 16x14" and 16x16", or 16x16" and 18x16" floor toms used

Two 22x16" bass drums

Cymbals: (Zildjian)
-14'' Z Custom 'Dyno Beat' hi-hats
-17", two 18" and 19" A Medium crashes
-20'' Oriental Trash china
-20'' Z Custom china

-Sometimes also uses 18" Z custom china
-Used a 22" K Custom 'Dark' ride for recording St. Anger album
-Also used an LP red jam block (makes a sound like a wood block, heard on "dirty window" on St. Anger)

Hardware: (Tama)
-5x Titan HC104TB Boom stand
-CA45 Cymbal Holder
-Titan HTW99 Tom Stand
-2x HP900P Iron Cobra Power Glide pedals with traditional felt beaters
-Titan HS90 Snare stand
-Titan HH905 Iron Cobra Hi-Hat Stand
-Titan HT310 throne
-MC62 Multi Clamp
-MHA623 Hi-Hat Attachment
-DW 505 Hi-Hat Clutch

Heads:
Remo coated Emperor batter heads on toms with clear ambassador resonant heads. Clear Powerstroke 3 bass batter heads with ebony ambassador resonant heads. Remo coated CS with reverse dot and ambassador snare side resonant on snare drum

Sticks:
Ahead Lars Ulrich Model

Other Kits and Details: Tama kit used for acoustic sets. Was also seen in 'Whiskey in the jar' video, where it was destroyed at the end! (picture 11)

Lars Recording Kit for Load, Reload & Garage Inc
Tama Starclassic maple toms and snare. Gretsch bass drums and floor toms. (picture 12)

Seen on the 'I Disappear' Video. 3 piece black Tama Artstar Custom drum. (picture 13)

For the recording of the Black album, Lars used Sabian 15" 'rock' hi hats.

Lars Bell Brass signature snare (LU1465BB) is worth $1500

Lars used the steel signature snare in recording St anger to get that 'ringy' snare sound heard throughout.

Lars used 15" and 17" K chinas in the recordings for "�And Justice For All"

Sometimes, mainly in acoustic concerts, Lars uses an A custom 10" splash

Lars uses wood sticks (probably pro mark) when recording, he says himself that he prefers the sound of the cymbals when hit by wood sticks. He always uses his Ahead signature model when performing.

Written by Jonathan Millar, thank to Jamie Stuck
courtesy: encycmet.com

The 10 guitars that changed music

From Robert Johnson's Gibson to Jack White's Airline...
Chris Vinnicombe & Michael Leonard, Thu 9 Apr 2009, 4:50 pm BST


pic from: guitarnoize

There are watershed moments in the history of popular music when the planets align, and the sense of change is palpable. Moments when the right guitar, in the hands of the right player, at precisely the right time causes a seismic shift and redraws the landscape.

In loosely chronological order, here's MusicRadar's list of the 10 guitars that changed music, and 10 players who broke down the door for a generation to follow in their wake.

Be warned, you might not find some of your heroes in this list, but you'll certainly find your heroes' heroes…

1. Robert Johnson's Gibson L-1
For all the soul-selling mythology associated with the shadowy figure of Robert Johnson, the impact on modern popular music of the 1961 King Of The Delta Blues Singers compilation album – recorded during two sessions in 1936 and 1937 – is hard to overstate.
For the likes of Bob Dylan, Keith Richards, Eric Clapton and Jimmy Page, Johnson's primal delta blues was a pivotal influence, with Clapton describing Johnson's music as "the most powerful cry that I think you can find in the human voice."
In 2006, a New York memorabilia dealer attempted to sell an L-1 purported to be Johnson's guitar for $6 million, but its authenticity was never corroborated.

2. Charlie Christian's ES-150
Widely regarded as the first electric 'lead guitarist', Christian's work in Benny Goodman's Sextet paved the way for bebop. Christian's horn-inspired lead lines were a precursor of the sounds of T-Bone Walker, Wes Montgomery, Les Paul, BB King and many more. The single-coil blade pickup on his ES-150 (Electric Spanish, $150 price) has come to be known as a Charlie Christian pickup.

3. Buddy Holly's Fender Stratocaster
When Fender's curvaceous, futuristic new Stratocaster arrived in 1954, few could have predicted that it would become the most successful electric guitar design of all time. One of the most enduring images of early rock 'n' roll is the combination of Buddy Holly's heavy-framed spectacles and sunburst Stratocaster.
The likes of The Shadows' Hank Marvin – recipient of the first Stratocaster to arrive in the UK – and John Lennon were immediately smitten and popular music would never be the same again.


4. George Harrison's Rickenbacker 360/12
The chiming opening chord of A Hard Day's Night has been the subject of much conjecture over the years, but the fact that it launched the electric 12-string on the world stage is beyond question. Its jangle would resonate via The Byrds through to Johnny Marr and beyond.
Harrison's first 360/12 was the second Rickenbacker 12-string ever made and the first to feature the brand's unconventional 12-string configuration, with the octave strings occurring second in the string pairs.

5. John Entwistle's Fender Jazz Bass
My Generation's blistering bass solo was the first time most of the world heard a bass guitar used as a lead instrument. The Ox originally intended to utilise the extra treble of a Danelectro Longhorn in the studio, but after a succession of broken strings, his more reliable Fender won out.
A decade later, the likes of Geddy Lee and Jaco Pastorius would take the humble Jazz Bass even further into uncharted territory.

6. Eric Clapton's Bluesbreakers-era 1960 Gibson Les Paul Standard
The Holy Grail for vintage collectors initially misfired on launch, but nobody did more to spark the Les Paul Standard's skyward ascent than Slowhand at the height of his powers. The combination of Les Paul and Marshall on the 1966 'Beano' album would pave the way for Page, Kossoff and countless others to define the sound of rock guitar during the following decade.

7. Jimi Hendrix's Fender Stratocaster
A decade after Buddy Holly, Jimi took the Stratocaster on a sexually-charged interstellar voyage that didn't so much redefine the boundaries of the electric guitar as blow them to smithereens.

Hendrix used and abused lots of guitars in his all-too-brief career, but his white 1968 'Woodstock' Strat is the most iconic. Microsoft's Paul Allen is reported to have paid a cool $2 million for the instrument, which now resides in Seattle's EMP Museum.

8. Eddie Van Halen's 'Frankenstein'
For guitarists of a certain age, Van Halen's 1978 eponymous debut album was year zero for rock guitar. EVH set the bar for the lead guitar fireworks that would dominate mainstream rock for the next decade sporting a mongrel, self-assembled guitar with an original Floyd Rose, a Gibson PAF borrowed from an ES-335 and that iconic striped paintjob.

If you can track down one of Fender's 300 incredible Frankenstein replicas issued in 2007, expect to pay upwards of $25,000. Or just make one yourself like Eddie did.

9. Steve Vai's Ibanez Universe
The Ibanez Universe was the first commercially-available modern seven-string electric. Developed in collaboration with Steve Vai, the model went into production in 1990, but demand was low and 1995 saw no new models produced.
1996 was a different story though, and its use by bands like Korn and Fear Factory saw the Universe reintroduced, with the rumbling low B of a seven-string becoming de rigeur for the burgeoning nu-metal scene.

10. Jack White's JB Hutto Montgomery Airline
Although Jack White uses a number of different guitars, his red and white resoglass pawnshop/junkshop prize is the one with which he's most readily identified. In an era in which to many guitarists the blues means thousands of dollars worth of boutique gear and the pursuit of some sort of tonal Holy Grail, White is both a beacon and a conduit.
Through his raw, visceral music it's possible to reconnect with the white knuckle, seat-of-the-pants blues of the likes of Robert Johnson and Son House while simultaneously exploring new themes and sounds.

courtesy : musicradar