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Welcome to my blog


After years of urging from my brother (also my first drum teacher), I have decided to start the blog experience. As the title and sub-title suggest I will be posting thoughts about my teaching, coaching, performing and percussion repair/construction. But just be aware that I reserve the right to include archaeology, bicycling, fly fishing and anything else that my mind wonders upon.
My intent is not to cause controversy but rather to share these thoughts with whomever is interested. I don't sell anything and I ask that you do the same if you use any of my ideas, just reference this blog if you pass them along.

* This is not a DIY blog. Many of my posts will discuss what I have made and the materials that I used but not how.  I learned woodworking from my father using hand and power tools. As a bicycle mechanic for 22 years, I learned to use metal working tools including cutting torches. If you have no experience in using these tools you should find a skilled teacher. Therefore I am not liable for any of your actions.

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Tambourine Shell Repair

A broken tambourine shell usually means that a new tambourine purchase is necessary. This can be exciting: I like getting new instruments, or sad: Any instrument that is damaged is a terrible thing. All tambourine shells can break, from my famous $14 variety to top of the line brands like Grover and Black Swamp. It's easy to replace a tambourine head but broken shells/missing pins and jingles usually means an early grave for the instrument. My early attempts at these repairs were stopgap measures until a new one was found. Wood or 'super' glue used on the shell turned out to be poor choices. It wasn't until last year that I really focused on shell repair. It happened during a Canyon Winds rehearsal when one of our tambourines exploded, pins and jingles were flying everywhere. Yep, it was the Resident Gorilla playing it. The shell had cracked between three sets of jingles near the head of the tambourine. We eventually replaced this with a Black Swamp tambourine but I s...
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The Amadinda

  The Amadinda is an African xylophone originally made from slabs of wood or even large sticks, with or without gourds for resonators. There was no reason for this project other than to see if I could make a simple mallet instrument. The box was made from plywood (which also acted as the resonators) and the bars were made from maple.  Since this was to be a true xylophone, the bars were all of equal width. Tuning was done by cutting the bars to different lengths and removing material from the bottom. Using a router I created a sort of 'stepped pyramid' instead of the traditional arc cut found on marimba or xylophone bars.  Cutting the underside is not only for tuning but it focuses the pitch and creates the characteristic overtones of the instrument. Since I wanted to play this with other 'Western' instruments, I chose to use a pentatonic scale of 2 2/5 octaves (C#,D#,F#,G#,A#,C#,D#,F#,G#,A#,C#,D#). Two people sit on either side of the instrument and strike the ends of ...
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The Practice Pad

The practice pad has long been a staple for the drummer. After a pair of sticks it usually was the next thing purchased. Or in the case for my brother and I, a DIY project by our father. It could be as simple as a square of linoleum nailed on a board to the double sided models that produce various amounts of rebound.  There are many reasons for using a practice pad. I'll start with the obvious: Practical: Compared to a real drum, they are cheap. They are fairly quiet, you can play them without annoying a sleeping parent or a neighbor in an adjoining apartment. They are portable, they can be taken on a family vacation where space is at a premium. Musical: Usually they provide more rebound than a drum head, which helps in developing single strokes but especially rolls. Articulation: The sound of each stroke is cleaner giving the player important feedback on the precision of their playing. Developing positional accuracy: Drawing a circle the size of a quarter on the pad provides a ...
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