(upbeat jazz music) (upbeat jazz music) – Very, very well played. – Thank you sir. – That was incredible. – Thanks man. Thanks for having me. Great to be here. – Ladies and gentlemen
Mr. Jason Sutter. – How you guys doing? – And as you can see here
we don't have a full kit. The lesson is all on brushes. And I was questioning
how it would come across with just a snare drum, but you filled it up. It sounded so good. – Thanks man. – It was really cool. – I'm trying to just you know, for me it's fun to just
take a drum and really just get into it and basically
with a pair of wire brushes just you know
really get into it. You know its kind
of a fun thing. – Very cool. Well stick around guys
the whole lesson is Finding Your Voice On Brushes. And Jason's going to
share his tricks and tips and some cool techniques
I guess you can say to really get some life out of
your drums just with a pair of brushes.
So it's going to be
a really cool lesson and if you guys don't
know who Jason Sutter is you're all over the place. You tour with what is it, Smash Mouth, Marilyn Manson,
Forerunner, Chris Cornell. You're also, you're a clinician, you teach a lot of
clinics and sets. So you guys have
to check him out. You can find him
at JasonSutter.com. Or you can find him on
Instagram at Jason_Sutter. If you just go to his website, all of his social
links are there. So be sure to follow him
because you're a great drummer. And we've done some
lessons already before this for Drumeo Edge
which will be online for all Edge members.
So I can tell you're a
very good teacher as well. – Cool. – Yeah so a huge thanks
to all the sponsors that helped bring you out. Obviously Ludwig,
Remo, Regal Tip, Ron Dunett is in the back
and you're using a drum, a snare drum made
by Ron as well. Not to mention, see if
I'm missing anyone here. Humes and Berg, Canopus
Snare Wires, DW Hardware and yeah I already
mentioned Remo so thank you guys very much. So again guys make sure
you follow him online. And let's just dive
into the topic. Finding Your Voice with Brushes. – Wonderful Well what I'm
going to cover today is mostly, basically,
different basic patterns to more advanced utilizing
different strokes that have worked for me
and ultimately I'm going to start out by giving
out the main three sounds we're going
to use on a drum.
That I tend to use mostly
although they are thousands. The main three are going
to be a first a tap stroke. Which is simply where
you tap the drum and with a brush it's slightly
unusual because you're actually snapping a little bit. So the brush kind of snaps
down and hits the drum you kind of snap.
And that's a tap stroke. These are great also
to use for rudiments. You know. Four stroke rough. A paradiddle. Five stroke roll. So there's a lot of cool
techniques you can work on. And those are really great
because with brushes they don't bounce so you really
utilize your fingers and your wrists and
really work on those on that technical development. The second sound I'm
going to use is a thup.
T.H.U.P. where you're
actually leaving the brush on the drum so you get this kind
of slightly muted effect. That's with the tap can be
very effective so the tap, the thup and the third stroke
we're going to use today is the sweep stroke. And the sweep is basically
the beauty of the brush where you can actually
create a sustained controlled sound. And that to me is really
the beauty of the brush, because as a drummer. We so often are given
the staccato tone and the drum kind of
dictates how long we're able to resinate and to ring.
And I feel with the brush
it provides a legato a control of creating a legato
or extended, elongated tone. That you can control and I
think that really opens up a large amount of
creativity for the drummer and to kind of find your voice
and to almost sing on a drum. It's a very lyrical way of
to approach the instrument and that's the wire brush. And I think often a
lot of younger drummers kind of shy away from brushes because they're a little scared or they just don't have
the experience because they haven't spent the time.
So what I'm going to
cover today hopefully will help some of you guys who
haven't been hip to it. Hopefully teach you a
lesson where you can which is the first thing
I'm going to show you here is the tap stroke which will
kind of be a jumping off point where you can kind of… You know at least a place
to, ground zero where you can begin from and some of
you more advanced players maybe hopefully will
find something in here that you guys can
sink you teeth into.
And then as we go I'm
going to cover some cool, different sounds. Some that you've hear maybe. Some applications
that maybe you haven't and a couple of little secrets
that I got under my thumb that I would like to let
out here on Drumeo that are kind of fun. That I don't think I've
heard anywhere else. And totally fun to kind of
talk about those as well. The first stroke is
going to utilize the tap that we talked
about and the sweep. The sustain and basically
its called the tap stroke. The left hand is just
creating the sustain which is basically you want
it to be as fluid as possible. And you want it to in this
case I'm playing clockwise. The slower you are the more
the drum you'll take up.
The faster the less. Okay you won't
have as much time. So in this case for this tempo we're going to do almost kind
of an almost an egg shape. And this is their left
hand we're playing a sweep. With my right I'm going to tap and I'm basically
going to start. One, two, a three, four, a one.
And notice I'm crossing
over and coming back. So they're always opposite,
my right and left hand. Depending on how whatever
which is ever more comfortable, you can play counter clock
wise with you left hand. And you can start your
tap wherever you'd like. I recommend to everybody
practice it both ways. So if you're playing
it clockwise, practice playing it
counter-clockwise. 'Cause at one point, you're
going to be a common problem brush players have all the
time is in the middle of the pattern they don't
know how to get back in. This is a great technique. Practice both and you'll
always feel comfortable. So here's a basic tap stroke. I'll show you again. Is left had first. I'm going to cross over,
one, two, a three, four. A one, two, a three, and I'm
snapping a little bit with my right hand if
you notice that. Their articulation. Hear that? Four, a one, two, a three. A little faster. Faster. Okay. I'm going to play along
to a little example here. Just so you guys can hear this
just with a musical example.
A short little demonstration
here this is a tune called No Greater Love. Hope you dig it this
is a tap stroke. (upbeat jazz music) – Very cool. – Cool. – Yeah very cool. – So that's the basic tap
stroke for any of you guys. Mostly for beginners, that's
a great way to kind of start out a building block. For those of you guys
who are afraid of brushes or maybe because you never
have had much experience. Take that beat and
maybe start off slow, gradually build up and I think that's a
great place to start.
And from there you can really
start to develop your sound. – Yeah absolutely. And for those who are watching
live we do have a pdf along with this, with a
couple of diagrams that Jason has provided. Obviously, because of the
nature of them we're not going to throw them on screen. But be sure to download the
pdf and for all you YouTubers watching right now live. Which is quite a few of them. All the information is in the description in
the video there. So as you were man. – Yeah so the, from there
there's the tap stroke. Again, that utilizes
the tap and the sweep. The next stroke I'm going
to show you really is where I think you really start
to find your own voice and I think you can really
become like I said almost lyrical with the drum and
that's called the sweep stroke. I'm sure there are
many names for it, but that's what I learned. I first learned this pattern
from the great Ed Soph.
Who I was fortunate
to study with at the University of North Texas. And basically this
pattern is very simple. It mostly utilizes the brush
rarely leaves the head. And so the main pattern
basically deals with a the sweep which again
its the sustained. And a thup where
you're kind of putting the brush on the head. And I'll show you how we
use kind of a little fun ingenious way where you
kind of that thup in there. So, basically you're
going to start if this was the face of the
clock at nine and three.
You're right and left
hand respectfully. And you're going to I think
of my right hand as my time. Keeping my time and I
just kind of move it almost like a half moon. So if you look at the diagram
you'll see it or here. I'm basically just moving
in this motion where my hand is making a half moon
kind of motion up to about six and twelve respectively and the hand are
always opposite. So starting here my right
will start at the top. I'm always leading
with my left hand, or with my left
and with my right.
I'm always leading with my
wrist is always first to come down say if I'm here
and the first to lead. And same with at the top first, and first to come down. Okay, and that to me gives
most surface area you can get. I think okay. So you want as much
fluidity as possible. If you're doing this correctly
it should sounds almost like running water. Very fluid so again. But you don't want to hear
a pulse if you can help it. And that's very hard to do, but what I'm trying to do here
is I'm thinking for counts, I'm using the 12 o'clock on
our face right here as one, and then two, three,
four, one, two. So one and three
is at 12 o'clock, two and four is at six o'clock.
If you will imagine
that on the drum. So one, two, three, four. And you want to be careful
while you're doing this when you're rounding the corner you're just rounding the brush. You don't want to stop
and then start again. You want that fluidity and
if you're doing it right as your right hand is turning, your left hand is there to
kind of round the corners so you never have this
break in that flow. And a lot of great brush players Elvin Jones for one
used this pattern and simply stuck a
high-hat in two and four. And it worked like a charm. It is kind of a real cool
technique where you're just using the sustain. Two. Three. Four. One, two. And notice how fluid I'm
trying to be and use as much of that drum head and much
surface area as possible to give as much
sound without getting the brushes stuck in the hoop. So check this out. Here's where we start
to use that thup.
I'm going to outline
two and four. So I'm going to add
the thup at the bottom. One, two, three, four. And notice I'm. Adding that brush as I
turn the corner I snap and add a little bit more
of that brush and that's the kind of really
hip kind of whip two and four. And I'm pressing as I'm turning
I'm snapping with my fingers as you can see here I'm
snapping it as I turn the corner and you get this real
nice one, two, three. So the brush never
leaves the head. Yet I'm getting this
beautiful outline about pulse. Okay, so a sweep and
thup on two and four. Now from here, two, four, I can add corner notes.
Now I'm going to add one and
three on the top of the drum. One, two, three, four. Every time I round the
corner I add a thup. A little faster. Back to a ballad tempo. And now I can add my left hand I bring it in for
that syncopation. That one, two, a three, four, a one, two, a three. There's a ride cymbal pattern. And this is pretty deliberate, but I'm trying to
get my point across. So you can kind of… I would probably do it a
little less obvious on the gig, but you get the picture.
Two, a three, four, a
one, two, a three, four. You can do a shuffle. One, two, a three, a four, a
one, a two, a three, a four. A one, using my left
hand, in and out. That kind of motion. Okay? So that's a sweep stroke. Which is kind of hip. – Very cool. – If you play that right a
piano player will love you. – I bet. – Okay they can
hear all the pulse. And yet its very subtle and
you don't even need a high-hat and that's kind of the fun of
practicing this kind of beat without having
that stomping hat. – Well it's crazy how full
it sounds how much rhythm there is just with snare drum
and like you said two brushes. – Sure. Let me demonstrate that real
quick again with another tune. – Please.
– If that's cool. – Please do absolutely. – Just so you can see it in
context and I'll show you in couple of different tempos.
This is a great
tune body and soul. This is more kind of a ballad. – Okay. (soft slow jazz music) – Use no pulse. I'm going to add two and four. Add quarter notes. Left hand. In case double time. Cool. – Very cool. – Yeah so that's a
cool application of
how you can use that, that sweep stroke. And how you can kind
of bridge the gap.
So very different
than the tap stroke. And between the tap
and the sweep stroke you have a whole world to
begin and kind of dive into. And I think that's a
great jumping off point where you can start to
expand and experiment and kind of have fun with this and begin to find your voice. – Totally I think it's great
exercises for a beginner. Even those who have been
drumming for a while on a kit. Like me, I don't
play a lot of brushes and just looking at
that looks harder, seems harder than it looks
is what I'm trying to say. So you'd have to put
some time into it but I encourage you guys to
go grab pair of brushes.
There's a lot you
can do with it. Now once you go those
main strokes down on those patterns down. How do you get more creative? Like I know you were showing
me some really cool sounds that you got for us earlier. How do you get
some unique sounds? – Sure, absolutely, I
think that's a great point. There are so many great
sounds that you can get. I think it's important to
get these patterns down first and always think playing
musically and serving the music. And with that in mind there
are some really cool other interesting techniques that
you can get that can pull different sounds that can
be used for more solo-istic or ways of kind of ornamenting different patterns or phrases.
One of the most basic, which
you've seen me using probably, is what you call the nerve roll. Or one handed roll where
you're basically getting this roll with one
hand which is simply as you move around the drum
you get different sounds. And this is a cool effect man. I've experimented in college
I would do a couple of choruses of a tune and
just keep this going while I kept time. And eventually the
listener looses track that that's happening and you get
this sort of cool effect. So that can be kind of fun. I've experimented doing it some
people will do a one handed roll this way. I kind of recently
experimented using it this way. And I found that gave
me a more consistent. Okay? – Yeah no kidding. – Yeah so kind of
a cool way where I'm kind of using my back.
Or my index and my middle finger to kind of create that roll. And with the right and
it's more of just kind of these again probably my
last two fingers my pinky and ring finger to
kind of create that. So that's a one a one handed
roll which is kind of fun. Another is basically
what's called a rim roll where you actually use a rim. And you can create
this kind of rhythm.
Put accents in there or not. And you can utilize that
say with just a right hand with different accents Or you can bring
in your left hand same thing and
put them together. Cool? – Yeah. – Kind of a cool
effect you know. And another cool effect
is basically where you're actually rolling the
brush like across the rim. Where you're bringing across and up until recently most
a lot of jazz drummers would kind of use
it as an effective. And more recently it's kind
of found its way into playing where you're actually using
it as a rhythmic component where you're getting. You know kind of
a different thing. And you can use your right hand. And the skies is the limit. – No kidding yeah. – So kind of a fun sound
to experiment with. And you know it kind
of breaks up that flow especially if you're
playing a sweep pattern you just want to be careful
you don't break up the flow too much and get too
carried away with this.
And then another fun,
different fun things, speaking of Ed Soph,
Ed used to this thing. And I've never heard
anyone else do it. So I'll credit to Ed
called the rip roll. Which is where he would. Kind of hold the brush. And you an do slower. So… – That is cool. – Cool so I'm going to gie
that credit to Ed Soph. The rip roll there. Kind of fun and you
can go nuts with that. Another kind of cool
roll that's kind of fun that some people are aware of and not known so much is
called the butterfly roll. Where you're actually. So where. Cool
– Yeah, yeah I see. – So you're basically
hitting on top of and letting the brushes kind of, kind of float on
top of the head.
– That one seems hard
to find a place for it. – It's tricky. – It's tricky all this you
kind of just with brushes you've got to spend time. You know come up with
some different ideas. These, basically this, The next thing I'm
going to show you is kind of something fun. That I kind of stumbled
upon by accident. And I've shown it to
a bunch of my mentors and I think it's something that
I accidentally came up with which is kind of fun and one
of my students named it the Sutter Flutter.
So this is one for the books. It's making it's
premier here on Drumeo. – Okay. – Kind of fun. These brushes are my
signature brushes. They're called the
Sutter by Regal Tip. And when they came to me and
asked me to make a brush. You know I was studying with
the great Jeff Hamilton. Who is probably one of the best
brush players in the world. And has a fantastic brush if
you haven't checked it out. It's a very thick gauge wire. And when I say gauge
I mean the wire.
And that's a big
deal because the wire drastically effects the sound. And from studying with Jeff I started to use his
brushes and I loved them. But I missed a little of
the flex that I was used to from the classic brush. And I asked them at
Regal Tip I said, we want to make you a brush. And I said well how many of
gauges of wire are there? And between this thicker
Hamilton that I love. It gives a full
sound not loud sound, but a full sound. And this thinner brush that
just gives that has great flex.
And they said there's one gauge. So they made me this brush. I said that's my brush. And so it's a
middle gauge brush. And the first time they
sent me these prototypes they nailed it. And I was sitting in my
room and I started playing and this little lick
just kind of happened. So I think the brush, these
brushes inspired that lick. So basically that
lick is simply, basically you're rolling
your hand around the brush. Okay so the brush it's
almost a four stroke roll. And that's the Sutter Flutter. For all those out there. – The Sutter Flutter. – Have never checked
it out here it is. So. And that's like a
four stroke rough. Okay? – No doubt. – Kind of hip right. And the nice thing about
that if you do it right, you can kind of control
the length of it.
And it actually
doesn't break the flow. Which is the fun thing about it. You're just literally
rolling the brush. Just simply this. Okay if you do it right. It should be a four stroke. Okay you can also do it
with your left hands. So. So together. It's kind of like a roll. – [Dave] No kidding
it sounds so… – Right, kind of hip? That's with the left hand. Cool? – Very cool. – So that's kind of a fun
effect and it's something that I've kind of been
experimenting with and I urge you guys to take it. And kind of run with it
and those are just a few of the millions and
millions of options that you can kind of
get into to and sounds. And I'm constantly experimenting and just sitting down and just trying to see
where these take me. See where the music takes me. And try to come up with
alternative sounds. Obviously playing with
the back of the brush. Where you can
actually use the…. You know different
effects you know. Where you can get different
sounds and pressing. Different sounds. So a million different
things so I urge you guys to take those and
kind of run with them.
– [Dave] The Sutter Flutter. – The Sutter Flutter
you heard it here man. – I love that. – I've been saving it, saving. – There you go that's great. – The Sutter Flutter, it's not just for
breakfast anymore. – Very cool man. Well you do a lot of stuff
in triplet feel you know jazz kind of waltz
and stuff like that. What about if you want to be. If you're into more rock and you want to apply
brushes to that. Is there some patterns or some
concepts that can bring out like a back beat or something. – Absolutely. Absolutely. What we've been talking about
has all been triplet based. – Yep. – Triplets, triplet based
if that's new to you. This is duple based,
so groups of two. Two, four, eight and so on. So with that there's
a simple pattern that I kind of came up with. And again that just came from
taking just the snare drum to jam sessions to gigs
to sessions and college, starting at a young age. And really just going okay, I'm going in with a snare drum, a stand and a pair of brushes. And I've got to play this
gig no matter what happens.
So duple time applies to more rock and roll, pop music as well as
Latin based music. Bossa novas, sambas to
be more specific as just a general idea. Starting point. So the general concept how
I start at least branch off with duple in the time we
have this is just a great way to kind of again a
point of departure. To kind of really apply this. Because in my philosophy
I feel that young drummers are constantly and all drummers
not you young drummers.
But all drummers are required
to be able to provide a sound that maybe isn't
the typical drum set sound. It's how can we make
something sound fresh and new in this day and age. The drum set's been used. So constantly are trying to
play a drumset with all this stuff on the snare drum or
a weird thing for a cymbal. Or an overdone. And I just feel man
that just keep looking over this amazing tool. – Agreed. – That's just waiting
and especially for
some young drummer to just grab this brush and
this tool and just take it and create their own voice
and create a whole new voice where wouldn't it be cool if
you see the Grammy's sometime and half the dudes are
just playing brushes.
– No doubt. – Because it does lend
itself to say drum and bass. Or more drum-istic almost
machine like sounds if you're hearing it and
start experimenting with it. And hopefully I can
demonstrate that. So with that said, here is
a basic jumping off point, which would basically be
the third actual pattern I'll show you guys today which
is basically for duple beats. Whether it be for pop or Latin. And anything else that
would fall under that. So basically what I do
is I start on the drum again around nine and three. And I basically bring
my right hand in and reverse the stroke.
It's this simple at least
as a starting point. And you can practice rudiments. You can practice groupings of quarter notes. Again the brush never
leaves the head so. You can practice
any kind of pattern. A four stroke roughs. You could take the
syncopation book or any kind of exercise book
and kind of go through there and just practice just
really developing this path. So from the most,
the most obvious is. Take if I was using
this sweep pattern we'll call these our sweeps. And I'm basically
going to add my thup onto a bossa nova pattern. And what I mean by that is
I'm bringing my brush in and throwing my brush
out for those off beats.
So it's simply this. Starting here. Keeping this kind of
really pretty kind of. This is almost
covering a shaker. And then our claver or our
cross stick is covered by that. One, two, three, four. Okay, very basic, but that's the beginning
of say a bossa nova. And then from there
you can build on that. You can add rolls. Cool, so you get a whole
world of possibilities. And then one you're playing
that you're not really missing much of that. You're covering everything. If you want you can
cover your clave. Cool. – Very cool. – So that's a very
basic bossa idea, but from there we can expand and say for a samba a
pattern I used a lot and I'm going to
demonstrate that in a minute with one of our final tunes
is with the bossa nova or with samba you
can basically take a cascara pattern right.
Which basically my
right hand is simply. Cool? And fill in with sweeps each one of those the off beats from that cascara. So basically I'm going
to play the cascara as almost as a thup. And my left hand with
sweep all the inner beats which will sound like this. Cool? – Yeah man. – Yeah so it kind of swings
and has its own vibe. And again if you're looking
for an alternate sound, which so often is the case
which I found with a lot of young drummers and a
lot of my students go into the studio and the last
thing a produce wants is them to actually play a
conventional beat or a conventional drum set. The skies the limit here. And you can play
brushes on a djembe.
Which sounds amazing with a
thup on a djembe you get this beautiful sub low the skies
the limit you just go and go. So I urge you to experiment on
other sound sources you know. That you can play on. It sounds great on a floor tom. Kind of breaking it up
putting a floor tom. In this case here I
have a lower drum. So you can get this
kind of experiment with two different sounds
and we'll that. I'll show you that in a second. So that's a basic idea for
a couple of Latin beats. For rock and pop
music on one drum. You just come up with a patter
utilizing all these sounds.
You're utilizing the tap,
the thup and the sweep. And you're going to
outline your bass drum and snare drum patter. And in there your sweeps
will create this feeling of a high-hat pattern or a shaker. If it's done correctly. And so basically I like to
say take a basic rock beat. That's one way of doing it. It's a little choppy. Maybe not that interesting so. So spice it up. – Yeah man that's awesome. – Cool? If you add over
here you can almost kind of create some different. Cool?
– Very cool. I was hoping you'd
play that other. – Yah, yah. – Beauty in there. – Yeah we'll get into that. And for kind of something
electronic like a drum and bass kind of thing you could just. – Bravo.
– Cool? – Yeah that's so cool. – And that's just
messing around man. There's a million things
you can do and I'm just starting to kind of
experiment with that so I urge all the viewers to get out there and experiment.
Add three drums. I'm starting to experiment
with a ten inch drum here to kind of with a coated head, and just go to town. Utilize sweeps and
all those options. – Well the cool thing
here is this is inspiring. Makes me want to pick
up my brushes again and just go and try stuff
out on just snare drum. You've given quite a few
cool little patterns, but sounds too you can get. And something that like I
said I don't practice enough. So I got to get back
into my brush work. That's very cool.
– Cool. – We are running low on time. – Yeah I'm going to finish
up with one more tune. Or do you have some questions. – I just have a couple of
questions if that's cool. – Great wonderful. – We've got a couple that have
come in through the chat now for those of you watching Facebook and YouTube
live right now, we obviously accept questions, but only from our Edge
member so please feel free to join Drumeo and you can ask Jason Sutter direct questions. We're also doing a Q&A
live with you tomorrow.
Kind of like an interview
slash Q&A to tomorrow for all the Edge members so
you can get your questions here if we is 'em. And also we've filmed a couple
of courses that are exclusive to Edge members
with you out here. And that is going to
really be amazing. I was also going to say
we also filmed a cool solo with you on a pizza box. – Cool. – I've got a lot of cool
stuff coming out from Jason. And everyone here's saying
this guy's killing it, it's amazing. A lot of comments that
are positive here so. Here's a quick question for you. This one's from Gio. He says, "Hey Jason, does
the snare tuning high or low "help or hinder the
sound of brushes "or does that even matter?" – Great question Gio.
I would say certainly it
does and certainly the drum you know the snare wires
affect you know I think it's important to have
a quality everything the bottom head the
width the thickness in this case this
is an Ambassador X this is an Emperor and both
of them work pretty well. Both Remo. And generally I have also
a skin toned drum head that Remo makes is
really great for sound. Generally I like the drums
as this chief Dunnett is tuned a little higher. As you can tell.
A little more
response out of it. So that definitely I think
helps and lends itself to more of the articulation
for faster rolls. But as you can tell. It's still pretty low and
it sounds pretty hip too. You know I would say, find something that feels
best to you and run with it and again make that your voice. Make that your sound. For me, I think the
skies the limit. I would just say whatever
feels best to you. – Very cool. Here's a question from Sadam. He says, "Hey Jason, I really
like the depth of the sound "that you're getting
from those brushes." He says, "This is the first
time I've ever experienced "any kind of lessons on
the brushes like this so "very well done." "I have, or sorry I noticed
you have a variation "on what you call
the traditional grip
with your left hand "is that something you'd
recommend to emulate when "you're approaching brushes?" – You know I play match grip
for almost everything Sadam.
And I, for brushes it's
one things where I played a lot of traditional
grip in college, with drum corps, and jazz. And even rock drumming, but you know for me there's something
about that left hand that traditional approach that
I find I can't quite let go on brushes. So I, for me, I think there
are a lot of great match grip players but I would say, for me I changed my
grip a little bit.
I used to play a lot more below. Whatever, for me it's
just a matter of being able to get as much of that
flow to get as much sustain out of the drum as possible. For me, you know I recommend
experimenting with it and again I'm at the point
with students and players where whatever
feels best for you. There is no right or wrong way. But for me, traditional is
kind of it's a traditional art form even though I'm trying to
push it to a different place. For me I'm just kind of a, I can't seem to move away
from that traditional grip. – It's working great for
you so no need to change. – Thanks, I'm trying. – Tommy D has a question of you. Ask he says, "My brushes
have a lip or a bend "on the end of them.
"Is it best to use
that pointing down, "into the drum sweeps
or flat so that more of "the brush is in
contact with the head?" Good question. – I think the idea for that
to answer your question is that it's suppose to
be the flat end is up because the whole
concept is if you play brushes a lot in some cases
if you only use one side you'll get this flat side. I don't prefer
that because again in moving the brushes and
trying to do more than just trying to keeping this
simple straight pattern, that I'm kind of
experimenting with.
I try to flip the brushes
and keep it so that I never have a flat side. Because a I like
the brushes to be, 'cause I that messes
with my balance when I'm trying
to snap the brush. What I was talking about before
to get those tap strokes. So to me, when the is bent, we're going to make
them very mushy for articulation so personally
I try to keep the brushes straight and if you do
have brushes that are turned side, that are point
up I'd keep them pointed up because that's is probably
what they are for. It's to get more, more of
a sweep and articulation. Or less of an articulation
and more of a sweep. – Very cool. Two last points
before we wrap up. This question is from Bryce
but I'll quickly answer it. He says, "Earlier in
your lessons you did
a one handed roll "with brushes I'd love to
see how you do that again?" Just make sure you check
this lesson in the archives. You are an Edge member so
you'll be able to see it probably tomorrow or
the next day so you can watch it as many
times as you want.
Dane has the last
question out for ya. He says, "Hey
Jason, and hey Dave, "as I am still just
learning and starting out "I am still trying to work
on what style of drumming "I want to do, "but jazz might be what
I want to get into. "So that being said, what
is the best brush to use? "Thank you very much
and great lesson." – Well I mean what can I say, but the Sutter man. I love that question. You get a free pair of these
man when I get to see you. If I ever meet you. Anyway these brushes
have fallen from heaven. And they're not a lot of
brushes are made with different handles, widths, lengths, but the key thing to
this Sutter model, which by the way
Carol Collado named. Her father named the 5A. But Carol this the Sutter. That was her name not my idea. But they're the only
blue brushes out
there so ask for them.
They're called Sutter by
Regal Tip and they're blue so if you find them that's mine. And basically this
gauge really to me changes the game because
they really give full sound but yet they have articulation
because they're thicker than the classic brush which
most brushes are knock offs of. And I think I can say
that pretty freely. And the Hamilton has
this full beautiful sound and I love those
brushes check them out. The Jeff Hamilton. But this brush I feel like is the perfect medium weight brush. Because it has the
best of both worlds. So I'm not just saying
it to sell my brushes. I mean for me they feel
great and I love that so many great jazz drummers and rock
drummers alike have really gravitated towards these and found this
perfect middle ground where they say wow I can't
believe you beat me to it.
'Cause I've been
looking for that sound. So that's what I'd
recommend so check them out. They're called the
Sutter by Regal Tip. And they're the only blue
brushes out there so. Thank so much for your question. Yeah. – Awesome man. – Very cool man. – That's it. – Wonderful. Maybe I'll play us out
with one more tune. – Please play us out. Before you do though. Thanks everyone for watching. There was a ton of viewers
here on Facebook Live, YouTube Live, and of course
our Drumeo Edge members. Thank you for coming out man.
Seriously. – I love it. It's so cool to be here man. And I'm like sitting across
from you I've watch so many Drumeos and I'm realizing
like I'm here man. I'm on Drumeo mom check me out. – That's so good. – Playing brushes
just snare drum. – Well you killed it
on just snare drums. I don't think we've had a lesson where it's just been a
snare drum like that. And you've been able to fill
it up just very nicely so. Well thanks to
everyone for watching. Thanks to you so
much for everything. Thanks to Gerard and Ron. And everybody here. Thanks for having me man. I love Canada. I love Drumeo. And I love drums. So it's a perfect combo. – You're always
welcome back here and you're going to play
us out with a song called Caravan right now. – You got it man.
Kind of utilizing these duple
beats and hopefully putting both these drums together. – Awesome, we'll see
you guys all later. – Thanks again you guys. (upbeat jazz music) (upbeat cheerful jazz music).
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