(fast-paced rock music) Awesome. – Yes, thank you man. Thank you so much. – Yeah. Ladies and gentlemen,
Mr. Luke Holland. – I'm out of breath. Hi guys. How is everyone? (laughing) – So how many years did we
text and email back and forth until we finally
got you over here? – 10, 12 at least. – 10 or 12 (laughing). – Yeah. – You were just a
10 year old boy. – No, it's been at
least two years. – Right. – Yeah, it's been
a long time coming. – Awesome. Well, you've been busy
touring the globe, playing sessions,
filming videos. – Yeah, it's been hard work man. – Yeah. Cool. – It's been a good time. – Awesome. So if you don't know Luke
Holland, you should definitely check him out. He's got a YouTube channel
with tons of playing exactly like that. Tons of really, really,
really well-produced covers, original tracks. That was a track from
Jason Richardson.
That song was called
Fragments, is that correct? – That is correct. – And we're gonna be
playing another song from Jason Richardson
later as well. – Yes we are. – Awesome. So yeah, check out
Luke on YouTube. It's Luke Holland drums. Check him out on Instagram. It's Luke Holland with
two D's or check him out on Twitter as well. Obviously for any
of these lessons, we get to work with
some great companies so we have DW Drums, Remo,
Meinl Cymbals, Vater Sticks and your inner ears. – Yes. – 364 in your ears. – 360, 64. – 360, 64. (laughing) – No, they're hidden by
the towel that's on my head currently and it's
making me sweat a lot but you know, they're beautiful.
64 Audio. DW, Meinl, Remo,
Vater, I love you guys. Thank you guys so much. You guys make so much
cool stuff happen and I appreciate you guys. – Awesome, so before
we get into the lesson, we've got an incredible lesson. Okay, so Luke has a
bunch of signature beats, fills, and stuff and he's
gonna teach some stuff that he actually
did in his covers. So if you've been a
follower of this videos you're gonna get
those broken down.
Especially the new Kendrick
Lamar cover you just did. – Yeah. – So you're gonna get a
few of those broken down. It's gonna be really, really
cool and you're gonna play some more tracks as well. But, before we get
into that dude, you have to tell everyone a
little bit about yourself. Just like give a quick version. How you got started, how you
got to where you are today. 'Cause you were kind of like
one of those rising stars success stories. Wouldn't you say? – I don't know. – I would say. I would say you
went from like here and you really were diligent
in putting up videos and engaging with the community.
– That is true. – Practicing, I'm sure. – Lots of practicing. That is, you know, it's
funny people always forget that that's the number
one thing is getting good at your instrument
but yeah, okay, a little bit about myself. Name's Luke Holland. I've been drumming
since I was 11. Yeah, it kind of all started,
I was in a local band called Oceans Will
Part forever ago. I was like 15 or something
and my singer was like, yo, you should put some stuff
onto a YouTube channel so you can help
promote our band. And I was like, no,
don't wanna do that. Sounds dumb. So I did it and yeah, I did
an August Burns Red song and a Texas in July song and
it got a few thousand views and I was absolutely shocked.
I did not expect anything. And it kind of just kept going. I ended up filling
in for Texas in July which at the time, Adam
Gray was my favorite drummer and it was so crazy. I was 16. I took a week off school,
flew to Pennsylvania and filled in for
my favorite drummer. Got a call from him and
yeah, it was crazy man.
And that kind of
started everything. People saw that and saw
that I wasn't just some like YouTube behind the scenes,
edited, fake kind of stuff. People got to see me play
live and then I continued to do the YouTube thing. I went through multiple
cinematographers, audio guys and I did a Skrillex song
called Cinema that really kind of skyrocketed
everything from there.
It was my first, I
would say viral video. I think it's at almost six
million views or something now but the Word Alive, a
metal core band based out of Arizona, saw it and
asked me to join their band. And I toured with them
for about five years, all over the world. Played some massive festivals
and things like that and yeah, I've just kind
of continued to make videos based off of what
I want to do and my desire for being creative
and all that stuff while touring and
maintaining that live feel.
– Awesome. – Yeah. – Cool, and congrats
'cause I know you just hit 60 million
views on YouTube. – I did! That was today. Yes. Thank you so much. Yeah, it blew my mind. I was just talking to my mom
actually about (clicking) oh, you can hear that. (laughing) Yeah, I was talking
to my mom about it and we were just like,
wow, that's so crazy 'cause I've been
doing it since 2009 which is a pretty long
time when I think about it and yeah, it's just so cool man.
Thank you guys,
whoever's watching. Seriously, it's an honor to
have fans supporting and stuff. – Yeah, awesome. And thank you for coming here. – Oh dude, it's my pleasure. Like I said, it's a
long time coming man. – Yeah, definitely. So whenever we post these
videos some of you say thank you, you loved the
lesson but then you also want to give your ideas on
who we should invite next and over the years your name
has come up multiple times. – Really? – Oh many, many hundreds
if not billions of times. – Billions, dude. (laughing) How many guys have
you had in here? (laughing) Geez. – So, it's good that
we finally got it done. – Yes, I'm so thankful
to be here man. – Okay, we're gonna get
into some teaching here and so we basically
prepared 10 different, call them exercises, call
them whatever you want, but they're kind of like
Luke's signature grooves and ideas on the kit. And I think the idea here
or the end goal for anyone watching is, yes, you can
try and play the stuff exactly like that but it's
really cool if it inspires you to maybe create
something on your own.
You know, something
that's unique to yourself. And so take these as like
seeds that we're planting. Work on the stuff 'cause
it's some really, really cool stuff that he prepared and
he's just gonna play it like it's gonna look so super
easy, like he's done it, you know, it just looks
easy when you do it but it's really, really hard, some of this coordination stuff. – I'm gonna mess it up
on purpose just for you. (laughing) – So let's get right into it. So the first exercise
we're gonna talk about is the Kendrick
Lamar and this is from your most recent cover. – Yes, second most recent. Came out just a
couple weeks ago. So a little disclaimer here, I
played this on a seven piece. Now, we transposed
it to a four piece which is what I've used for
most of my drumming career. The seven piece is
a brand new thing.
So, I'm just gonna do this
all on the one rack tom. If you watch the video,
you'll see me bounce between my two first rack toms. But that's not what's
going down right now. So I just wanted to throw
that out for you guys. Okay. – Why don't you, maybe
you could play it first up to speed and then
we'll just talk a little bit about what's happening.
– Sure. Here we go. (fast-paced drum beating) – So when you originally
came up with that was it something just like,
oh, I should play this because it sounds
best with that? – It was one of those things,
okay, so if you look at it, if you break it down, it's
based off a paradiddle-diddle. I believe the first time you
take off the very, very last left stroke so it's right,
left, right, right, left. Instead of doing a
double at the very end. And it just kind of came out. You know, I'm experimenting
on this new seven piece and I wanted to, in the
first cover that people saw of my seven piece kit I
wanted to let them hear all the different sounds.
So, I was kind of messing
around with the toms as much as I could and then
later on in the same cover I do this same groove all
the way down the toms, down the five toms. So, yeah, this is one of
those ones that kind of just came out, just happened. – And I look at the
sheet music I think maybe it is the full
paradiddle-diddle. But maybe if we can
just play it slowly and hear how exactly
how it sounds. – Oh yeah, it is, totally. But I kind of, so I
think it's in 16ths. And then there's like a, so.
Yeah, yeah. – It does split
on the second bar. – Exactly. So, slow it's– – Way harder. (laughing) – Yeah. No actually, no it depends. – Oh okay. (laughing) – Yeah. – Alright, so do you want to
play it a little bit slower? – Totally. Here we go. (drums beating slowly) – Awesome. Yeah, so for those watching,
the main thing to note is I think count one and
count three of at least the first bar of eighth notes
and then everything else is pretty much 16th notes,
other than the second bar it changes. So, that's why I think
it flows so nicely. Yeah? – Yeah, I like that one. That's why I choose to
kind of come and bring it. I just feel like you could
do, like you brought up, so much stuff with that.
It's all based off of
a paradiddle-diddle, which, to me in my opinion,
any sixth stroke roll, any variation of the
sixth stroke is infinite with all of the things
you can do with it. So, yeah, I love this one. – Awesome. Do you mind just playing
it up to speed again? Maybe fast and you can
actually move it around but the toms, between
the high and low. – Sure, yeah, totally Here we go. (drums beating quickly) – Awesome, alright let's
move on to the next one. This one is the 1975
Me and this was from a recent cover as well, correct? – This one was, I wanna say,
a year and a half ago maybe, a year ago, and I did
it with the singer of Periphery, his
name's Spencer. Taylor Larson who produced,
oh I didn't produce, mixed and mastered the
Jason Richardson album that I did drums on and
this guy named Elijah Gibb, another very talented singer. And we all just kind
of came together. Taylor one day texted me
and he's like, I want to do a 1975 cover.
I was like, deal,
I love that band. Let's do it. And, yeah, I improvised this
actually during the filming. I find myself improvising
a lot of stuff the last couple years. It just feels more
natural to me than kind of drilling the same
thing over and over. But yeah, this one
just kind of came out and it's simple and it
just feels really nice. – Awesome. – Yeah. – Let's hear how it sounds.
– Cool. (drums beating slowly) – So that's very different than
the last one you showed us. What was your thought process
between the hi-hat splash? That's not something
you see a lot. – Yeah, you know, I saw, shoot. Who did it? I think it was Chris Coleman
being just a total bad ass with all the crazy stuff
he's just so going over that (hissing) you
know that whole thing which I think is incredible. That's just another
dimension of independence and I had been messing
with it at the time. Usually all the stuff I
write for this kind of stuff or for my online YouTube videos
is things that I was diving into at the time. So, for me it's fun to
go back and watch it because I'm like, oh yeah,
I remember I was practicing that at that time or I
was doing those rudiments or whatever.
So, this was something
I was into at the time. I was working with that
and I just wanted to incorporate that into a
slower song to get a nice feel out of it. – Awesome. – Yeah. – Cool man. Do you mind playing it
just for a few more bars? – Oops. Care if I drop my stick first? – No, absolutely not. We gotta restart. (laughing) – Okay, here we do. (drums beating slowly) – That's really hard. (laughing) – You know, it sounds
like an excuse. Actually I'm not
gonna make an excuse. I messed it up. – It's the high ascent. It's really old.
It's not what you're used to. (laughing) I already know what
you're gonna say. (laughing) – No dude, this
thing's brand new. What are you talking about? – No, it's brand old. (laughing) – Oh man. – Okay, that's cool. Let's move on. The next one we're gonna do
is I See Stars, White Lies and this is like an
original drum piece? – Yes. I did this album
December of 2015. The singer, Devon
Oliver of I See Stars contacted me to do
drums for this album and this was one of
my favorite things that I came up with
through the whole album. This and a groove off a song
called Light in the Cave but that's totally irrelevant. Yeah, so, here we go.
Full speed, here we go. (drums beating quickly) – Cool. So, cause you, it sounds
like a lot of what you play is gospel chops. Is that the linear thing or is
that some other inspiration? Like, Chris Coleman, Aaron
Spears, another drummer? – You know, I think it came
from, I'll probably talk about this 13 times during this
video, but I think it came from my time in drum line. I marched drum line
for a year and a half and I marched snare,
I played traditional. And, I barely touched
my kit at that time. I stepped back,
away from the kit. I practiced the whole world
of rudiments and dynamics that I didn't even know
existed except at the time I was just playing
in my favorite band and I came back to the kit
afterwards and I was just like, wait a second. There's so much more you can do. That's crazy. So, a lot of this stuff
was kind of inspired around the stuff I
learned in drum line and just manipulating
rudiments and maintaining the very strict stick heights
that I learned in drum line, keeping those
dynamics very stiff.
Yeah. – Cool, awesome. Do you mind playing it
a little bit slower? – Yup. Here we go. (drums beating slowly) – Cool. I love that little like
left hand going underneath. – Yeah. – To hit that. – Thanks. – You can't even really see
if you're hitting it or not. I was like double checking to
make sure you were (laughing). – It's a ghost hat. It's a new thing, ghost hat. – Exactly. – New trend. – Guys, is there a Drumeo
towel we can get him? – Oh I'm good dude. I'll just sweat my life away. – Wow, come on now. Okay, let's keep going. Now, the next one we
have is a signature chop. This one is something with
like three note groupings. – Yes. – So that's unison and– – Yup. – This is a fun one. I think this one
is actually like, I know there's drummers of
all skill levels watching but, yeah, throw it in here.
– Oh, you guys. You guys, you didn't
have to do that. – You know, the deal with
these is you put them over your neck like this and
it's like the hockey night in Canada thing when you do
your after game interviews. (laughing) – Yes dude, thank you. Dave, you're a saint,
scholar, and a gentleman and I appreciate you. – Just so you know, this
is gonna be on eBay. It's a towel with
Luke Holland's sweat.
– I better just wipe
my arm pits with it and make it real nasty. (laughing) Okay, anyways. – Okay, back to the drums. (laughing) What I was saying is there's
drummers of all skill levels. For you beginner drummers
looking at like a starting point to play some of
this type of stuff, this is one of those grooves. It looks challenging but
Luke will slow it down and you'll see it's quite
simple when you figure out what the pattern is. So, why don't you take it away? – Here we go. (drums beating quickly) – That just sounds so easy. (laughing) – It's, that one's a
little random and kind of unnecessarily complicated
but I think it sounds cool.
It gives it, with that
(hissing) over here on the stack and then you
have the every other hi-hat I hit, I believe, is
opening and closing. So it's definitely a
lot going on at once but that snare with the
backbeat gives it a nice groove. – And for those of you
watching the sheet music, there's two versions. So the first version
has no open hi-hat. The second version
has the open hi-hat. I don't know if we got
that one clipped out but yes, why don't
you switch to that one so we can, maybe do you
mind just playing the one with the open hi-hat now
that that's on the screen.
– Sure, yeah. – Cool. (drums beating quickly) (laughing) – I got a little
ambitious there. – So if you see it, this
is when I first figured out the pattern and I don't
know if you people watching have figured this out. It's unison, bass, right, left. – And then bass,
right, I believe. So. – Yeah, unison,
bass, right, left. And then bass, right, left. – And then it repeats. – And then it repeats again. – Yup. – So if you just
play like super slow, I mean, it sounds incredibly
fast and complicated there, but you can totally get it. – Yeah, absolutely. – Do you mind just playing
it like super slow? – Yeah, yeah.
Closed or open hats? – Let's do closed. – Okay, here we go. (drums beating slowly) – Nice. Cool, let's move
on to the next one. So this one has got the
threes and the hi-hat. – Yes. – This is more of a groove,
I would say, then a chop. – Yeah, I'd say so. – Yeah. So, what inspired this one? – This is one, again, I just
kind of pulled this one out. I love, if you guys
have watched my stuff, I love doing the one and a
two and a three and a four on anything. I think it just feels
and sounds so cool.
I'm kind of addicted to it. So, this one I just kind of
decided I would run with it and the hardest part, I think,
is at the very, very end, there's the four snare
hits all accented with the one and ah on
the right hand. So. (sticks clicking) – Do you bring up your left
foot to hit some of those? – I don't think so. Oh. (laughing) I thought you meant the hi-hat. Now I feel like an idiot. – I know because I'm such
a loser and making you do this stupid show. (laughing) – Gosh dang it. Alright, so here we go.
Let's see if I can do this. (drums beating quickly) – That one has some almost
like funk influences in it, eh? – Yeah. – With that faster hi-hat. – That one took some
concentration for sure. Yeah. That one, yeah, that was rough. – You choose one
of the harder ones. (laughing) So how do you recommend a
drummer like a beginner, maybe intermediate drummer,
getting starting with something like this? – The biggest thing for
me for that particular, for tackling this one right
here, is the threes on the hand. Which by threes I mean
groupings of three which is just one and a
two and a three and a four. If you aren't comfortable
with doing that over anything then my biggest piece
of advice would, so this groove we have
one, two, three, four. Right? So I would just do
something real basic like keeping the backbeat
on three and maybe take out all the ghost notes and
the opening of the hats and just do like this. (drums beating) – Right, so remove
certain elements of the– – Yeah, yeah.
Or even, if that's
too much for you too, obviously slow it
down of course. But, just take out all
the fanciness and just do maybe two and four just
to get that right hand constant for the entire time. Because you don't even
want to be thinking about your right hand when you're
doing stuff like this. It should all be, at least for
me, I focus on my right foot and my left hand doing
all the hard work and then my right hand
just kind of doing this and it's just a
motion and my fingers, they've all gotten
so used to it.
I don't even have to
think about my right hand. So, that's the point you
eventually want to achieve if possible. It is possible, what
am I talking about? Yeah. – Impossible. – It's, nobody can do it. Not even me. – We did some stuff
with Thomas Lang once and he always talks about
linear and then non-linear coordination and that's
one of those things that is non-linear coordination and it's actually much
harder than people think. People think linear
drumming is hardest. I think this is harder
with those four snare hits at the end. – I think so too. Yeah. Yeah, Thomas's non-linear
stuff that he does is just ridiculous.
So crazy. – Awesome. Do you mind just playing
it a little bit slower? I know it's a tough one but– – Yeah, yeah, I'll
give it my darndest. – Give it your all. – Here we go. (drums beating slowly) – Sounds so cool
but freakishly hard. (laughing) – Thanks man. – Next one is Jason
Richardson's Hoe's Down. – Ah yes. – So, so this is from the
song Hoe's Down. – Yes. So, oh. So, I think it's in the verses
of the songs or of the song. So that song is
all over the place. I think it's almost
seven minutes long. So, the hardest part
about this is knowing that it's all left hand
lead between the snare and the floor tom. I'm starting everything when
it comes to snaring the floor with my left hand.
So I'm doing groups
of left, right, left. Or, left, right. Rather than leading
everything right, left, right, right, left. So, and also this is
kind of non-linear because I'm doing groups
of three on my feet but on the first hit
I'm doing a stack hit with the one. So. (humming) You know what I mean? So, yeah, I'll
demonstrate for you guys. – Okay. – Cool, here we go. (drums beating rapidly) – Okay, you gotta
play that one slower. – Yeah, yeah, totally, totally. So here is that pattern slow. (drums beating) There we go. (drums beating slowly) – Yeah, it's like, it's
always hard when you're used to playing something,
you go to teach it, it's like, oh, how do
you like slow it down from like 100 miles
an hour to 30. – Yeah, that's a
tough one to do. – Okay, next one
we're gonna talk about is Justin Bieber's Sorry. You choose a Justin Bieber song. And we're actually gonna
play a Bieber song. – We are, we are. It's gonna be fun. Yeah, so, you know,
people give Justin Bieber a lot of crap.
I actually really like
a lot of his music and this was one that
people on my YouTube channel and people in person have
come up to me at shows and they've named
it the monster fill. That's just what
people named it. So, I think that's really cool. Thank you guys for
naming something. That's tight. So this one is pretty,
this one is meant, when I was writing this
piece, it was meant to be over the top, super flashy,
and for both a non-drummer and a drummer. You know? And I think that's
important to think about when you're approaching
YouTube videos and stuff which is a whole other category
I'm not gonna get into. But, yeah, this
is it full speed. (drums beating rapidly) Yeah. – Maybe we should
try a few rotations. (laughing) – Alright, here we go. So I'm gonna do
this nice and slow. It starts off with the
paradiddles and then it's doing this weird
thing over here.
So. (drums beating slowly) – Nice. So when you record that video
and you record that fill, is it just improvised? It probably is at
the time, right? – That one was not. That one I knew the part in
the song it was building up to just, it was perfect for
just an over the top drum fill and then it kind of opens
up right after that. So, that was kind of some
composition snazz I guess. – So then you have to
practice that a bunch before you learn to
actually film that. – You know, that one was kind
of based on some fraction fill ideas that I've
done in the past. It kind of just came together
to form a monster fill.
– Nice. (laughing) We're actually gonna be
filming a course with you tomorrow on some of
those, how you come up with some of these fills. Like more in depth, you just
mentioned fraction fills and stuff. So for those watching who
are Drumeo Edge members, get ready for that. Okay, let's move onto the
next one because we're getting short on time here. So we have the, just another
random signature fill. – Yes, this is one of
the ones that I sat down and just came up with. This came out, so, here we go. – Okay. (drums beating rapidly) – Again. (drums beating rapidly) – Awesome. Do you want to try a
little bit slower too? – Yup, here we go. (drums beating slowly) – There's lots of,
within your drumming one thing I noticed is
there's lot of like space.
Like, you actually use, if
there's a quarter note in there which you wouldn't think
to add something like that. Just take a break. – Yeah, I think space is
something in the last, maybe two years of my
playing, that I've learned is so important and so
valuable that before I didn't, I'm not sure where
that transition came but I'm glad it did. Space is like crucial man. It's a beautiful thing. – It makes the other notes– – Pop. – Yeah, pop even more. – Yup, exactly. – Awesome. Okay, next one, I believe this
is the song you're gonna be playing at the end. You're gonna be playing a song
called Retrograde, correct? – Yes.
– So this is a fill from that? – Yeah, so this is one of
those ones that all the music stops and it's just drums
by itself in this song. So this is like, I try to
get ultimate flashy with it so here we go. So this is at normal speed. (drums beating rapidly) Again. (drums beating rapidly) – We're gonna have to
try that one slower. (laughing) – So slow it is, it's based
off of paradiddle-diddles. – Right. – And then single
strokes right at the end. – So two paradiddle-diddles? No, two (mumbles) yeah,
three paradiddle-diddles. – Three paradiddle-diddles
and then some fraction stuff at the very end which is
just (drumsticks clicking). – [Jared] Groups of four. – Yeah, four, four,
two on the hands. So, here we go. (drums beating slowly) – See, when you play it slower
it makes way more sense. (laughing) – See for me, I'm like, oh
God, where am I in the phrase? So I'm glad that's comforting.
– Yeah, do you mind just doing
it, rotating it a few times so we can hear it. – Yeah, yeah, so. (drums beating slowly) (drums beating rapidly) – It just goes to show you
how much more flashy it sounds with just speed added. – Exactly, exactly. – That's so cool. Last one, it's a
double bass chop. – Oh yes. Okay, so this one is just got
all sorts of stuff going on. You got some flams and then
a majority of the groove or the fill is based off of
paradiddles and you're accenting one E, two E, three E,
or whatever it might be. So this is at normal speed. (drums beating rapidly) Here we go again. (drums beating rapidly) – Nice, do you mind
trying that slower? – Yeah. – I know I'm a broken record. – No, you're fine. I appreciate you telling
me because, you know, it's good to hear. Here we go. (drums beating slowly) – Awesome. One thing I like what you
do a lot of is the use of ghost notes. Really like soft strokes mixed
in with the accent notes. – Thank you. – It gives it lots of texture. – I love, dynamics
is like what I preach to my students at home.
Some of you guys
are watching, hello. – 'Cause you played a
lot of metal (mumbles) and harder music and so
that's something that a lot of people when they
think of metal or that type of stuff it's like
lacking dynamics. It's one volume, right? – Yup. – It's high and triple
metso, what is it? Triple forte or
something like that? – Too much forte I
think it's called. (laughing) Too much forte.
– Nice man. So with all this stuff, someone
really likes your drumming, likes your style, they
want to get into it, what would you suggest is
like the starting point for them? – You know, I think, like I
was, I know, now I'm sounding like a broken record. I call it prior knowledge. So it's, I'll set the
sticks down for this one. So, you can't expect to sit
down and play all this stuff if you don't know what
you're playing, right? If you're gonna learn the
stickings and you're like, I don't even know what
I'm, it's not gonna happen. It's not gonna sound
fluid and natural. So for me, prior knowledge,
I learned as many rudiments and the dynamics to the
rudiments, most importantly. Every rudiment has
a dynamic to it. And I drilled those
over and over and over and eventually with lots
of practice and time you'll start throwing kicks
in between or on top of them and mixing the rudiments up and that's where a
lot of that comes.
But, start with your dynamics,
start with your rudiments. It sucks, none of it's fun. But, man, it will make
you so much better. It'll make your playing stand
out more and be more unique and yeah, I mean, I think
that's what most people want at the end of the day is
to be their own drummer. Do you know what I mean? – Yeah, exactly. I think what a lot of
people see is they see you flying around the kit
and it looks easy. Some of those last
fills you did are crazy but so many people don't
realize how much time you spent, like in drum line learning
the paradiddle-diddle, learning the single paradiddle. You said you took a year
and half off of the drum set and literally just played that. – Yeah. – And so, like that's a
lot of time and effort and prior knowledge and
building a foundation.
– It was and what's crazy about
it, it wasn't intentional. I just, not like I never
touched my drum set but I rarely did. I was always doing drum line. I was always doing
rehearsals and practices and all that stuff so. – Awesome. Thanks for sharing that. – My pleasure. – Yeah. So, for those of you
watching, we're gonna get into ooSon., s e you can go ahead and
fire off your questions. We'll get to as many
of them as possible. If you're not, you can
join us for a free trial. It's Drumeo.com/trial. I'm also doing an interview
with Luke after this, or tomorrow I should say, that's inside of
the, only inside of the Drumeo member's
area as well some other exclusive stuff
that we're filming. So if you aren't a student,
you can sign up for free, get a free trial.
Try it out. If you don't like
it, you can cancel. If you like it, stay
with us forever. I want everyone to stay
with us forever obviously. – Including me, I think. (laughing) – You want to stay? – Is this it? Is there where, is
this my life now? Just Drumeo for the
rest of my life? – Yes. – Cool. – We're gonna handcuff
your legs to the chair and tie you to the (laughing
drowns out speaker).
– Oh God. Well, on that note. (laughing) – Thank you. – Awesome. Let's get into some questions. – Ask me questions. – Alright. So the first one
is from Bassilo. He says, what are you
currently practicing or struggling with? – Ooh. Okay. So something that I have
not delved very deep into, I'm kind of ashamed to
admit it honestly, is jazz. I never was very keen on
jazz music to be honest. And it's not really something
that I've taken the time to sit down and learn. Which I know it's
something I need to learn 'cause that's kind of
like a whole separate area of drumming that is, when
I see people play jazz I'm just blown away. That's just like a
different instrument almost. – So why? Explain why. Why do you think it's
something you need to learn how to play? – Because, okay, this is
a very important thing. Because I always say
versatility is key. It's so important. Nowadays, there's so many
musicians and so many outlets to get your name known
and this is who I am, this is what I'm capable
of, that you have to be able to do as much as you can.
It's like turning in a
resume and just being like, oh, I can do this one
thing and that's it. And it's like, well, we want
you to do multiple things. So, I think it's
really important. So that's something that I
need to stop being stubborn and just finally do. – Yeah. – Yeah. – So what do you do, maybe I shouldn't ask
all the questions. But I can ask you (laughing
drowns out speaker). There's lots of questions here. From Andrew Douglas, he says,
sometimes when I play songs with more intricate drumming
everything feels good and then when I go to
play trickier parts, my body locks up and the
parts come out choppy or barely at all.
Is this just an issue
of needing more practice or is there something
else that can help? – I think two things that
immediately stuck out to me is understanding what you're
playing is so important. And the second thing
to understanding
what you're playing is taking the time to play
it slow and be like, okay, you hear this cool fill
that somebody might be doing and you're trying to
imitate but you don't know what they're doing so you
play your own version of it and it's probably not
coming out the cleanest. And that's okay. Just slow it down. Maybe YouTube some videos of
the drummer playing it live or yeah. – Cool. This one's from Mauricio. He says, why change
from the four piece kit to the beautiful monster
that you're playing now? (laughing) – Beautiful monster, I love it. Good question. Because I am so comfortable
on a four piece, that bugs me. I wanted to get out
of my comfort zone.
That was the biggest thing. And, I wanted whatever
I was gonna do next to be kind of the
shock factor, you know? People be like, whoa,
I didn't expect that. That's kind of left field. So, that's the main reason. I wanted to get out
of my comfort zone and it certainly has done that. It's like playing a whole
different instrument, man. Like, placement of everything
has changed dramatically and just all the
different tones. Actually, speaking of tones,
the person who recommended that I get more sounds, I was
talking to Tony Royster Junior about it and he was
like, I was like, dude, what do I need to do? And he's like, you
need more sounds. And I was like the biggest
influence for me getting the seven piece.
Yeah. – Awesome. Test the Beat says, what
has helped you so far in your drumming career? – Ooh. – It's a broad question. – It's a very broad question. I was about to say, I wish
we could dive into that more. If it's the social
media, that kind of side or the actual playing side. Both I could talk
about for now or? – Choose two. – Okay, so I think social
media or getting your name out there and known,
the most important thing besides of course your playing
and being a solid player is being likable and not
being a jerk or somebody that nobody wants
to hang out with. Right? Because when you go on
tour you are cooped up in the same bus, well,
it might be a bus.
It might be a van, depends
on how you're touring. And, if you don't like that
person that you're touring with and living two months at a
time with in a confined space, they're not gonna hire you
if they don't like you. So, that's very important. As for the actual playing, I
think keeping a very open mind to music is crucial. Being able to appreciate
different genres and apply what each genre
does to your own playing. And that's kind of what
I've been trying to do. Like, you're talking
about ghost notes in metal and stuff like that,
I've been trying to take different elements and
put them into my playing so it sounds unique and
not just like, blast beats. (humming) You know, just all
that kind of stuff. Or, if I'm going to the
funk stuff, throwing in some of that weird stuff that I
learned from playing fast and intricate so. – You can tell those influences. You know, like in
Justin Bieber you went to the basso pattern on
your bass drum, right? – Yeah.
– And then the one groove
with the three notes, that sounds very like
70's funk if you played it a little bit differently. But, you're kind of taking those
influences and putting them into these new modern
styles which is pretty cool. – Thank you man. – This is from Pablo Falisz. He says, you are
really successful now but what kept you
motivated initially? – Ooh. – This is what a lot of
people struggle with, including myself. And to see someone touring
and like full on doing it, making it a living, it
takes a lot of motivation and perseverance. – Yes it does. It is not easy, I
can tell you that. Pablo, right? – Yes. – Pablo, wherever you are
out there in the world. (laughing) Yes, so motivation is something
that's not the easiest to find. I think that, it
sounds ridiculous but
break ups motivate because success
is the number one motivational factor, right? Like, I want to be successful.
Who doesn't want
to be successful? Like, nobody wants
to be unsuccessful,
you know what I mean? So just different things in
my life that were happening and it just made me want
to come home and be like, I'm gonna get super
good at drums. Which I'm still working on it but I want to get, I
want to be the best. Which there's no such thing. But, that's just kind of,
that was my motivation is to be successful. And I know that that's
kind of a stupid answer but it's always, I've just
always wanted to be successful I guess. – Yeah. We're gonna go deeper
on this tomorrow. – Yes, we are. – Because I have many, many
follow up questions for that. 'Cause I'm interested. Especially with the new
modern way of doing this because like the old way
of doing this is like doing a band in your local
town and start playing gigs, you know? – Make it big. – Play on the jazz bandstand. But now it's completely changed.
The path to success. – Totally, yeah. – And so, it's always
interesting to talk to people about it. Let's take one more and
then we've got another song. This, you don't have to
do this if you don't want but I thought it was a good,
I'm not gonna ask you to do, well, I'm kind of gonna
ask you to do a solo. – Oh well you have to now. (laughing) – He says, Kyle Drummer says,
if possible, can you try and do jazz solo (mumbles). I'm curious to see (mumbles).
– Oh God, no. That's the thing, I wouldn't
even know where to start. It's pathetic. – Okay, here's another one then. – Okay. – From Dano, he says,
what's your best go to beat that you like to play? Like, what's your number one? Someone says sit
down and play drums, what is like the first
thing that happens? There's gotta be something. – Let's find out. (drum roll) Oh I know one. I love this one and I
still haven't really found a place to put
it, I don't think. But, here we go. (drums beating rapidly) (clapping) – That was great. – I like that, just that feel. Kind of dancey, you know? – Nice. – There you go. – Luke, thank you so much. – It has been a pleasure. Thank you Jared, Drumeo. – It's been great. Thank you to all the
companies that helped out.
DW, Remo, Meinl,
Vater, Inner Ears. If you want to sign up to
Drumeo, you should check it out. If not, that's fine. (laughing) – Do it, do it. I have 13 subscriptions. – You do? – Yeah. – That's the only reason
we're still alive. (laughing) – I've subscribed to
you guys so many times. – Awesome. So the last song
you're gonna be playing is from your project
with Jason Richardson.
Is that right? – Yes, yes. – And this one's
called Retrograde. – Yes it is. – Awesome. – This one, in the studio
when we were writing the song, the pre-pro name was
called Left Foot Action because Jason wanted a
song where my left foot was just going the
whole dang time. Oh man, this one
took a lot of time. This is one of those
things, like, I heard this and I was like,
that's not possible. It is possible but I
don't wanna learn it. So I had to take the
time and sit down and I would do it on the floor. I'd take my feet
and just, you know, it'd be, well, you'll see. But yeah, it took a lot
of time to do this one. – Awesome. I'm gonna run in there. – Cool. – Before you go
just let me get out. – Yeah. – And then you're
all by yourself. – Yeah, sure, here we go. (laughing) (fast-paced rock music).
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