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Bell’s Back – Interview with Milene Letertre Bell Music Ltd

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Bell’s Back – Interview with Milene Letertre Bell Music Ltd

No-one would argue that the Covid Pandemic has been more damaging to the music industry than most. Hundreds of thousands of musicians, and their attendant support services, were prevented from working, and the results for many companies have been catastrophic.

One such casualty was Bell Music Limited, one of the largest and most successful percussion instrument hire companies in the UK.

Founded in 1990, the company built an enviable reputation by amassing one of the largest, and most diverse collections of percussion instruments available, as well as its expansion and diversification into rehearsal studios, and of course its world-renowned retail shop.

Bell was a strong company from the start, but even the strongest were unable to withstand the decimation of Covid. With the government furlough scheme in a state of flux, and an unwillingness to risk making all his team redundant at the same time, founder Mike Perry shut the company down in August 2020, and the company finally ceased all operations in December that year.

Move forward to 2022, and a business arrangement between Bell and the London Symphony Orchestra gave the company access to the orchestra’s warehouse space, and Bell was able to start rebuilding its business once again.

Drummer’s Review’s Andy Hughes talked to Bell’s Hire Manager Milene Letertre, who began by outlining the business model that was created, and still drives Bell Music Limited.

Why do orchestras hire percussion instruments, instead of just buying in a stock of pieces to use when needed?

Orchestras need to hire percussion instruments as and when they are required, it’s simply not practical in terms of storage, or cost effective, to own pieces that are only used occasionally. That is where Bell comes in – we have the largest selection of percussion instruments in the UK, and we can supply additional sets of instruments for specific projects.

Was the re-start a smooth operation?

Actually, the initial re-start was quite bumpy. We started a simple ‘pay as you hire’ system, and used WhatsApp to link customers requiring percussion instruments, with the clients who held them, and made sure everyone could access what they needed. The music industry is very supportive by nature, and everyone was keen to help everyone else, for the benefit of all.

Are you looking to push forward in other areas of your hire business?

Definitely. We want to reach out to band and group drummers, because we are developing our drum-kit hire business, and increasing or availability of backline and lighting for bands on tour. I think a lot of drummers knew our retail shop which was very famous.

The shop had to close, with the ending of the company at that time, are you looking to open it up again?

We don’t have current plans to re-enter the retail sector with a physical shop premises. I want them to be aware of our hire facilities for kits, and other requirements including backline, microphones, and lighting. We started really gearing up the marketing side of the business in February this year, once we had all the essential infrastructure sorted out and running correctly. We are busy updating all our social media systems, and reaching out to trade conferences and shows to ensure that we get our name back out there.

Is the business back to its pre-Covid levels, in terms of your client base, and overall business?

Not even close yet. Right now, we are probably where we were fifteen or twenty years ago, we still have a way to go. But that’s not a problem, there is space in the market for us to grow into again. We are going to focus on the hire side of the business as we re-build. We do not have plans for a retail outlet, and as far as the rehearsal studios, we will see about that further down the line.

Do you feel that you have learned any business lessons from the way in which the company has stopped, and re-started again?

Definitely. I do think that maybe the company was a little bit too big before. Now that we are a little smaller, I think we can develop our customer services levels even more, and the smaller structure will allow us to keep a slightly reduced client base, but offer them an even higher level of quality service and support. That has been the real positive in terms of our re-start, we have been able to look at where our strengths lie, and ensure that we concentrate on those area of the business.

Do you think Mike Perry always intended that the company would return?

Absolutely. Mike is a very focused and driven, and stubborn man. That is what has made him so successful as a businessman. We have the largest selection of percussion instruments for hire in the UK as I mentioned, and he never seriously considered selling any of it. He maintained everything in two warehouses, and just waited until the time was right to start things up again.

As the Manager of the Hire Division of the business, what are your plans moving forward?

We are going to be increasing our marketing presence, and we are looking at updating and expanding our percussion stock. There are new instruments, and upgraded models coming on stream, and we need to be able to provide the latest and best instruments to our client base, so that will be a major focus of the team right now.

Any more development plans coming onstream?

I am also looking into expanding our backline and support areas as well, including lighting, microphones, and so on, and see if we can increase our market share in those areas, as part of our overall drive to provide the most comprehensive hire service in the UK.

And finally, do you have a message for the music instrument community?

It’s wonderful to be back! I really hope that the drumming and percussion community who have suffered so badly during these difficult times, is going to build everything back, as we are doing. Fortunately, the drum community is close, and we are all doing our best to support each other, and move forward from here, and we can all do that together.

ANDY HUGHES

See Bell Music at The UK Drum Show 2023.

Got a story? Get in touch at contact@drummersreview.com

Jojo Mayer headlines the Royal College of Music Festival of Percussion 2023

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Jojo Mayer headlines the Royal College of Music Festival of Percussion 2023

The Royal College of Music (RCM) Festival of Percussion 2023 is back with a bang on Sunday 7 May. Internationally renowned virtuoso drummer Jojo Mayer, described in Modern Drummer Magazine as ‘destined for “Drum God” status!’, headlines a full day of performances, talks and workshops for audiences of all ages. Alongside Ronnie Scott’s Big Band musical director Pete Long and the RCM Jazz Orchestra, Jojo will close the festival with a special concert featuring a stunning selection of pieces by the legendary jazz drummer and songwriter, Buddy Rich.

Jojo Mayer received international exposure after performing with jazz legends such as Dizzy Gillespie and Nina Simone. He is currently leader of live electronica quartet Nerve which established him as one of the great performers and innovators on the instrument, and in 2014, Modern Drummer Magazine listed him as one of the 50 Greatest Drummers of All Time.

At this year’s RCM Festival of Percussion, the BBC Concert Orchestra timpani and percussion section will perform orchestral masterworks from across the centuries. Other highlights include a family lunchtime concert hosted by Kizzy Brooks featuring the RCM Percussion and Brass Faculties, and a performance by ground-breaking percussion ensemble Abstruckt.

Through talks and workshops, visitors will gain insight from experts such as Mike Dolbear, organiser of the UK Young Drummer of the Year competition. Mike has spent over 40 years in the drumming industry and will talk about “Drumming on a global scale”, and how his experience as a professional drummer and educator helps him to coordinate mass drumming events. Other experts at the festival include Sophie Alloway, Matt French and Grahame King.

Activities for families will include drumstick decorating in the RCM Museum, and the opportunity to try out cajón and Stomp-style body percussion presented by RCM Sparks, the College’s learning and participation programme.

Representatives from the world’s leading percussion companies and distributors will also be present at an all-day trade fair.

David Hockings, Head of Percussion at the RCM and founder of the festival, commented: ‘Now with more than a decade of experience behind us, the annual RCM Festival of Percussion is in better shape than ever. We take pride in delivering a distinctive programme to engage and inspire the youngest percussionists through to seasoned professionals. We are excited to present a world-class line-up featuring experts from all areas of the industry.’

Details of the 2023 festival can be found at www.rcm.ac.uk/percfest

Daytime tickets and Evening Concert tickets are £12 each or £8 for Under 35s. Whole Festival Tickets are £20 or £10 for Under 35s. Tickets are available from the RCM Box Office on 020 7591 4314 or online at www.rcm.ac.uk/percussion/festival

 

Bell Music returns and heads to The UK Drum Show

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Bell Music returns and heads to The UK Drum Show

Organisers of The UK Drum Show are pleased to announce Bell Music will join a plethora of exhibitors this September at the ACC Liverpool, with their return to business in June 2022.

Bell Music formerly known as Bell Percussion was founded in 1989 as a London based percussion hire company. Over the past two decades, Bell diversified to accommodate the music industry requirements for retail, transport, studios, teaching and repairs. From beginners to seasoned professionals, Bell has always provided expert knowledge along with competitive prices for every percussive need. The company thrived based on the professional quality of its hire instruments and with an ‘anything is possible’ mentality that remains to this day. However, due to the devastating effect of the pandemic on the music industry, Bell was forced to close its doors in December 2020. Happily though, in June 2022, Bell reopened the hire department in partnership with the London Symphony Orchestra and moved to the LSO warehouse in Tottenham. The hire department is now trading under the management of Milene Letertre in addition to the Bell Music Academy based in Chiswick, west London.

To this day, Bell remains the largest drum and percussion hire company in the UK with a skilled and highly knowledgeable team of drummers and percussionists. However, they are not only a classical and drum session supplier, but also provide the wild and various instruments and equipment for many of the film soundtracks recorded in the UK such as the Lord of the Rings Trilogy and the Harry Potter films recorded at Abbey Road and Air Studios. They also supply backline, staging and recently invested in their fleet of orchestral furniture.

Some of their clients are: London Symphony Orchestra, Royal Philharmonic Orchestra, BBC Proms, BBC Symphony Orchestra, BBC Concert Orchestra, McFly, Coldplay, Ellie Goulding, Abbey Road Studios, Air Studio, London Philharmonic Orchestra,… to name a few.

You can browse their fleet here: https://www.bellperc.com/

Ludwig Launches Neusonic & Vistalite

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Ludwig Launches Neusonic & Vistalite

Designed for the high-velocity working drummer, Neusonic offers unrivaled tone, upgraded premium drum finishes, and lightweight portability. The only drum set redefining USA made affordability – Authentic Ludwig quality and professional capabilities trusted for over a century.

Construction & Sizes

This new era focuses on an updated shell construction, new Rapid Tom sizes, and stunning new looks! Formed at or factory in Monroe, NC USA, this shell is 7-ply crossover design made up of a 4-ply maple exterior and 3-ply cherry interior measuring at 5.5 mm thick. A design that produces full-range tuning and optimum sustain.

Finish & Wraps

Style from a selection of 6 new finishes, 3 new wraps, and 3 new painted finishes: Butterscotch Pearl, Ebony Pearl, and Steel Blue Pearl and Neu-Coat satin painted finishes: Satin Royal Blue, Satin Diablo Red and Satin Golden Slumbers.

Ludwig Neusonic – details

Ludwig Vistalite 50 years

In addition to the new Neusonic models, Ludwig are excited to introduce two new limited edition Vistalite Pattern A finishes. Now available to order in Fab and Pro Beat outfits as well as 6.5” x 14” Snare Drums. A sound and look unmatched by traditional drum builds, Vistalite is recognised as still the clear favourite.

www.ludwig-drums.eu

**SEE LUDWIG DRUMS AT THE UK DRUM SHOW 2023**

Toca Turns Thirty With New Releases

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Toca Turns Thirty With New Releases

Toca Celebrates 30th Anniversary with Limited Edition Congas, Bongos and Cowbells…

Toca Percussion, one of the world’s top hand percussion companies, is proud to celebrate its 30th anniversary with the introduction of the Limited Edition Margarita Congas, Bongos and Cowbells. These instruments feature luminescent shells that are richly adorned with one-of-a-kind anodized hardware, topped with white Remo® Nuskyn® heads and finished off with the 30th anniversary logo on the heads and nameplates. The drums have 28″ tall, seamless fiberglass shells. The bigger belly shape produces deeper bass tones and crisp highs.

The bodies of the 30th Anniversary Cowbells mimic the luminescent shells of the drums and come in both bongo and timbale bell versions. The classic 30th Anniversary logo is adorned on the face of each bell, making all these products predestined to become collectors’ items.

Toca Percussion was founded in 1993 by KMC Music during the heyday of the Latin and Afro-Cuban influence on popular music and rock n’ roll. Toca Percussion was designed to provide the “Afro-Cuban” sound and to offer a different look for hand percussion instruments. Over the past three decades, Toca Percussion has become one of the top hand percussion companies in the world with a line of well over 500 products.

“We are excited to celebrate our 30th anniversary with the introduction of these limited edition drums and bells,” said Brad Kirkpatrick, President of RBI. “These instruments are a testament to our commitment to offering a distinctive choice in style, design, and sound. We believe these stunningly beautiful 30th Anniversary drums and bells will become collectors’ items and we encourage everyone to grab theirs quickly.”

The Commuter Conga is a portable drum that is perfect for musicians on the go. The Commuter Conga is available in 10” and 11” head sizes and comes standard with Remo Fiberskyn heads.

Musicians can purchase drums separately or choose from one with a single stand or both sizes with a double stand. The lugs are accessible at the top, making it simple and quick to adjust the sound and tuning.

The 10” drum comes with a 3” diameter port on the bottom, allowing the highs to ring loud and true while letting the slaps come through. On the other hand, the 11” drum comes with a 6” diameter port on the bottom, allowing for astonishing mid-tones and just the right amount of bass.

Both single and double stands are made from heavy-duty steel and feature an adjustable arm that holds either size of the Commuter Conga in tight. Musicians can even add a third Commuter Conga to get a true Quinto, Conga Tumba set up.

“We are excited to introduce the Commuter Conga to our line of percussion instruments,” said Jim Rockwell, Toca Marketing and Product Manager. “It’s a new twist on an idea that has been around for for quite some time. We are offering a much broader sound pallete in a very small package at an affordable price. It could just be the the ultimate portable conga. It’s perfect for musicians who are contstantly running from gig to gig, or are playing gigs where space and weight are at a premium. And It’s a great add-on for drum set players too!”

With the Toca Jingle Snap, drummers can keep access to that jingle sound close to their sticks and hit it whenever they want. This stickable jingle provides a precise accent only when needed, because it’s mounted directly onto the snare instead of to a constantly moving hi-hat. This small accessory packs a big sound or quiet jingle, and leaves the drummer in control.

Designed to fit onto any acoustic drum, the Toca Jingle Snap™ features four nickel-plated steel jingles that add texture. Its black powder-coated metal frame ensures durability and long-lasting use.

“The Toca Jingle Snap is the perfect addition to any drummer’s kit,” said Jim Rockwell, Toca Marketing and Product Manager. “We understand the importance of control and precision when it comes to drumming, and this accessory provides just that.”

Toca Percussion is thrilled to announce the release of two new drum set timbales, equipped with snares. These innovative new instruments provide drummers with an expanded range of sound options, and are perfect for drummers looking to add new elements to their music.

The first of these two new timbales is the 12” x 4” version, which features a stunning stainless steel finish. The smaller head size of this timbale makes it easy to place in tighter spaces, while the steel shells provide maximum sustain, brightness, and clarity. What’s more, this timbale comes equipped with a snare, enabling drummers to easily transition from a unique timbale sound to a snappy snare sound.

The second of Toca’s new drum set timbales is the 12” x 7” model, which boasts all the same features as its smaller counterpart, but with a deeper ring and a stunning hand-hammered stainless-steel finish that is sure to dazzle audiences. Both these drum set timbales come with a heavy-duty mount that accommodates a variety of rods and tom holders, making them easy to place on any drum set.

“These Drum Set Timbales fill a sweet spot for drummers looking for a timbale sound, and a little bit more,” said Jim Rockwell, Marketing & Product Manager for Toca Percussion. “The size is just right, they are easy to place on a mount or stand, they sound amazing, and you have the added benefit of a snare throw off. We are really excited to augment the sound palette of drummers everywhere, and can’t wait to see how they use these timbales on their kits.”

Toca Percussion has a reputation for providing top-quality percussion instruments, and these two new drum set timbales with snares are no exception. With these new instruments, drummers can easily add new elements to their music, enhancing their overall sound palette and taking their performances to the next level.

Toca Percussion has launched the Toca Grabber™ Percussion Mount. The percussion mount is designed to easily add percussion or small cymbals to drum sets, congas, or timbales. The Grabber can be securely mounted on any common drum rim to add percussion accessories, or microphones exactly where they’re needed. The mount is also ideal for drum kit set-ups, percussion rigs, and even marching drums. The Grabber comes equipped with a standard percussion rod that is angle adjustable to fit your exact needs.

One of the key features of the Toca Grabber is its ability to fit nearly every standard drum rim, making it a versatile addition to any drummer or percussionist’s toolkit. This percussion mount securely holds accessories or microphones, and is height adjustable to ensure perfect placement of the equipment. The Grabber’s angle adjustability allows the user to position their accessories at any angle they require.

“With the introduction of this mount Toca is making a commitment to its drummers and percussionist to make customizing their percussion rigs a breeze,” said Jim Rockwell, Marketing & Product Manager for Toca Percussion. “It’s simple and quick to use, it’s height adjustable, angle adjustable, and will hold just about any drum accessory that fits a standard percussion rod.”

The Toca Grabber Percussion Mount is an exciting new product that promises to make customization of drum sets and percussion rigs much easier and more efficient. With its versatility and ease of use, the Toca Grabber is sure to become an essential accessory for drummers and percussionists around the world.

Toca Percussion is excited to introduce the Toca Multi-Use Bongo Stand, a versatile and durable stand that combines the functionality of seated bongo stands and bongo arms into one product.

The Toca Multi-Use Bongo Stand allows musicians to play the bongos while seated on a throne or attach them to a double conga stand. With its C-Clamp bongo mount and adjustable height and angle, this stand is fully customizable to meet any playing style.

Designed to fit any double conga stand, this sturdy and durable stand is built to last. It adds extra bongos to your set, without taking up floor space, making it an ideal add-on for any drummer or percussionist.

“We are excited to introduce the Toca Multi-Use Bongo Stand to our customers,” said a spokesperson for Toca Percussion. “Our team has worked hard to create a versatile and durable product that can be used by drummers and percussionists of all skill levels. With its fully adjustable design, the Toca Multi-Use Bongo Stand is sure to become an essential part of any percussionist’s set up.”

www.tocapercussion.com

www.rbimusic.com

Grover Pro Percussion Launch Raft Of New Products

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Grover Pro Percussion Launch Raft Of New Products

Grover Pro Percussion is proud to introduce its latest innovations for 2023, kicking off with the Grover Pro Dual Action Castanet Machine. This new product is the only castanet machine in the market that offers two settings to optimize dynamic range response. When properly adjusted, the Grover Pro Dual Action Castanet Machine enables musicians to sound their absolute best!

This model of castanets are slightly smaller and brighter sounding than their large granadillo model, and feature medium-sized clappers made of solid Rosewood. The tension of the castanets is fully adjustable, thanks to the simple tension adjustment knob that can be set to micro fine settings, remaining consistent throughout use.

In addition, the Grover Pro Dual Action Castanet Machine boasts a compact footprint, which makes it ideal for tabletop or cymbal stand mounting. It is designed to offer superior sound quality and performance for musicians of all levels. This product is backed by Grover Pro’s limited lifetime guarantee, ensuring that customers can trust the quality and durability of their purchase.

The Grover Pro Dual Action Castanet Machine has already received rave reviews from customers, including Professor David Eyler from Concordia College. “We absolutely love our new Grover Pro Dual Action Castanet Machine!” said Eyler. “The fully adjustable tension and tabletop or cymbal stand mounting design make it so easy to use. Thank you Grover Pro for another outstanding product in your arsenal!”

If you’re frustrated by having to choose between castanets that sound good but have no adjustment and others which have adjustable tension but lack clarity and richness of sound, then these castanets are for you! Once you try them, you’ll fall in love with the sound and super responsive tension adjustment.

The Grover Rosewood Castanets feature solid rosewood clappers and a simple belt-tension adjustment that can be set to micro-fine settings and remain consistent while using. The comfortable lightweight oak handle ensures that these castanets are easy to hold and play for extended periods of time. In addition, the GWC-2R castanets come with free protective covers, making them easy to store and transport safely.

These castanets are slightly smaller and brighter sounding than their large granadillo model, providing a unique sound and tone that will sets it apart. These castanets are perfect for musicians who demand the best in terms of sound quality and performance capabilities.

Grover Pro is also pleased to announce the GCX™ Concert Snare Drum, a snare drum that is both simple to use and sounds amazing. The GCX is designed specifically for percussionists who are still learning their craft, making it the simplest and most forgiving concert snare drum available.

The GCX has been engineered to produce refined crystal-clear clarity and super-sensitivity that aids in the execution of the softest dynamic passages. It features professional caliber multi-tonal CX snares that are pretensioned at the factory and never need balancing, ever! Additionally, the innovative “RADIAL” bearing edge provides more contact between the batter head and shell, bringing sonic clarity in the softer dynamic range.

One of the key features of the GCX is its “2-Tone” MAGNETIC muffler, which is the only snare drum muffler that features this technology. The muffler instantly locks into the optimal position thanks to internal rare earth magnets, providing two distinct dampening surfaces which result in different degrees of muffling. Whether you like it extra dry, or with a splash of resonance, the muffler is there to provide the perfect sound.

The GCX also includes a 10-ply cross laminated all maple shell, distinctive single point “bow tie” lugs, ADV nodal venting, a simple single lever throw-off, and a free heavy-duty case. The drum’s philosophy is that less is more, so it has only one tension knob adjustment, making it incredibly easy to play.

Grover Pro founder Neil Grover said, “Percussion students have enough to worry about when they perform, they should not have to be concerned with adjusting complicated “multi-sonic” snare systems”. The GCX concert snare drum is affordable and provides a professional sound without the complexity or price-tag of expensive multi-sonic drums.

Featuring two metal pellets in every bell, the newly designed Grover Pro Sleigh Bells offers improved sound production and helps eliminate unwanted “after-ring”. Now, when the player stops playing, the bells stop ringing, resulting in a more precise and controlled performance.

In addition to the improved sound quality, the Grover Pro Sleigh Bells also feature a unique integral rubber foot that allows for silent acquisition and placement on a trap table or any other surface. The round foot also functions as a handle for radial motions, allowing for short staccato notes, and provides a striking surface for playing the bells with one hand.

The set includes 24 carbon steel bells that are chrome plated for durability, delivering a characteristic sound that projects with a brilliant resonance. Musicians can trust the quality and craftsmanship of Grover Pro percussion instruments, which are known for their exceptional sound, durability, and innovative design.

“We are thrilled to introduce our new and improved Sleigh Bells to the market,” said Neil Grover, founder and president of Grover Pro Percussion. “Our team has worked tirelessly to enhance the sound quality and performance capabilities of this instrument, and we believe musicians of all levels will appreciate the improvements we have made.”

www.groverpro.com

www.rbimusic.com

SONOR Launches the All New Kompressor Series Snare Drums

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SONOR Launches the All New Kompressor Series Snare Drums

Breathtaking power describes the all-new Sonor Kompressor series snare drums. Featuring the legendary Sonor Optimum Shell Measurement construction, eight models in three shell types present sounds designed to transform air into pure sonic energy.

Polished Aluminum, Chrome Over Steel, and Black Nickel-Plated Brass featured in standard sizes 14” x 5.75” and 14” x 6.5” are the core of the series with two specialized deeper models 13” x 7” Brass, and 14” x 8” Aluminum extending this stunning palette of sounds.

“This 14”x8” Aluminum Kompressor snare drum is Magical!” states Andres Forero from the smash Broadway show Hamilton.

All Kompressor series snare drums are equipped with the patented TuneSafe System giving maximum tuning stability even under extreme playing conditions. More features include 2.3mm Steel Power Hoops, double or single lugs depending on the model and Remo USA drumheads.

Following extensive testing in the recording studio, Nashville Session Ace Nir Z states, “These are Beautiful, powerful sounding drums” Sonor Brand Manager Jeff Mulvihill continues “Producing a powerful sound while retaining all of the nuance and feel that your hands are drawing out of the instrument is what these drums are all about.”

www.sonor.com

See Sonor Drums at The UK Drum Show 2023. Tickets on sale now.

Interview – Freddy Sheed

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Interview – Freddy Sheed

Drummer’s Review’s Matt Butlin catches up with Freddy Sheed during the Lewis Calpadi UK Tour…

Where did your musical interest come from?

My Dad is a keys player and was always very encouraging with playing and I pick up playing pots and pans when I was 3 which obviously sparked something. For my 6th birthday I got given a session in a studio as a present and made a cd. Up until I was about 11 there really was nothing else other than drums and I had some lessons with my neighbour and at a local shop in Chichester, Berns Music which is sadly long gone. I then lost interest and then picked it back up again when I was 14 and by then YouTube was giving a lot of online content and tips so was mainly self-taught up until 18. I then went and started lessons with Bob Armstrong.

So, how did having formal lessons with Bob help your playing as he has quite a tough reputation?

Yeah, he was hard as nails. I was in danger of disappearing up my own a**hole and he totally rebuilt the architecture of my playing. I think we spent about 5 months just on the ride cymbal at slow tempos studying jazz and he scared the s**t out of me but in a loving, caring way. I went for 1 hour every 2 weeks and he said ‘if you’re late, never come back’. I will never forget the first lesson I had when he took my sticks and tapped then next to his ear and then launched them across the room and said ‘Paint stirrers!’. He then pulled out a pair of Vic Firth SD9 maple sticks and said ‘no lower pitch than these’. I was then on tour in Tokyo went into a local music shop to get some sticks, held a pair up to my ear and tapped them and someone came across the shop and just pointed at me and said ‘You know Bob Armstrong?!’ which was just bizarre. It’s something I still do today.

Photo by David Phillips at www.music-images.co.uk

By this time you were touring so how did you find that experience at a relatively young age?

I was out on the road a lot but managed to squeeze in the odd lesson with Ralph Salmins who was brilliant for me. I then also had a few lessons with Dave Elitch when we shared a drum tour together which was a big thing for me after seeing videos of him playing The Mars Volta. He was very similar to Bob in that there is a right and a wrong way to play. There is a grey area, but he keeps the grey area creative. I love taking lessons so I don’t think I will ever stop having them.

Did you then get into the session world around this time?

My first break was actually recording a Christmas album for Leona Lewis which was very weird recording live sleigh bells in August! Once I had done that, I added that to my CV to procure some more work and I got sessions with Nina Nesbitt, The Japanese House and 1975 so very much stayed in the ‘Pop World’. There are so many great pop drummers out there that I feel particularly lucky to have got so many gigs in this genre.

The 1975 gig was a baptism of fire, wasn’t it?

I was playing with one of the support bands and then George broke his collarbone, so when they asked, I said of course I will do it. They talked about cancelling the following nights gig so we could rehearse and then aim to gig 2 nights later. So, I had a leisurely morning, woke up and got off the tour bus around 10am and noticed they were loading video walls into the venue. I thought that it was a bit strange to go to all that effort for a rehearsal and they then informed me that they couldn’t cancel the gig so we were just going to have to do it. It was a really good opportunity and we worked hard for 10 hours and I really enjoyed that first gig with them.

Photo by David Phillips at www.music-images.co.uk

How did the Lewis Capaldi gig come around after that and how do you approach the gig when the songs aren’t exactly ‘drum heavy’?

He was a big fan of the 1975 and The Japanese House so my name was floating around and I had met a few of the people on this gig whilst spending time up in Glasgow so it was all very organic. The live show is very different and Lewis is very encouraging of playing out so the tracks aren’t faithfully recreating the album but I approach it playfully and they let me do my thing. The beats and the parts are the same but the fills stay open and I try and add some variation to each show. The newer tunes are a lot more instrumental and I think the production has opened up a little bit more ultimately, don’t change the winning formula of the first album. I have 4 toms on this kit and we change the snare out on particular songs rather than have a side snare, etc.

What’s the ratio split of your production, programming and studio work to live work?

Obviously, during covid I had a lot of that work and I think in 2021 I picked up the sticks twice, which is not like me. I had 2 playing sessions and then everything else was behind a computer in some form or another. This year it’s probably more like 60% drumming of some type. All of my gaps on tour I’m trying to fill with studio work. I think my ultimate goal would be 90% studio leaning but that would include tracking, producing and programming. Even if the 10% is playing in a pub, after the pandemic my priorities have totally changed. I really enjoy focussing on being creative.

Back in 2018 you played the UK Drum Show and had a very noticeably different set up to what you have today, with a 10” detuned tom to the right of your first rack tom. Was this a deliberate set up choice and how did it come about?

Ahh the flipped toms. I really like a 12” tom so wanted to keep the feel of a 1 up 1 down kit as if I had the 10” tom in front I would use it too much and not the 12” as much. As it’s smaller it also meant I could bring the ride in. But now I need them in the regular order to fulfil the parts with Lewis. There’s a song called ‘Forget Me’ which is one of the tunes I recorded in the studio and I could play it easily if the toms were flipped but it wouldn’t feel right. I try not to be too precious with my set up. If someone wants a Ringo vibe then I will set my kit up like him to channel my inner Ringo. Or the same if I had to do a Bonham set up. When I’m recording things, I like reacting to an environment and being slightly uncomfortable is kind of nice and records really well in my opinion.

Talking of gear, you are a big lover of all vintage gear.

Yes! Snares, kits, cymbals, the lot. I haven’t delved into microphones yet, but that’s en-route! We have to mention Joe Cox (Joe Cox Drums) who’s my tech on this tour. He sold me my first Acrolite and I am a regular visitor to Mark at Rusty Drums. Those 2 shops are the best for vintage gear in the UK and import stuff on a regular basis. Joe is more into restoration and bringing gear back to life, whereas Mark has bought in some of the most exquisite things I have ever seen. I will never forget seeing a video of Steve Jordan playing a pink ripple Rogers kit and saying to Mark I wanted one. He said, ‘No chance you will find one of those’ and then 3 hours later he rang me and said ‘You need to stop asking me to do this’ and proceeded to send me pictures of an immaculate one he had found and it’s one of my main studio kits. Mark looks after my kit’s and when I’m in a studio like Abbey Road, he will get in his van and drive the kits down to me and he will know what head combinations will work best for certain drums to capture a certain vibe. I have a couple of old Gretsch kits and love the old 80’s square badge Gretsch kits if you can find them. I don’t know what was going on with the lead paint and jasper shells but those are probably my favourite recording drums. I have a starlight sparkle round badge Gretsch, a Vistalite, some Camco’s, Radio Kings and WFL kits and then snare wise 1920’s/30’s Ludwig’s, 1970’s Black Beauty’s… I could go on. I am just starting to go down the Craviotto route as I am interested in the boutique snare market. Some producers will hire me for my collection and I will bring 16 or 17 snares to a session if they don’t know they want. I really wish that they catalogued where the vintage drums had been and what recordings they were used on. It would be good to trace the lineage of some of these drums. I have a Black Beauty that has marks all over it and you know that it’s been used and played but where?

Photo by David Phillips at www.music-images.co.uk

What’s planned for the rest of 2023?

A bit more touring but trying to keep the studio stuff going. Last year, I met this producer called Andrew Wells who has completely changed my life. He has given me the courage to put myself forward as a studio player as it’s really kept me going. Before, I thought the studio thing was an unsustainable way of working for me, but now he’s shown me it’s possible so I’m putting some focus on that. I also love teaching. I’m obsessed with meeting students and meeting other drummers. It’s so much more satisfying watching someone struggle and then get through it and have ownership of something new and being able to help with that process. After being fortunate to learn from Bob Armstrong, there will always be that inspiration to teach more. That said, we still have some really big gigs left to do this year but whilst I’m on tour I want to be meeting drummers and giving students tickets to gigs. I got to the start of 2020 before the pandemic and realised that I hadn’t really given anything back so I want to use the tour to get out and meet people, teach and share whatever information I can.

What do you enjoy doing away from drums and music?

I really enjoy cooking and for my birthday Lewis and the band bought me a Big Green Egg Kamado Grill so I did the Christmas dinner on that in the rain! It’s incredible, so I’m going to keep chasing that. When I’m on tour I love going and finding different restaurants. I’m into Anthony Bourdain (Food/Travel Writer) and found a lot of comfort in following his footsteps and eating some of the meals he ate whilst travelling. When we are abroad later this year, I’m going to visit some of the local markets with one of the chefs on tour with us at the moment and they are really interesting people and so much more Rock ‘n’ Roll than the band!!

With Special thanks to David Phillips & Gretsch Drums

Lewis Capaldi Tour Kit:

Gretsch Broadkaster in 60’s White Marine Pearl

10”x7”, 12”x8” Rack Toms 14”x14”, 16”x16” Floor Toms

22”x14” Bass Drum

www.freddysheed.com

Drum Expert Joins Scan Pro Audio & Heads To The UK Drum Show

Drummer's Review
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Drum Expert Joins Scan Pro Audio & Heads To The UK Drum Show

With over 25 years’ experience in the drum industry under his belt, Mel Stewart has seen it all – lengthy studio sessions recording albums, extensive time on the road touring the world, managing a retail drum store, working within drum manufacturing for a global brand as part of the sales and artist relations team – and much, much more.

“We at Scan Pro Audio are overjoyed to have Mel join our ever-expanding team of industry professionals!” – Scan Pro Audio.

So, Scan Pro Audio. What are they all about?

Many people still see Scan as a computer store, but the truth is far from it. For the past 12 years Scan Pro Audio has been establishing itself firmly within the audio world, priding themselves on their expertise and passion in the performance and recording of music and all things audio.

Being under the umbrella of Scan is where their greatest strengths lie, giving them the ability to reach into other professional divisions of Scan to incorporate their knowledge and products into the ever-advancing audio world.

Scan Pro Audio heads to The UK Drum Show for the first time.. 

Rather than bringing you another drum stand to a room already jam-packed with drums, with Scan confirmed for The UK Drum Show this September, we aim to carve the future of drumming by creating a display you can’t afford to miss! Read on to find out more…

Whether you like it or not, the future is upon us, and having an online presence is vital to gaining any success in the music industry in this modern age.

We aim to show drummers what your future setup could look like and can guide you through every step of the way to create the ultimate drum-streaming setup!

By incorporating a Vicoustic VicBooth Ultra into our display we can create a sound insulated room perfectly sized to fit a full acoustic drum kit, complete with a full microphone set up alongside mounted cameras for streaming live or recording, just like you can at home.

In addition to this, the booth will be fully decked out for greenscreen capabilities, allowing you to perform in any setting of your choosing!

This will all run through one of our powerful 3XS custom shop PCs, expertly crafted for video and audio processing to live stream the inside of the booth direct to monitors mounted externally, showing you in real time exactly how the whole process goes down – all the way to the live finished product. – Scan Pro Audio. 

More about 3XS Systems:

Custom built PCs, hand-crafted to your requirements.

For more than 20 years 3XS Systems has been building thousands of PCs, workstations, laptops and servers a month in our state-of-the-art factory in the UK. Our systems have earned more than 200 awards in the media and are optimised to each customer’s needs such as gaming, audio, graphics, video and deep learning.

3XS

More about Pro Audio:

Our Pro Audio team is made up of music professionals from all over the country, including top producers, composers, DJs, instrumentalists and engineers. Over the years, their breadth of knowledge and experience has allowed us to work in partnership with some of the Pro Audio world’s finest manufacturers. Working closely with our partners ensures that we have everything available for your studio from keyboards and guitars through to DJ kit and PA equipment, so that no matter what you need to achieve, whatever kind of music you’re making, the chances are, we’ve been there, and we understand what you need to make your music the best it can be.

 It is safe to say you can confidently rely on Scan to have all of your needs and requirements covered. Drums or not, our vast expert knowledge is at your fingertips.

Be sure to remember Scan Pro Audio, as we will no doubt soon become your favourite one-stop shop for all your performance, recording and tech needs!

Scan Pro Audio

Millenium Announce MPS-1000 New Finishes

Drummer's Review
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Millenium Announce MPS-1000 New Finishes

Millenium drums standard configuration in Grey Line Finish is now extended with two new finishes.

Plain White and Natural. The two new finishes also come in all-new configurations consisting of a 20″ bass drum, 10″ rack tom, and 14″ and 16″ floor toms. Two crash cymbals, a ride cymbal, a hi-hat, and stands complete the set.

Set configuration

  • 20″ x 16″ Bass drum pad
  • 13″ x 05″ Dual zone snare pad
  • 10″ x 06″ Dual zone tom pad
  • 14″ x 14″ Dual zone tom pad
  • 16″ x 16″ Dual zone tom pad
  • 13″ Dual zone hi-hat pad with controller
  • 2x 15″ Dual zone crash pad with stop function
  • 18″ Triple zone ride pad with stop function

Connecting options:

  • Bluetooth 4.0 for line In
  • 2x 6.3 mm Jack main outputs
  • 1x 3.5 mm & 6.3 mm stereo jack headphone output
  • 1x 3.5 mm Stereo jack line input
  • 8x 6.3 mm Jack direct outputs
  • USB Memory
  • USB MIDI

Included Hardware:

  • 3 Cymbal Stands
  • Hi-hat Stand

About Millenium

Since 1995, Millenium has been synonymous with high-quality, affordable drum and percussion products that compete with offerings by established manufacturers. In addition to acoustic drums in all variations – from children’s drums to big rock drums and a huge selection of snare drums – Millennium’s electronic drums have helped drive the brand’s popularity. For beginners, we offer solid and expandable basic kits that make learning the instrument simple and fun. Experienced players will find professionally specified Millenium instruments to meet even the most demanding requirements. In addition to electronic and acoustic drums, our range also includes a large selection of percussion instruments, accessories, and spare parts.

More information at Millenium

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