: : : Lessons : : Conceiving your drum set : Set 10 : Latin, metal

• Description:
• • 1 : Crash 15''
  • 2: Hi-hat 14''
  • 3 : Crash 14''
  • 4 : Splash 8''
  • 5 : Splash 10''
  • 6 : Crash-ride 17''
  • 7 : Splash 6''
  • 8: Chinese 16''
  • 9: Leopard Ride 20''
  • 10: Suspended hi-hat 12''
• • a: Latin timbale 14''
  • b: Latin timbale 13''
  • c: Snare drum 14x5''
  • d: Mini timbale 6''
  • e: Mini timbale 8''
  • f: Mini timbale 8''
  • g : Mini timbale 10''
  • h: Tenor tom 10''
  • i: Baritone tom 12''
  • j: Piccolo bass tom 14''
  • k: Bass tom 16''
  • l: Bass drum 18''
• • I: High-pitched large cowbell
  • II: Low-pitched large cowbell
  • III: Medium-pitched large cowbell
  • IV: Brazilian "agogo" double conical cowbell (small and very small)

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• A: pedal with bell stand and medium Cuban cowbell
• B: Bass drum double pedal

The last set described here is the one I use now. This is a set with a strong Latin connotation (Afro-Cuban, Afro-Brazilian) by inserting Latin instruments precisely: Cuban cowbells, Brazilian agogo, cowbell on foot (to play the quarter notes (montuno), the eighth (Cha-cha) or the clave, for example), Latin timbales (Cuban) and mini-timbales (invented in 1990).

Note that the mini-timbales are used as toms with double skins, and they are tuned in descent (two drums of the same size are tightened differently).

Although a very "latin" orientation , this type of set is very popular in progressive rock or metal style with drummers like Mike Portnoy (at a time). Moreover, this arrangement where the drums go over the hi-hat cymbals and with hi-hat rod between two drums, was inspired to me by Nicko Mac Brain (Iron Maiden), who possess 9 toms (6 ", 8", 10 ", 12", 13 ", 14", 15 "and 16" suspended toms over a 18" floor tom between and below the 14" and 15" toms ). This set-up is actually an idea of Hal Blaine , a studio rock drummer in the 1960s, who had 7 "concert" toms (without resonance skin, to clarify the fundamental tone, no 6" tom with only the 8" tom to the left of the hi-hat rod, above the cymbals) very high and kept only two large suspended cymbals on the right (a ride above the 16" tom and a crash on its right) and one to the left (a second crash on the left of 8" tom), which allowed him to keep in addition a standard (with resonance skin) 14" suspended tom attached on the bass drum and 18" floor tom, below the horizontal and in an arc line of concert toms.

Among the modern drummers strongly inspired by Latin music who use this type of hybrid set, we can quote Walfredo Reyes Junior (Carlos Santana), Vince Cherico (Ray Barretto), Joey Heredia, Horacio "El Negro" Hernandez (Michel Camilo, with a range of cymbals specially designed by him in Istanbul with a rough dome (well detached and dull like a cowbell) and a brand new finish by "brushing" which gives a timbre with lots of super-high harmonics like a shaker, and a range of bronze cowbells also specially designed for him (with a flat side and a rounded side), very bright and resonant, and two suspended wood-blocks or jam-blocks (made of plastic) to play the cascara or the clave rhythm with a drumstick) and Akira Jimbo ( Casiopea, Solo), the last two playing the clave rhythm with the left foot, in independence (Akira Jimbo uses a jam block instead of a cowbell and also use electronic pads instead of the mini timbales; Horacio Hernandez and Walfredo Reyes also sometimes use a pair of bongos which they incorporate as suspended toms, and a suspended tambourine without skin).

Note the 6" splash put down on a crash, on a felt washer to save space (inspired by Dave Weckl ).

Note also the general axis of symmetry, more to the left than usual and in fact it is more ergonomic because the axis of symmetry of the body passes through the center of the seat and the snare and not, as it is often thought wrongly, by the bass drum (which is on the right foot). So, this set highlights an ambidextrous playing and take care of back twistings.

Finally, the large number of bells allows not only a melodic playing but also to make fast passages with almost all other instruments because they are scattered everywhere, and give the illusion of a several percussionists playing (because this is how the Afro-Latin compositions are played, normally).

Marc De Douvan, march 2006, augmentation and translation in English: march 2015.