This guy was the real deal,just found him today but man he gained my respect fast. He talks about real things that happens in the music world,I know from experience. Cool guy for sure.
I met Larry way back when I was 8yrs old at my local music store, such a nice guy, he even let me play his kit 🥁 So wish my dad would’ve had a camera or something.. There were no cell phones or digital anything back then.
This program is a real treat. I first heard Larrie playing on Albert Lee (1982) Lp, and his drumming was just as important as the other playing on that record--really hooked me. Vince Gill's first record on RCA in 1984 featured Larrie, and he had a matching energy that I love hearing....Turns out he played on tons of other tunes over his career, by other artists, and I'm looking forward to visiting those here on the 'tube. Man I love this site...
When it comes to the aircraft cable snares he talked about, my experience with them is they eliminate virtually all unwanted resonance from the snare drum. If you are having way too much of the toms and kick causing the snare to buzz, the cable snares will eliminate that so when you hit a tom or kick, all you hear is the tom or kick with no snare buzz along with it. The problem with cable snares is they kill the rebound of the snare drum. When you have the regular curly wire snares on the drum you get a lot of natural rebound that lets you sound good on those patterns we all learn that have stroked notes with rebounded notes in between. We accent the stroked notes and let the rebounded notes "play themselves" and it sounds good. When you put cable snares on the drum and try to play those patterns, the rebounded notes just don't seem to "play themselves" anymore, and suddenly you realize your hands aren't as good as you thought they were. This is what he's talking about. The reasons why cable snares kill rebound are because they are making full contact all the way across the bottom head and compared to curly wire, they are relatively heavy and have no elasticity. If you watch the bottom head while hitting the snare drum with curly wire on it, you will see the bottom head "belly out" every time you hit it. This is because the curly wire is basically a light spring that stretches, and then that spring action also pulls back, which supports the rebound back thru the top head and your hands feel it when you play. Cables have no spring action and they are heavy and strong, so they do not let the bottom head have the same belly movement it has with curly wire. Also if you look at the contact marks left on the head by the curly wire, it looks like a dotted line. With cable the contact mark is a solid line. More contact = more damping, and when you dampen the movement of the bottom head of a snare drum it has a big effect on how the drum plays. The great thing about cable snares is the drum will sound totally controlled. If you are playing stuff that just needs a solid back beat from the snare, it will play and sound great. But if you try to play your fancy patterns and ghost rebounds you will find your hands will have to work a lot harder to make that happen. Another thing about cable is the tension adjustment is very touchy. When you bring up the tension you hear no snare at all until it makes contact. Then once it makes contact and you get the desired sound, if you go even a tiny bit tighter it completely chokes. Curly wire has a lot more adjustment range to tailor the sound and feel of the snares. On the topic of lead tape, I actually have some of this. It's used on golf clubs to adjust the weight balance by putting a piece on the back of the club head. It's basically a strip of lead foil about 1/2" wide and maybe 3 times thicker than aluminum foil. I never thought of using it on a drum head but I can imagine it would make a very concentrated damping effect wherever you put it. The thing about the lead tape is it's not cheap like ductape and it has very strong outdoor grade adhesive that is meant to be permanent.
Larrie has the craziest pedal set up! I played the. Cracked pu tight with the beater pulled back toward the top of your foot. Super stiff and you had to really power into them. Once they let loose, it was BAM! No feathering with those! One dynamic.
![[UA] Eternal Fire проти NAVI | EPL Season 20 Malta](http://i.ytimg.com/vi/chvlsDygrZM/mqdefault.jpg)
This guy was the real deal,just found him today but man he gained my respect fast.
He talks about real things that happens in the music world,I know from experience.
Cool guy for sure.
My all time favorite drummer! I loved his drumming on Raised On Radio RIP
Love this guy. First heard him with Elvis, when he filled in for Ronnie Tutt. A real powerhouse. Plus I play Pearls too.
He showed me that tape trick in 1977
I wish I could have met this guy. I would of forked over several gigs worth of money to have talked with this cat.
I worked with Larrie - Fantastic drummer and a beautiful person!
I was there. My second drum clinic.
I met Larry way back when I was 8yrs old at my local music store, such a nice guy, he even let me play his kit 🥁 So wish my dad would’ve had a camera or something.. There were no cell phones or digital anything back then.
I forgot that high-hat clutches weren't a thing back then.
This program is a real treat. I first heard Larrie playing on Albert Lee (1982) Lp, and his drumming was just as important as the other playing on that record--really hooked me. Vince Gill's first record on RCA in 1984 featured Larrie, and he had a matching energy that I love hearing....Turns out he played on tons of other tunes over his career, by other artists, and I'm looking forward to visiting those here on the 'tube. Man I love this site...
Larry was a fantastic drummer. Raised on Radio by Journey is a masterpiece RIP
When it comes to the aircraft cable snares he talked about, my experience with them is they eliminate virtually all unwanted resonance from the snare drum. If you are having way too much of the toms and kick causing the snare to buzz, the cable snares will eliminate that so when you hit a tom or kick, all you hear is the tom or kick with no snare buzz along with it.
The problem with cable snares is they kill the rebound of the snare drum. When you have the regular curly wire snares on the drum you get a lot of natural rebound that lets you sound good on those patterns we all learn that have stroked notes with rebounded notes in between. We accent the stroked notes and let the rebounded notes "play themselves" and it sounds good.
When you put cable snares on the drum and try to play those patterns, the rebounded notes just don't seem to "play themselves" anymore, and suddenly you realize your hands aren't as good as you thought they were. This is what he's talking about.
The reasons why cable snares kill rebound are because they are making full contact all the way across the bottom head and compared to curly wire, they are relatively heavy and have no elasticity.
If you watch the bottom head while hitting the snare drum with curly wire on it, you will see the bottom head "belly out" every time you hit it. This is because the curly wire is basically a light spring that stretches, and then that spring action also pulls back, which supports the rebound back thru the top head and your hands feel it when you play.
Cables have no spring action and they are heavy and strong, so they do not let the bottom head have the same belly movement it has with curly wire.
Also if you look at the contact marks left on the head by the curly wire, it looks like a dotted line. With cable the contact mark is a solid line. More contact = more damping, and when you dampen the movement of the bottom head of a snare drum it has a big effect on how the drum plays.
The great thing about cable snares is the drum will sound totally controlled. If you are playing stuff that just needs a solid back beat from the snare, it will play and sound great. But if you try to play your fancy patterns and ghost rebounds you will find your hands will have to work a lot harder to make that happen.
Another thing about cable is the tension adjustment is very touchy. When you bring up the tension you hear no snare at all until it makes contact. Then once it makes contact and you get the desired sound, if you go even a tiny bit tighter it completely chokes. Curly wire has a lot more adjustment range to tailor the sound and feel of the snares.
On the topic of lead tape, I actually have some of this. It's used on golf clubs to adjust the weight balance by putting a piece on the back of the club head. It's basically a strip of lead foil about 1/2" wide and maybe 3 times thicker than aluminum foil. I never thought of using it on a drum head but I can imagine it would make a very concentrated damping effect wherever you put it. The thing about the lead tape is it's not cheap like ductape and it has very strong outdoor grade adhesive that is meant to be permanent.
Larrie has the craziest pedal set up! I played the. Cracked pu tight with the beater pulled back toward the top of your foot. Super stiff and you had to really power into them. Once they let loose, it was BAM! No feathering with those! One dynamic.
A treasure! Thanks to Drummer Extraordinaire Spencer Cohen for pointing the way.