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Second snare is just a natural extension

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  • Second snare is just a natural extension

    Oftentimes the drum set is bordered on its west side with the hihat (and the module for e-kits), but if you are used to play the hihat with either hand to free the right hand for patterns all over the kit, you are probably ready to make full use of a second snare at the left under the hihat. Now you can open the field for the left hand as well to pattern play, sustained, say, with a bass tom groove or a ride groove on the right hand, or even better, sustained with another pattern play on the right hand.

    Second snare on e-kit can also be used on the left of the hihat to a 4th or 5th tom, allowing tom grooves to span over the entire kit across the snare.

    A second snare would also help I guess acquiring the feel of the left hand on the hihat, and hence the ability to play any element with either hand depending on the position of the other.

    So ok there's nothing new to a second snare, but it really opens a world of new possibilities, helping to you learn to make rolls and buzzes, and the ability to roll from left to right as much as from right to left. If you are looking to expand your technique, you should try it.

    And you can try it with an existing bass tom for example, no need to invest first in a smaller 8' or 10' pad.

    As for the technical details, you get a 20' extension rack bar and a rack clamp for maybe 25$ and you then place the module on it further left backwards beneath the second snare, high enough to reach the commands, so that it doesn't get in the way.
    Last edited by happy_dude; 03-20-15, 12:28 PM.

  • #2
    Great write up happy_dude, You make good points. I'm going to give that whole left side of the "core" of my kit (HH, Snare, Kick) a new look.

    It's interesting how the traditional core has dictated kit set up for so many for so long. I was trained as a jazz player and really haven't deviated much. I played on the traditional 4-piece, added a tom for the 5-piece, and migrated that to edrums which I now still play as a 5 piece. For me the transition was focused on getting my ekit to "fit" me just like my akit originally.

    When you think about it, edrum sized have dictated this basic setup for years. Shallower toms, racks, and the ability to get things into tighter spaces opens a whole new world - another benefit of edrums that is often overlooked, at least by some traditionalists like myself.

    So, Thanks!
    ATV aDrums & aD5, Pearl Mimic Pro & DIY, eDRUMin 10, Agean R-series Silent Cymbals, Roland Handsonic HPD-20.


    • #3
      Similar concept; I think a second fixed hi-hat on the right side of the core is necessary, when you do double bass patterns that require a closed / half-closed hi-hat sound.

      Otherwise I end up doing all my double bass patterns with the ride (with open arms, which is more comfortable) or crossed armed, with a fully open hi-hat - which is almost as intrusive as riding the edge of a crash cymbal, sound pressure wise.
      ◾ Diamond Drums 4pc in Di-Noc carbon ◾ MegaDRUM
      ◾ Roland UA-1010 / cymbals / KT-10 (x2) ◾ Tama / Gibraltar hardware ◾ JBL LSR3 Series 2.1 Monitoring ◾ Pearl THMP-1
      PA Comparison Sheet


      • #4
        Oh yes that's a great idea, but you know what's the real classy way to double, triple bass drum etc., it's to play with one foot, and that frees the left foot for the hihat. You can't play insane metal parts this way, but for the usual accents and beats, it's easy enough to learn if you exercise everyday and set your pedal the way it should be for that. It's an idea given by John Blackwell on his DVD, he learned it from Marcus Williams who also plays on the DVD and shows an exercise and how to set the pedal to practice this.

        See these vids https://www.youtube.com/watch?v=TfnEx2UDH-E and https://www.youtube.com/watch?v=WxZJ5eDRvEg

        Jojo Mayer also have some great techniques to show for the bass drum on youtube.

        Marcus Willams explains it's all in building up the calf muscle, day after day, and to work with the spring tension of the bass pedal to the max, and the beater arm set way horizontally and even beyond that. Then you have to master heel up strokes regularity within this tension, and after a couple of week exercising this with tom grooves for instance, you start developping a sense of how and when firing this calf response. It's not really hard to learn, you have to focus on it for some time.
        Last edited by happy_dude; 03-20-15, 02:58 PM.