PRODUCT RANGE INSIDE

A U S T R A L I A Ndrummer

A U S T R A L I A Ndrummer

ContentsP54

TURN TO PAGES28/29 TO FIND OUTWHERE TO BUY!

ACOUSTIC DRUM KITS,ELECTRONIC DRUM KITSAND DRUM AMPLIFICATION

MEET DEANBUTTERWORTH

At Australian Drummer, we love hearingfrom people! Send us pictures of yourdrum rig, stories or anything drum related to marketing@australismusic.com.au!

9 INTERVIEW WITH MASTODONDRUMMER BRANN DAILOR

P12INTERVIEW

WITH AARON BARNETT(THE GETAWAY PLAN)

P22PROTECT

YOUR MOSTVALUABLE ASSET

(HEARING PROTECTION)

ISSUE 1

10 ROLAND ELECTRONIC DRUMSAND ACCESSORIES

14 TAMA SILVERSTAR ANDHYPERDRIVE KITS

16 TAMASTARCLASSIC

19 NEW FROM FRANKFURT2011 (MUSIK MESSE)

20 SNARES AND CYMBALS

24 AQUARIANDRUMHEADS

26 PERCUSSION &ACCESSORIES

28 WHERE TO BUY?DEALER LOCATOR!

A U S T R A L I A Ndrummer

A U S T R A L I A Ndrummer

ContentsP54

TURN TO PAGES28/29 TO FIND OUTWHERE TO BUY!

ACOUSTIC DRUM KITS,ELECTRONIC DRUM KITSAND DRUM AMPLIFICATION

MEET DEANBUTTERWORTH

At Australian Drummer, we love hearingfrom people! Send us pictures of yourdrum rig, stories or anything drum related to marketing@australismusic.com.au!

9 INTERVIEW WITH MASTODONDRUMMER BRANN DAILOR

P12INTERVIEW

WITH AARON BARNETT(THE GETAWAY PLAN)

P22PROTECT

YOUR MOSTVALUABLE ASSET

(HEARING PROTECTION)

ISSUE 1

10 ROLAND ELECTRONIC DRUMSAND ACCESSORIES

14 TAMA SILVERSTAR ANDHYPERDRIVE KITS

16 TAMASTARCLASSIC

19 NEW FROM FRANKFURT2011 (MUSIK MESSE)

20 SNARES AND CYMBALS

24 AQUARIANDRUMHEADS

26 PERCUSSION &ACCESSORIES

28 WHERE TO BUY?DEALER LOCATOR!

Disclaimer: This catalogue must be read subject to the terms and conditions on this page. All prices are valid until 31st December, 2011 or while stocks last. It is anticipated that the products advertised will be available in most stores, however exceptions may occur. Some delays may occur due to unforseen circumstances. No responsibility is taken for omissions or errors due to graphic designers, desktop publishers or printers. All prices include GST. All pictures are used for illustration purposes only. Prices are subject to change without notice. Prices are valid only while stocks last. All prices included in this catalogue are recommended retail prices unless otherwise stated.

MY FRIEND JOHN FELDMANN IS A PRODUCER. I DO A LOT OF STUDIO WORK WITH HIM – HE HIRES ME TO DO A LOT OF HIS RECORDS.

Dean Butterworth has had a highly interesting musical and personal journey. It's taken him from a small town outside Manchester in England to being the drummer for one of America's biggest bands, and has seen him playing sessions with a ridiculously broad range of artists. Virtually all traces of his English accent are now gone, and in very giving and gracious style he was only too pleased to tell his story to Mixdown, as well as chat about life, music, surfing and life on the road with Good Charlotte.

“Yeah, I was born right outside Manchester in a little town called Rochdale, England,” he informs us. “It’s all gone,” he reiterates, regarding his formerly English accent, “I moved to Laguna Beach, which is a beach community in Southern California, and just became very Americanised very quickly. I was at that age where it was easy to lose the accent.

“It’s interesting,” he begins, regarding his personal story. “I always knew that I wanted to play music since I was a little kid. Initially I was in Los Angeles as a little kid, and then down in Orange County. My mother got re-married to a drummer. He was my first teacher, and I used to go see him play and record and all that. At a young age I was just putting bands together and playing, and then started playing professionally in clubs. Then finally I moved back up to Los Angeles and did a bunch of different things, which I still continue to do. Basically my first big international gig was with Ben Harper & The Innocent Criminals. So I did that for about five years, and we always had amazing shows in Australia. And I’d come over as well with an artist called Donovan Franken-reiter, who’s also a pro surfer. Then after my time with Ben I joined up with Morrissey from the Smiths, and we had great times in Australia, too.

“But just fast forwarding a bit,” he continues, “I met Benji and Joel from Good Charlotte in a studio. My friend John Feldmann is a producer. I do a lot of studio work with him – he hires me to do a lot of his records. They were doing a lot of writing together. I met

them, and Joel, the singer, was a huge Smiths fan. It turned out that they’d had trouble with a drummer, so they asked me to come and play, but I was in the middle of a world tour with him [Morrissey]. Then in January of ’05, I’d just gotten done touring with Morrissey, and they called from either London or France and said, 'We’re really in a bind – are you free now?’ And I just happened to be open to doing it. That was the beginning, and now it’s been six years. It’s crazy – we’ve made a few records together and been around the world and just had a lot of fun, and we couldn’t be happier about or prouder of the success we’re having in Australia. It’s my favourite place in the world to tour, 'cause I like to surf. So I like to come and get in the water – I’d like to actually retire there!”

Being a session guy, and playing on recordings and tours for artists as diverse as Morrissey, Ben Harper, Missy Higgins, The Veronicas, John Lee Hooker and so many more, Dean had to have played and ingested as many styles of music in his formative years, and it was his stepfather who truly inspired him to keep a very broad palette of styles in his listening and playing arsenal. “In school I was in a symphonic band, I was in the big band, jazz band, I was in the drum corp, marching band,” he recalls. “I was very influenced by jazz and fusion growing up. It was my step-dad who really raised me. He couldn’t stress enough about having diversity in music. My favourite drummers of all are the session guys who’ve played on tons of records and played different styles across the board. So I kind of went into that world for a long time, and then it turns out that I’ve made most of my living playing groove stuff, which I like – the less-is-more thing. But I still love to listen to crazy-ass jazz stuff, fusion stuff, old Chick Corea records and all that sort of stuff.

“And in Laguna in Orange County, California there’s a huge reggae influence,” he continues, “Like, I’m really into island music, soca music, reggae music. I love Bob Marley’s drummer, Carlton Barrett, and a band called Steel Poles from England – just great reggae drumming, which is a whole different spin on playing drums. And, of course, Latin drumming, South American, Cuban, and then just throwing that all into my own thing. You don’t really hear that in Good Charlotte – we’re just sort of ‘power-rocking’ – but it’s nice to have that facility when I need it.”

By Rod Whitfield

DEANBUTTERWORTHDRUMMER OF GOOD CHARLOTTE, EX-DRUMMER OF MORRISEY,AND BEN HARPER AND SESSION DRUMMER FOR THE USED, MISSY ELLIOT, DONOVAN FRANKENREITER AND MORE

INTERVIEW

MY FRIEND JOHN FELDMANN IS A PRODUCER. I DO A LOT OF STUDIO WORK WITH HIM – HE HIRES ME TO DO A LOT OF HIS RECORDS.

Dean Butterworth has had a highly interesting musical and personal journey. It's taken him from a small town outside Manchester in England to being the drummer for one of America's biggest bands, and has seen him playing sessions with a ridiculously broad range of artists. Virtually all traces of his English accent are now gone, and in very giving and gracious style he was only too pleased to tell his story to Mixdown, as well as chat about life, music, surfing and life on the road with Good Charlotte.

“Yeah, I was born right outside Manchester in a little town called Rochdale, England,” he informs us. “It’s all gone,” he reiterates, regarding his formerly English accent, “I moved to Laguna Beach, which is a beach community in Southern California, and just became very Americanised very quickly. I was at that age where it was easy to lose the accent.

“It’s interesting,” he begins, regarding his personal story. “I always knew that I wanted to play music since I was a little kid. Initially I was in Los Angeles as a little kid, and then down in Orange County. My mother got re-married to a drummer. He was my first teacher, and I used to go see him play and record and all that. At a young age I was just putting bands together and playing, and then started playing professionally in clubs. Then finally I moved back up to Los Angeles and did a bunch of different things, which I still continue to do. Basically my first big international gig was with Ben Harper & The Innocent Criminals. So I did that for about five years, and we always had amazing shows in Australia. And I’d come over as well with an artist called Donovan Franken-reiter, who’s also a pro surfer. Then after my time with Ben I joined up with Morrissey from the Smiths, and we had great times in Australia, too.

“But just fast forwarding a bit,” he continues, “I met Benji and Joel from Good Charlotte in a studio. My friend John Feldmann is a producer. I do a lot of studio work with him – he hires me to do a lot of his records. They were doing a lot of writing together. I met

them, and Joel, the singer, was a huge Smiths fan. It turned out that they’d had trouble with a drummer, so they asked me to come and play, but I was in the middle of a world tour with him [Morrissey]. Then in January of ’05, I’d just gotten done touring with Morrissey, and they called from either London or France and said, 'We’re really in a bind – are you free now?’ And I just happened to be open to doing it. That was the beginning, and now it’s been six years. It’s crazy – we’ve made a few records together and been around the world and just had a lot of fun, and we couldn’t be happier about or prouder of the success we’re having in Australia. It’s my favourite place in the world to tour, 'cause I like to surf. So I like to come and get in the water – I’d like to actually retire there!”

Being a session guy, and playing on recordings and tours for artists as diverse as Morrissey, Ben Harper, Missy Higgins, The Veronicas, John Lee Hooker and so many more, Dean had to have played and ingested as many styles of music in his formative years, and it was his stepfather who truly inspired him to keep a very broad palette of styles in his listening and playing arsenal. “In school I was in a symphonic band, I was in the big band, jazz band, I was in the drum corp, marching band,” he recalls. “I was very influenced by jazz and fusion growing up. It was my step-dad who really raised me. He couldn’t stress enough about having diversity in music. My favourite drummers of all are the session guys who’ve played on tons of records and played different styles across the board. So I kind of went into that world for a long time, and then it turns out that I’ve made most of my living playing groove stuff, which I like – the less-is-more thing. But I still love to listen to crazy-ass jazz stuff, fusion stuff, old Chick Corea records and all that sort of stuff.

“And in Laguna in Orange County, California there’s a huge reggae influence,” he continues, “Like, I’m really into island music, soca music, reggae music. I love Bob Marley’s drummer, Carlton Barrett, and a band called Steel Poles from England – just great reggae drumming, which is a whole different spin on playing drums. And, of course, Latin drumming, South American, Cuban, and then just throwing that all into my own thing. You don’t really hear that in Good Charlotte – we’re just sort of ‘power-rocking’ – but it’s nice to have that facility when I need it.”

By Rod Whitfield

DEANBUTTERWORTHDRUMMER OF GOOD CHARLOTTE, EX-DRUMMER OF MORRISEY,AND BEN HARPER AND SESSION DRUMMER FOR THE USED, MISSY ELLIOT, DONOVAN FRANKENREITER AND MORE...

By Rod Whitfield

MY FRIEND JOHN FELDMANN IS A PRODUCER. I DO A LOT OF STUDIO WORK WITH HIM – HE HIRES ME TO DO A LOT OF HIS RECORDS.

Dean Butterworth has had a highly interesting musical and personal journey. It's taken him from a small town outside Manchester in England to being the drummer for one of America's biggest bands, and has seen him playing sessions with a ridiculously broad range of artists. Virtually all traces of his English accent are now gone, and in very giving and gracious style he was only too pleased to tell his story to Mixdown, as well as chat about life, music, surfing and life on the road with Good Charlotte.

“Yeah, I was born right outside Manchester in a little town called Rochdale, England,” he informs us. “It’s all gone,” he reiterates, regarding his formerly English accent, “I moved to Laguna Beach, which is a beach community in Southern California, and just became very Americanised very quickly. I was at that age where it was easy to lose the accent.

“It’s interesting,” he begins, regarding his personal story. “I always knew that I wanted to play music since I was a little kid. Initially I was in Los Angeles as a little kid, and then down in Orange County. My mother got re-married to a drummer. He was my first teacher, and I used to go see him play and record and all that. At a young age I was just putting bands together and playing, and then started playing professionally in clubs. Then finally I moved back up to Los Angeles and did a bunch of different things, which I still continue to do. Basically my first big international gig was with Ben Harper & The Innocent Criminals. So I did that for about five years, and we always had amazing shows in Australia. And I’d come over as well with an artist called Donovan Franken-reiter, who’s also a pro surfer. Then after my time with Ben I joined up with Morrissey from the Smiths, and we had great times in Australia, too.

“But just fast forwarding a bit,” he continues, “I met Benji and Joel from Good Charlotte in a studio. My friend John Feldmann is a producer. I do a lot of studio work with him – he hires me to do a lot of his records. They were doing a lot of writing together. I met

them, and Joel, the singer, was a huge Smiths fan. It turned out that they’d had trouble with a drummer, so they asked me to come and play, but I was in the middle of a world tour with him [Morrissey]. Then in January of ’05, I’d just gotten done touring with Morrissey, and they called from either London or France and said, 'We’re really in a bind – are you free now?’ And I just happened to be open to doing it. That was the beginning, and now it’s been six years. It’s crazy – we’ve made a few records together and been around the world and just had a lot of fun, and we couldn’t be happier about or prouder of the success we’re having in Australia. It’s my favourite place in the world to tour, 'cause I like to surf. So I like to come and get in the water – I’d like to actually retire there!”

Being a session guy, and playing on recordings and tours for artists as diverse as Morrissey, Ben Harper, Missy Higgins, The Veronicas, John Lee Hooker and so many more, Dean had to have played and ingested as many styles of music in his formative years, and it was his stepfather who truly inspired him to keep a very broad palette of styles in his listening and playing arsenal. “In school I was in a symphonic band, I was in the big band, jazz band, I was in the drum corp, marching band,” he recalls. “I was very influenced by jazz and fusion growing up. It was my step-dad who really raised me. He couldn’t stress enough about having diversity in music. My favourite drummers of all are the session guys who’ve played on tons of records and played different styles across the board. So I kind of went into that world for a long time, and then it turns out that I’ve made most of my living playing groove stuff, which I like – the less-is-more thing. But I still love to listen to crazy-ass jazz stuff, fusion stuff, old Chick Corea records and all that sort of stuff.

“And in Laguna in Orange County, California there’s a huge reggae influence,” he continues, “Like, I’m really into island music, soca music, reggae music. I love Bob Marley’s drummer, Carlton Barrett, and a band called Steel Poles from England – just great reggae drumming, which is a whole different spin on playing drums. And, of course, Latin drumming, South American, Cuban, and then just throwing that all into my own thing. You don’t really hear that in Good Charlotte – we’re just sort of ‘power-rocking’ – but it’s nice to have that facility when I need it.”

By Rod Whitfield

DEANBUTTERWORTHDRUMMER OF GOOD CHARLOTTE, EX-DRUMMER OF MORRISEY,AND BEN HARPER AND SESSION DRUMMER FOR THE USED, MISSY ELLIOT, DONOVAN FRANKENREITER AND MORE

INTERVIEW

MY FRIEND JOHN FELDMANN IS A PRODUCER. I DO A LOT OF STUDIO WORK WITH HIM – HE HIRES ME TO DO A LOT OF HIS RECORDS.

Dean Butterworth has had a highly interesting musical and personal journey. It's taken him from a small town outside Manchester in England to being the drummer for one of America's biggest bands, and has seen him playing sessions with a ridiculously broad range of artists. Virtually all traces of his English accent are now gone, and in very giving and gracious style he was only too pleased to tell his story to Mixdown, as well as chat about life, music, surfing and life on the road with Good Charlotte.

“Yeah, I was born right outside Manchester in a little town called Rochdale, England,” he informs us. “It’s all gone,” he reiterates, regarding his formerly English accent, “I moved to Laguna Beach, which is a beach community in Southern California, and just became very Americanised very quickly. I was at that age where it was easy to lose the accent.

“It’s interesting,” he begins, regarding his personal story. “I always knew that I wanted to play music since I was a little kid. Initially I was in Los Angeles as a little kid, and then down in Orange County. My mother got re-married to a drummer. He was my first teacher, and I used to go see him play and record and all that. At a young age I was just putting bands together and playing, and then started playing professionally in clubs. Then finally I moved back up to Los Angeles and did a bunch of different things, which I still continue to do. Basically my first big international gig was with Ben Harper & The Innocent Criminals. So I did that for about five years, and we always had amazing shows in Australia. And I’d come over as well with an artist called Donovan Franken-reiter, who’s also a pro surfer. Then after my time with Ben I joined up with Morrissey from the Smiths, and we had great times in Australia, too.

“But just fast forwarding a bit,” he continues, “I met Benji and Joel from Good Charlotte in a studio. My friend John Feldmann is a producer. I do a lot of studio work with him – he hires me to do a lot of his records. They were doing a lot of writing together. I met

them, and Joel, the singer, was a huge Smiths fan. It turned out that they’d had trouble with a drummer, so they asked me to come and play, but I was in the middle of a world tour with him [Morrissey]. Then in January of ’05, I’d just gotten done touring with Morrissey, and they called from either London or France and said, 'We’re really in a bind – are you free now?’ And I just happened to be open to doing it. That was the beginning, and now it’s been six years. It’s crazy – we’ve made a few records together and been around the world and just had a lot of fun, and we couldn’t be happier about or prouder of the success we’re having in Australia. It’s my favourite place in the world to tour, 'cause I like to surf. So I like to come and get in the water – I’d like to actually retire there!”

Being a session guy, and playing on recordings and tours for artists as diverse as Morrissey, Ben Harper, Missy Higgins, The Veronicas, John Lee Hooker and so many more, Dean had to have played and ingested as many styles of music in his formative years, and it was his stepfather who truly inspired him to keep a very broad palette of styles in his listening and playing arsenal. “In school I was in a symphonic band, I was in the big band, jazz band, I was in the drum corp, marching band,” he recalls. “I was very influenced by jazz and fusion growing up. It was my step-dad who really raised me. He couldn’t stress enough about having diversity in music. My favourite drummers of all are the session guys who’ve played on tons of records and played different styles across the board. So I kind of went into that world for a long time, and then it turns out that I’ve made most of my living playing groove stuff, which I like – the less-is-more thing. But I still love to listen to crazy-ass jazz stuff, fusion stuff, old Chick Corea records and all that sort of stuff.

“And in Laguna in Orange County, California there’s a huge reggae influence,” he continues, “Like, I’m really into island music, soca music, reggae music. I love Bob Marley’s drummer, Carlton Barrett, and a band called Steel Poles from England – just great reggae drumming, which is a whole different spin on playing drums. And, of course, Latin drumming, South American, Cuban, and then just throwing that all into my own thing. You don’t really hear that in Good Charlotte – we’re just sort of ‘power-rocking’ – but it’s nice to have that facility when I need it.”

By Rod Whitfield

DEANBUTTERWORTHDRUMMER OF GOOD CHARLOTTE, EX-DRUMMER OF MORRISEY,AND BEN HARPER AND SESSION DRUMMER FOR THE USED, MISSY ELLIOT, DONOVAN FRANKENREITER AND MORE...

By Rod Whitfield

MY FRIEND JOHN FELDMANN IS A PRODUCER. I DO A LOT OF STUDIO WORK WITH HIM – HE HIRES ME TO DO A LOT OF HIS RECORDS.

Dean Butterworth has had a highly interesting musical and personal journey. It's taken him from a small town outside Manchester in England to being the drummer for one of America's biggest bands, and has seen him playing sessions with a ridiculously broad range of artists. Virtually all traces of his English accent are now gone, and in very giving and gracious style he was only too pleased to tell his story to Mixdown, as well as chat about life, music, surfing and life on the road with Good Charlotte.

“Yeah, I was born right outside Manchester in a little town called Rochdale, England,” he informs us. “It’s all gone,” he reiterates, regarding his formerly English accent, “I moved to Laguna Beach, which is a beach community in Southern California, and just became very Americanised very quickly. I was at that age where it was easy to lose the accent.

“It’s interesting,” he begins, regarding his personal story. “I always knew that I wanted to play music since I was a little kid. Initially I was in Los Angeles as a little kid, and then down in Orange County. My mother got re-married to a drummer. He was my first teacher, and I used to go see him play and record and all that. At a young age I was just putting bands together and playing, and then started playing professionally in clubs. Then finally I moved back up to Los Angeles and did a bunch of different things, which I still continue to do. Basically my first big international gig was with Ben Harper & The Innocent Criminals. So I did that for about five years, and we always had amazing shows in Australia. And I’d come over as well with an artist called Donovan Franken-reiter, who’s also a pro surfer. Then after my time with Ben I joined up with Morrissey from the Smiths, and we had great times in Australia, too.

“But just fast forwarding a bit,” he continues, “I met Benji and Joel from Good Charlotte in a studio. My friend John Feldmann is a producer. I do a lot of studio work with him – he hires me to do a lot of his records. They were doing a lot of writing together. I met

them, and Joel, the singer, was a huge Smiths fan. It turned out that they’d had trouble with a drummer, so they asked me to come and play, but I was in the middle of a world tour with him [Morrissey]. Then in January of ’05, I’d just gotten done touring with Morrissey, and they called from either London or France and said, 'We’re really in a bind – are you free now?’ And I just happened to be open to doing it. That was the beginning, and now it’s been six years. It’s crazy – we’ve made a few records together and been around the world and just had a lot of fun, and we couldn’t be happier about or prouder of the success we’re having in Australia. It’s my favourite place in the world to tour, 'cause I like to surf. So I like to come and get in the water – I’d like to actually retire there!”

Being a session guy, and playing on recordings and tours for artists as diverse as Morrissey, Ben Harper, Missy Higgins, The Veronicas, John Lee Hooker and so many more, Dean had to have played and ingested as many styles of music in his formative years, and it was his stepfather who truly inspired him to keep a very broad palette of styles in his listening and playing arsenal. “In school I was in a symphonic band, I was in the big band, jazz band, I was in the drum corp, marching band,” he recalls. “I was very influenced by jazz and fusion growing up. It was my step-dad who really raised me. He couldn’t stress enough about having diversity in music. My favourite drummers of all are the session guys who’ve played on tons of records and played different styles across the board. So I kind of went into that world for a long time, and then it turns out that I’ve made most of my living playing groove stuff, which I like – the less-is-more thing. But I still love to listen to crazy-ass jazz stuff, fusion stuff, old Chick Corea records and all that sort of stuff.

“And in Laguna in Orange County, California there’s a huge reggae influence,” he continues, “Like, I’m really into island music, soca music, reggae music. I love Bob Marley’s drummer, Carlton Barrett, and a band called Steel Poles from England – just great reggae drumming, which is a whole different spin on playing drums. And, of course, Latin drumming, South American, Cuban, and then just throwing that all into my own thing. You don’t really hear that in Good Charlotte – we’re just sort of ‘power-rocking’ – but it’s nice to have that facility when I need it.”

By Rod Whitfield

DEANBUTTERWORTHDRUMMER OF GOOD CHARLOTTE, EX-DRUMMER OF MORRISEY,AND BEN HARPER AND SESSION DRUMMER FOR THE USED, MISSY ELLIOT, DONOVAN FRANKENREITER AND MORE

INTERVIEW

TAMA :Let's start from the beginning. When did you start playing drums? Did you take any lessons?

Brann : I started playing when I was 3 or 4 years old. No lessons. I was self taught. When I was around 3 or 4 I'd go into the attic. My grandfather was in a band with my uncle so his drum kit was up there with other instruments. It was pretty natural for a young boy to want to bang on things. I saw the drum set and I would go and hug it and I just wanted to be back there behind it. I fell in love with the drums. It seemed like a good time. It seemed like a toy and I've always maintained that. Around 8 or 9 my father suggested drum lessons because he'd be jamming The Police in the car and I'd be tapping along and he noticed I could keep a beat, so he suggested the lessons. I went to one lesson and it wasn't for me. I went in and expected to go in and go nuts but it was structured like school. "Sit down and play this snare, 'R L RL THIS SUCKS THIS SUCKS.'" Drums were never like school, it was my toy, it was my fun thing I loved doing. So afterwards my dad asked how I liked it and I said I hated it and I never went back. If I had taken some lessons I'd probably have more structure. It's never too late to take lessons, I'd still like to. There are definitely like rudiments and books that over time can be extremely helpful if you use them to your advantage. But totally by the book is no fun.

TAMA : What did you work on to develop your impressive speed and dexterity on the kit?

Brann : Nothing. (ha-ha) I just go nuts. When I play by myself, I'm a total animal – like the Muppets. I've always been too lazy to be disciplined and do rudiments and paradiddles. But I practice rolls and fills. I like to play by myself but I'd rather have a guitarist there. The best way for me to play is along to some music. That's the whole point to me. Unless you're inspiring some natives to go to war, or something along those lines, the drums shouldn't be alone. A drum solo is cool. I like watching Bonham doing his Moby Dick solo but it's about songwriting to me. I shine the most with riffs – meat and potatoes and experimenting flows for putting songs together. I'm not the best at building complex beats. I'd rather float and do fills. If everyone played drums exactly the same, it'd be really boring.

TAMA : Prior to forming Mastodon, you played with guitarist Bill Kelliher in two other highly regarded rock groups, Lethargy and Today is the Day. Is playing with Bill pretty much second-nature at this point?

Brann : I expect him to be there. If I'm doing something, he's there. He's my best friend. At this point Mastodon's been together the longest out of all my bands. I'm used to it now. Mastodon has been able to quench my musical thirsts. Mastodon is a band I could grow old gracefully with. There are certain groups out there that would feel foolish in their mid 50s doing what they do, but I could get old with this and be OK.

TAMA : Can you walk us through your current kit setup? Are those the drums you used on the newest album?

Brann : I'm playing a Tama Starclassic Bubinga kit and a Warlord Spartan snare. I use 10", 12", and 14" rack toms, a 18" floor tom, and a 22" kick. I have a 20" crash on my right, an 18" crash on my left, a 21" ride on my left, and 14" hi hats on my left. I used 10", 12", 13", 16", on the last album, but went up a size on some toms because "Crystal Skull" needed some bigger toms live on the end, to get that tribal thing going.

TAMA : Why do prefer to use a double-pedal instead of two kick drums?

Brann : It was really a teenage gig thing. Our first show I had to eliminate a bunch of gear to fit it in the van. It was really a necessity. I had to borrow a friend's double pedal and ended up putting that setup together, and it's pretty much the same setup I use now. We had a bunch of shows and didn't want it to be a constant problem. So I had to strip it down to avoid having to make two trips for every show.

TAMA : You have a relatively simple setup as compared to a lot of metal and progressive drummers. Why is that, and have you always favored a more straight forward kit?

Brann : It's just what I got used to. I don't think about changing my setup. When it comes down to it, I don't want anything to get in the way of writing. Maybe I would add a china again to my setup, and a bell because I can build cool beats with that. Maybe I'll try that again.

TAMA : What is next for Mastodon? Are you involved in any other projects these days?

Brann : On the side I've been playing in Brent's band – "Fiend Without A Face". It's a straight-up country rockabilly surf guitar band. It's weird, it's cool, it's different. It's fun to do. It's not too intense. It's way more straightforward and an opportunity to prove that I can play a straight beat with no fills. The music's good.Mastodon is mainly writing every day in our practice space. Every opportunity to create something new with them is great – we're banging our heads against the wall to make sure it's the best it can be.

TAMA : What is your advice for other drummers?

Brann : Be inspired, not frustrated, by drummers that are better than you. That was a problem for me when I was younger. I'd get so frustrated when I saw a phenomenal drummer; I'd get depressed that I'd never be that good. I realized it needed to be an inspiration. That guy wants to be better too. Also, try to be as creative as possible. If you take lessons, use them to your advantage. Strive to be different in some aspects. Never let your ego get in the way of the song. You'll never be as good of a drummer that's in your head� and try to keep it that way.

By Rod Whitfield

DAILOR

The all mesh TD4. Instantly great sounds out of the box and equally at home in a studio tracking audio or MIDI drum parts or in the bedroom due to its tiny footprint and superb playability. Comes with the new super responsive 13” CY-13R ride and 12” CY-12C crash V-Cymbals.

Roland’s popular V-Tour® series goes all mesh and gets upgraded with the newly designed KD9 Kick Pad and V-Cymbals® TD9 V2 module features new sounds and 50 new kits to greatly improve total playability.

V2 features plus the deeper rimmed PD-85 mesh tom triggers, beefier PD-105 snare pad and full-sized VH-11 hi-hat from the TD-12 kit which mounts on a conventional stand for the next level of playability. The hugely desirable and award winning V-Drum kit for the masses.

The most affordable V-Compact® series from the V-Drums® family featuring the new cloth feel head KD9 kick trigger with the feel of a dampened acoustic kick drum optimised for trigger response even with double pedals. Quick Rec/Play and coaching functions built-in.

It’s forged from the same technology as its predecessors, and simple to use. All of the HD-1’s components are mounted on one stand for easy setup and transporting for which its actually won prestigious design awards. Stop dreaming! Just take it out of the box and start playing!

“I’ve been using a HD-1 electric drumkit in my home studio right now, it’s super compact and great when I want to knock down a drum part for song demos.”

– Rai Thistlewayte (Thirsty Merc)

“From an artistic perspective, the

creative possibilities that are opened up by having so many drum kits

and sounds brings a huge array of options for The

Wiggles” – Wiggles Audio Engineer

$1,699 $1,199 $899SSP SSP SSP

TD-4KX2 TD-4K2 HD-1

TD-9K2 TD-9KX2

The compact V-Drums monitoring solution for

punchy sound in low to mid level situations and ideal for personal

monitoring on stage or during practice.

Full range compact V-Drums monitoring system featuring stereo satellite speakers which can be attached directly to the V-Drums. Built-in mixer with EQ.

PM-30

PM-10

$1,999 $2,999SSP SSP

$999SSP

$399SSP

Disclaimer: This catalogue must be read subject to the terms and conditions on this page. All prices are valid until 31st December, 2011 or while stocks last. It is anticipated that the products advertised will be available in most stores, however exceptions may occur. Some delays may occur due to unforseen circumstances. All savings and discounts indicate a reduction from the original recommended retail price (RRP) or the current Suggested Selling Price (SSP) - as set by the Australian distributor(s). No responsibility is taken for omissions or errors due to graphic designers, desktop publishers or printers. All prices include GST. All pictures are used for illustration purposes only. Prices are subject to change without notice. Prices are valid only while stocks last.

Eye-catching and customisable looks, incredible sounds and reinforced hardware make the TD-20KX a star on any stage. The C.O.S.M sound engine of the TD20X features 10 outputs and allows every nuance of your style to shine through thanks to incredible dynamics and expressiveness. Top of the line VH-12 SV hi-hat, 15” CY-15RSV ride and 14” CY-14CSV crash cymbals feature in silver for maximum stage impact.

The ultimate great feeling practice pad featur-ing the same tunable mesh head technology from the V-Drums range, over 40 built-in sounds and comprehensive coaching mode for interactively mastering your playing technique quickly and silently. Easily mounts on the separately available PDS-2 stand.

The hand percussion instrument of choice for anyone needing quick access to a huge library of beautifully recorded classic and obscure rhythm sounds. Features the unique D-Beam trigger.

This 10 pad hand percussion instrument shares many similarities with the HPD-15 including amazing sound quality, finger responsive pads, D-Beam and even an intelligent metronome coaching function to help with learning rhythm playing for example.

A trimmer version of the flagship TD-20KX with many of the same features including Roland’s unique C.O.S.M sound engine and multiple outputs.

“When the TD-20 came out I thought, yes, at last a V-Drums kit that sounds very classy and feels

great to play. And, with the new VH-12 Hi-Hats, I could play the kit with the mindset I would have

playing an acoustic kit.” – Mal Green (Split Enz)

“Whatever sounds I dialled up on the TD12 would affect the way I played, eg tem-

pos, feel, and the drum fills.” – Rob Grosser

The legend that started nearly three decades ago with the

Octapad continues with the new SPD-30. and places the drum-

mer once again firmly centre stage! Over 700 all new sounds

spanning the gamut from world, orchestral, rock and dance all

crammed into an instrument the size of a briefcase with trigger

inputs for expansion.

The only electronic marching style practice pad of its type ever designed!

Featuring a 12” V-Drums mesh head with adjustable tension, there are also 128 sounds built-in which can be quickly assigned to head and rim for a more involving practice and even live performance via headphones or line output into a wireless sound system.

TD-20KX TD-12KX

RMP-5A HPD-15 HPD-10

“As far as the HandSonic is concerned, the immediate access to such a huge range of sounds is fantastic.” – Vinnie

Colaiuta (Frank Zappa, Sting, Faith Hill)

RMP-12

SPD-30

$3,999$7,999SSPSSP

$299 $1,799 $1,099SSP SSP SSP

$999SSP $799

SSP

Ultimate Percussive Sampling Instrument

l Fire off one-shot samples, looped phrases, or complete audio playback tracksl Nine velocity-sensitive rubber pads, two external dual-trigger inputsl 2 GB internal memory for 360 minutes of sampling (mono) l Built-in USB port for importing audio files from USB flash memoryl Bundled SPD-SX Wave Manager software for drag-and-drop organising of samples via USBl Three multi-effects onboard, with two real-time control knobs and four dedicated effect buttonsl Easy capturing and assignment of audio data through Multi-Pad Sampling

Visit us online: www.rolandcorp.com.au

Hit Pad! Hit Pad! Hit Pad!×4 Hit Pad! Hit Pad! Hit Pad! Hit Pad!

AUDIO DATA

MULTI PADSAMPLINGMULTI PADSAMPLING

Samples areautomatically assigned

to pads afterward

Capture samplesby hitting pads

SSP $899

NEW FROM

FRANKFURT

This amazing and innovative technology is being hailed as the biggest development in the world of accoustic / electric drumming for some time, and is set to revolutionise modern drumming. The Aquarian inHEAD™ acoustic/electronic hybrid drumhead gives you the ability to have the best of all worlds – great sounding acoustic drums and the power and control that comes with triggering electronic drum sound modules. You play your drums your way; no sacrificing your technique or adjusting your playing style to accommodate the unnatural feel of an electronic pad. The inHEAD lets you play YOUR acoustic drums and access your electronic drum module with no unwanted crosstalk, double triggering or loss of sensitivity.Reinforce your sound without using microphones. Create NEW hybrid acoustic/electronic drum and percussion sounds that are all YOUR own… move air and feel what you play without extensive monitoring. You are the drummer; take control of your performance! And when you want to practice quietly, or when it's time to record with only electronic sounds, throw on a special set of inHEAD MUTES and use as a traditional electronic pad set.

WE REVEAL SOME OF THE COOLEST INNOVATIONS TO HIT THE DRUMMING WORLD, FRESH FROM THIS YEAR’S MUSIKMESSE CONVENTION IN FRANKFURT...

TAMA unveiled the new limited edition Starclassic performer B/B at this years Musikmesse in frankfurt.This absolutely stunning drumkit delivers on all fronts. It looks and sounds amazing. Some of Starclassic performer’s many features include:Bubinga and Birch Shells:By using bubinga wood for the inner layers of the birch shell, TAMA has created a new chapter in the Starclassic series. The hybrid tone produced by this combination exhibits the focused attack of birch paired with the enhanced lows of bubinga. TT/FT: 4ply Birch + inner 3ply Bubinga, 6mmBD/SD:5ply Birch + inner 3ply Bubinga, 8mmSpecial Finish:This limited edition finish is called Lacquered Black Oyster and offers a vintage look with modern design. This finish is specially painted, not wrapped, by our skilled craftsman.Slidable Tom Holder:This tom holder expands setting flexibility by employing a sliding connector unit that moves back and forth without restriction up to 50mm (2"). Now a player simply loosens a bolt in order to easily adjust the proximity of the tom-toms. The MTH909 can be set up without any holes in the bass drum being necessary.

DRUMMING NEWS

A HYBRID DRUMMING REVOLUTION!AQUARIAN INHEAD™ ACOUSTIC / ELECTRONIC HYBRID DRUMHEAD

VINTAGE LOOKS WITH A MODERN SOUND:INTRODUCING THE LIMITED EDITION TAMA STARCLASSIC PERFORMER TAMA LIMITED EDITION STARPHONIC SNARE DRUMS:

TAMA released these limited edition Starphonic snare drums, featuring a thin 1mm steel shell.These beautifully crafted snares look as amazingas they sound, and would make a beautiful addition to any kit.Though steel is one of the most common snare drum materials, Starphonic’s innovative hardware enhances the steel shell’s sharp crisp sound, as well as providing easy and reliable tuning.

TAMA STARCLASSIC BUBINGA SELECT – MARBLED PURPLE METALLIC

TAMA showcased this Starclassic Bubinga Select kit which features this limited edition amazing marbled purple metallic finish.These kits are handpainted in Japan by skilled craftsmen using a specialist painting technique.

NEW FROM

FRANKFURT

This amazing and innovative technology is being hailed as the biggest development in the world of accoustic / electric drumming for some time, and is set to revolutionise modern drumming. The Aquarian inHEAD™ acoustic/electronic hybrid drumhead gives you the ability to have the best of all worlds – great sounding acoustic drums and the power and control that comes with triggering electronic drum sound modules. You play your drums your way; no sacrificing your technique or adjusting your playing style to accommodate the unnatural feel of an electronic pad. The inHEAD lets you play YOUR acoustic drums and access your electronic drum module with no unwanted crosstalk, double triggering or loss of sensitivity.Reinforce your sound without using microphones. Create NEW hybrid acoustic/electronic drum and percussion sounds that are all YOUR own… move air and feel what you play without extensive monitoring. You are the drummer; take control of your performance! And when you want to practice quietly, or when it's time to record with only electronic sounds, throw on a special set of inHEAD MUTES and use as a traditional electronic pad set.

WE REVEAL SOME OF THE COOLEST INNOVATIONS TO HIT THE DRUMMING WORLD, FRESH FROM THIS YEAR’S MUSIKMESSE CONVENTION IN FRANKFURT...

TAMA unveiled the new limited edition Starclassic performer B/B at this years Musikmesse in frankfurt.This absolutely stunning drumkit delivers on all fronts. It looks and sounds amazing. Some of Starclassic performer’s many features include:Bubinga and Birch Shells:By using bubinga wood for the inner layers of the birch shell, TAMA has created a new chapter in the Starclassic series. The hybrid tone produced by this combination exhibits the focused attack of birch paired with the enhanced lows of bubinga. TT/FT: 4ply Birch + inner 3ply Bubinga, 6mmBD/SD:5ply Birch + inner 3ply Bubinga, 8mmSpecial Finish:This limited edition finish is called Lacquered Black Oyster and offers a vintage look with modern design. This finish is specially painted, not wrapped, by our skilled craftsman.Slidable Tom Holder:This tom holder expands setting flexibility by employing a sliding connector unit that moves back and forth without restriction up to 50mm (2"). Now a player simply loosens a bolt in order to easily adjust the proximity of the tom-toms. The MTH909 can be set up without any holes in the bass drum being necessary.

DRUMMING NEWS

A HYBRID DRUMMING REVOLUTION!AQUARIAN INHEAD™ ACOUSTIC / ELECTRONIC HYBRID DRUMHEAD

VINTAGE LOOKS WITH A MODERN SOUND:INTRODUCING THE LIMITED EDITION TAMA STARCLASSIC PERFORMER TAMA LIMITED EDITION STARPHONIC SNARE DRUMS:

TAMA released these limited edition Starphonic snare drums, featuring a thin 1mm steel shell.These beautifully crafted snares look as amazingas they sound, and would make a beautiful addition to any kit.Though steel is one of the most common snare drum materials, Starphonic’s innovative hardware enhances the steel shell’s sharp crisp sound, as well as providing easy and reliable tuning.

TAMA STARCLASSIC BUBINGA SELECT – MARBLED PURPLE METALLIC

TAMA showcased this Starclassic Bubinga Select kit which features this limited edition amazing marbled purple metallic finish.These kits are handpainted in Japan by skilled craftsmen using a specialist painting technique.