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The article focuses on "3 Minute Rule" and goal is to not miss an opportunity to connect with instrument, tapping into the mighty. It mentions awesome shaping and sculpting of the massive rocks and canyons were done by a substance seemingly as weak as water. It also mentions need to refresh nervous system through drumming, and the connection between body, mind, and instrument becomes stronger each and every time.

An excerpt from the book "LTR Drumming Method: Launch!," by Chris Lesso is presented.

The article offers information about the open-handed drumming. It mentions how Open-handed drumming empowers the creativity, strengthening, feeding your courage, and teaches importance of art and expression. It discusses mindset of open-handed drumming was to embrace potential and possibility, moving with courage and vulnerability.

The article focuses on exploration of rudiment such as Paradiddle which is drum exercise with sounding name and mentions stroke followed by set of double stroke. Topics discussed include rudiment to set of constructed rhythm patterns, reconfiguring the arrangement of single and double strokes, and ways of playing and using inversions in musical settings.

The article discusses techniques that can be used for playing the Brazilian style music Maracatu. Topics covered include the origination of Maracatu from the Coronation of the Black King ceremony that used to take place in the cities of Recife and Olinda in the state of Pernambuco in Northeastern Brazil, the techniques called pullouts and control strokes and examples taken from the Maracatu section of "Brazil for Drum Set, Volume 1."

The article offers step-by-step instructions for performing ratamacue drum rudiment variations by drummers.

The article discusses highlights of the online drum camp held by KoSA Music Academy from July 6 to 10, 2020 through videoconferencing platform Zoom, which featured presentations from artists such as Jim Riley, Paul Picard, and Mike Clark.

The article discusses sidechaining in music industry. Topics discussed include events when sidechaining is in action such as announcements in grocery store, drumming by engineer Geoff Emerick, and Fairchild compressors that introduced nonlinear distortions and how compressor allows a producer in boosting a level of track.

The author offers tips on recording song demos. Topics discussed include the need for aspiring musical artists to be prepared before entering sound recording studios, the use of these demo recordings in the music industry, and the challenges associated with recording demos that feature vocal and drum music.

The author discusses open-handed groove concepts in drumming.

In this article, the author discusses linear drumming, linear drum patterns, as well as orchestration and provides suggestion for increasing strength and speed on bass drum. Topics discussed include information on sextuplet exercises which involves use of snare drum; use of sticking pattern for playing drums; and information on use of tom-tom drum and floor tom.

The article presents music writing exercises for linear drum patterns, the sixteenth notes and the triplets.

The article presents several standards recommended for young children who are studying to play drums. It states the need to focus and avoid being distracted. It notes the importance of not playing and listening to the band. It mentions the need to avoid wasting time and keeping the positive mental attitude (PMA).

The article offers tips for drummers when recording in a music studio to maximize bed track sessions. Topics discussed include mapping and rehearsing the parts of the music continuously, the demonstrating the music being recorded to be familiar with its arrangement, and implementation of guide tracks of other instruments along with the drums.

The article offers the author's insights on the significance of intention in sharing drum music that comes from the heart. Topics discussed by the author include the use of righteous conviction to achieve goal, motivations for playing great music, and vulnerability which provides opportunity to share feelings with others and honest reflection.

The article presents the author's views on playing music with drums. He thinks that the important aspect in music playing is the focus on the feel and playing the drums with the heart and spirit. The author explains that soulful or spiritual music from all kinds of musicians and drummers or percussionist are all speaking of the same thing.

The article presents creative practices to play drum. It mentions that a great way to improve and respect every component of the drum kit is try to practice with fewer pieces, setting up only the shells with no hi-hats and no cymbals. It states that to have less to work with will alter the perspective of the drummer, altering how the drummer plays and appreciate a particular piece.

The article presents the author's views on the saxophone/drum duet as a medium of expression. The author is fond of the saxophone/drum duet as a medium of expression, and all of his independently-released solo albums have been saxophone/drum based. The author recalls his session with drummer Gord Graber where they played "Well You Needn't" for three hours. With such setting, one can focus on the drummer and gain insights into their experience of playing with a saxophonist, says the author.

The article presents suggestions on how to get as much sound from the kick drums and snare drums during sound recordings. It is recommended to use a quality drum kit to get the right vibe for the recording. It is stated that the quality of the source tone could be enhanced by using new skins for recordings.

The article offers guidelines for hand and foot combinations which will allow drummers to create triplet-based fills and grooves and jazz ideas which include playing with the right hand on the high hat cymbals and the left hand on the snare, adding optional bass drum hits, and adding ghost notes and drags to the beats.

The article presents the second part of a series on tracking drums. It discusses some techniques in setting up microphones on a drum. It explores the variation in the microphone technique of a drummer from project to project. It tackles the aspects for drummers to consider in having a great drum recording.

The article reports on factors to be considered by recording engineers when getting ready to record drums in Canada. Factors include scratch track, which involves the guitar player and the vocalist running a rough take of the song to a click track, tuning and click tracks, which help the drummer in delivering the take needed for the song. The article also mentions the role of recording engineers.

The article offers step-by-step instructions on how to play drum sticking patterns that do not have accents in each four eighth notes.

The article offers information about the annual drum camp of the KoSA International Percussion Workshop and Festival held at the KoSA Centre des Arts (KoSA Centre for the Arts) in Montreal, Quebec from July 30-August 2, 2009. It notes that the event's participants experienced intense, hands-on percussion training with reputable percussionists. Among the participants include Ndugu Chancler, Memo Acevedo and Kenwood Dennard.

The article reports on the new trend to record and export drum tracks over the Internet from separate studios. According to Ryan Hoyle, drummer of Collective Soul and Paul Rodgers, with current technology he can record and transfer drum tracks during night's sleep for producers in Tokyo, Japan, London, England and Sydney, New South Wales. The studio offers Pro Tools and Logic formatting to produce own record and file transfer protocol (FTP) server that allows collaborations and file transfers.

The article provides tips on how to create a funky grooves using the linear concept. According to the author, linear beats are patterns played in which no limbs line up. He added that the "Linear Alphabet" in 16th notes consists of 64 patterns in which one can play in four 16th notes between the bass, snare and hihat.

The article presents information on the 7/8 time grooves and discusses how drummers can create its beats. It is informed that one should not say the full number seven while counting in 7/8 as it will sound like 8/8. It is suggested that beats can be created using hi hat patterns, which are two-bar patterns phrased in 4/4 time. It is also informed that 4/4 grooves can be converted to 7/8 by dropping the last 8th note of the bar. Musical notation for the 7/8 time groove is also given.

The article presents the author's experience with a fellow drummer, Keith Dawson Jr. They have decided to involve in a join investigation regarding the possibilities of acoustic and electric drums performing together. They started formulating arrangements which quickly became songs. Because they had an understanding and a mutual feeling of playing for song. There fore in each playing they could create a sound scape, rather than a chopscape. The author comments that from a drumming perspective this project has been a great learning experience because it has helped him to grasp a much better understanding of his work.

This article reports that the firm Mountain Rythym has introduced three new models of tongue drums, the TDS, TDM and TDL. These crafted drums each have a solid Oak top. Ideally, the drums were designed to be played as a set, either three people on one each or one person on all three.