(fast-paced rock music)
Awesome.
- Yes, thank you man.
Thank you so much.
- Yeah.
Ladies and gentlemen, Mr. Luke Holland.
- I'm out of breath.
Hi guys.
How is everyone?
(laughing)
- So how many years did we text and email back and forth
until we finally got you over here?
- 10, 12 at least.
- 10 or 12 (laughing).
- Yeah.
- You were just a 10 year old boy.
- No, it's been at least two years.
- Right.
- Yeah, it's been a long time coming.
- Awesome.
Well, you've been busy touring the globe,
playing sessions, filming videos.
- Yeah, it's been hard work man.
- Yeah.
Cool.
- It's been a good time.
- Awesome.
So if you don't know Luke Holland, you should definitely
check him out.
He's got a YouTube channel with tons of playing
exactly like that.
Tons of really, really, really well-produced covers,
original tracks.
That was a track from Jason Richardson.
That song was called Fragments, is that correct?
- That is correct.
- And we're gonna be playing another song
from Jason Richardson later as well.
- Yes we are.
- Awesome.
So yeah, check out Luke on YouTube.
It's Luke Holland drums.
Check him out on Instagram.
It's Luke Holland with two D's or check him out
on Twitter as well.
Obviously for any of these lessons,
we get to work with some great companies
so we have DW Drums, Remo, Meinl Cymbals, Vater Sticks
and your inner ears.
- Yes.
- 364 in your ears.
- 360, 64.
- 360, 64.
(laughing)
- No, they're hidden by the towel that's on my head
currently and it's making me sweat a lot
but you know, they're beautiful.
64 Audio.
DW, Meinl, Remo, Vater, I love you guys.
Thank you guys so much.
You guys make so much cool stuff happen
and I appreciate you guys.
- Awesome, so before we get into the lesson,
we've got an incredible lesson.
Okay, so Luke has a bunch of signature beats,
fills, and stuff and he's gonna teach some stuff
that he actually did in his covers.
So if you've been a follower of this videos
you're gonna get those broken down.
Especially the new Kendrick Lamar cover you just did.
- Yeah.
- So you're gonna get a few of those broken down.
It's gonna be really, really cool and you're gonna play
some more tracks as well.
But, before we get into that dude,
you have to tell everyone a little bit about yourself.
Just like give a quick version.
How you got started, how you got to where you are today.
'Cause you were kind of like one of those rising stars
success stories.
Wouldn't you say?
- I don't know.
- I would say.
I would say you went from like here
and you really were diligent in putting up videos
and engaging with the community.
- That is true.
- Practicing, I'm sure.
- Lots of practicing.
That is, you know, it's funny people always forget
that that's the number one thing is getting good
at your instrument but yeah, okay,
a little bit about myself.
Name's Luke Holland.
I've been drumming since I was 11.
Yeah, it kind of all started, I was in a local band
called Oceans Will Part forever ago.
I was like 15 or something and my singer was like, yo,
you should put some stuff onto a YouTube channel
so you can help promote our band.
And I was like, no, don't wanna do that.
Sounds dumb.
So I did it and yeah, I did an August Burns Red song
and a Texas in July song and it got a few thousand views
and I was absolutely shocked.
I did not expect anything.
And it kind of just kept going.
I ended up filling in for Texas in July
which at the time, Adam Gray was my favorite drummer
and it was so crazy.
I was 16.
I took a week off school, flew to Pennsylvania
and filled in for my favorite drummer.
Got a call from him and yeah, it was crazy man.
And that kind of started everything.
People saw that and saw that I wasn't just some like
YouTube behind the scenes, edited, fake kind of stuff.
People got to see me play live and then I continued
to do the YouTube thing.
I went through multiple cinematographers, audio guys
and I did a Skrillex song called Cinema that really
kind of skyrocketed everything from there.
It was my first, I would say viral video.
I think it's at almost six million views or something now
but the Word Alive, a metal core band based out
of Arizona, saw it and asked me to join their band.
And I toured with them for about five years,
all over the world.
Played some massive festivals and things like that
and yeah, I've just kind of continued to make
videos based off of what I want to do and my desire
for being creative and all that stuff
while touring and maintaining that live feel.
- Awesome.
- Yeah.
- Cool, and congrats 'cause I know you
just hit 60 million views on YouTube.
- I did!
That was today.
Yes.
Thank you so much.
Yeah, it blew my mind.
I was just talking to my mom actually about (clicking)
oh, you can hear that.
(laughing)
Yeah, I was talking to my mom about it
and we were just like, wow, that's so crazy
'cause I've been doing it since 2009
which is a pretty long time when I think about it
and yeah, it's just so cool man.
Thank you guys, whoever's watching.
Seriously, it's an honor to have fans supporting and stuff.
- Yeah, awesome.
And thank you for coming here.
- Oh dude, it's my pleasure.
Like I said, it's a long time coming man.
- Yeah, definitely.
So whenever we post these videos some of you say
thank you, you loved the lesson but then you also
want to give your ideas on who we should invite next
and over the years your name has come up multiple times.
- Really?
- Oh many, many hundreds if not billions of times.
- Billions, dude.
(laughing)
How many guys have you had in here?
(laughing)
Geez.
- So, it's good that we finally got it done.
- Yes, I'm so thankful to be here man.
- Okay, we're gonna get into some teaching here
and so we basically prepared 10 different,
call them exercises, call them whatever you want,
but they're kind of like Luke's signature grooves
and ideas on the kit.
And I think the idea here or the end goal for anyone
watching is, yes, you can try and play the stuff
exactly like that but it's really cool if it inspires you
to maybe create something on your own.
You know, something that's unique to yourself.
And so take these as like seeds that we're planting.
Work on the stuff 'cause it's some really, really cool
stuff that he prepared and he's just gonna play it
like it's gonna look so super easy, like he's done it,
you know, it just looks easy when you do it
but it's really, really hard,
some of this coordination stuff.
- I'm gonna mess it up on purpose just for you.
(laughing)
- So let's get right into it.
So the first exercise we're gonna talk about
is the Kendrick Lamar and this is
from your most recent cover.
- Yes, second most recent.
Came out just a couple weeks ago.
So a little disclaimer here, I played this on a seven piece.
Now, we transposed it to a four piece
which is what I've used for most of my drumming career.
The seven piece is a brand new thing.
So, I'm just gonna do this all on the one rack tom.
If you watch the video, you'll see me bounce between
my two first rack toms.
But that's not what's going down right now.
So I just wanted to throw that out for you guys.
Okay.
- Why don't you, maybe you could play it first
up to speed and then we'll just talk a little
bit about what's happening.
- Sure.
Here we go.
(fast-paced drum beating)
- So when you originally came up with that
was it something just like, oh, I should play this
because it sounds best with that?
- It was one of those things, okay, so if you look at it,
if you break it down, it's based off a paradiddle-diddle.
I believe the first time you take off the very, very last
left stroke so it's right, left, right, right, left.
Instead of doing a double at the very end.
And it just kind of came out.
You know, I'm experimenting on this new seven piece
and I wanted to, in the first cover that people saw
of my seven piece kit I wanted to let them hear
all the different sounds.
So, I was kind of messing around with the toms
as much as I could and then later on in the same cover
I do this same groove all the way down the toms,
down the five toms.
So, yeah, this is one of those ones that kind of just
came out, just happened.
- And I look at the sheet music I think maybe
it is the full paradiddle-diddle.
But maybe if we can just play it slowly
and hear how exactly how it sounds.
- Oh yeah, it is, totally.
But I kind of, so I think it's in 16ths.
And then there's like a, so.
Yeah, yeah.
- It does split on the second bar.
- Exactly.
So, slow it's--
- Way harder.
(laughing)
- Yeah.
No actually, no it depends.
- Oh okay.
(laughing)
- Yeah.
- Alright, so do you want to play it a little bit slower?
- Totally.
Here we go.
(drums beating slowly)
- Awesome.
Yeah, so for those watching, the main thing to note
is I think count one and count three of at least
the first bar of eighth notes and then everything else
is pretty much 16th notes, other than the second bar
it changes.
So, that's why I think it flows so nicely.
Yeah?
- Yeah, I like that one.
That's why I choose to kind of come and bring it.
I just feel like you could do, like you brought up,
so much stuff with that.
It's all based off of a paradiddle-diddle,
which, to me in my opinion, any sixth stroke roll,
any variation of the sixth stroke is infinite
with all of the things you can do with it.
So, yeah, I love this one.
- Awesome.
Do you mind just playing it up to speed again?
Maybe fast and you can actually move it around
but the toms, between the high and low.
- Sure, yeah, totally
Here we go.
(drums beating quickly)
- Awesome, alright let's move on to the next one.
This one is the 1975 Me and this was from
a recent cover as well, correct?
- This one was, I wanna say, a year and a half ago maybe,
a year ago, and I did it with the singer
of Periphery, his name's Spencer.
Taylor Larson who produced, oh I didn't produce,
mixed and mastered the Jason Richardson album
that I did drums on and this guy named Elijah Gibb,
another very talented singer.
And we all just kind of came together.
Taylor one day texted me and he's like, I want to do
a 1975 cover.
I was like, deal, I love that band.
Let's do it.
And, yeah, I improvised this actually during the filming.
I find myself improvising a lot of stuff
the last couple years.
It just feels more natural to me than kind of
drilling the same thing over and over.
But yeah, this one just kind of came out
and it's simple and it just feels really nice.
- Awesome.
- Yeah.
- Let's hear how it sounds.
- Cool.
(drums beating slowly)
- So that's very different than the last one you showed us.
What was your thought process between the hi-hat splash?
That's not something you see a lot.
- Yeah, you know, I saw, shoot.
Who did it?
I think it was Chris Coleman being just a total bad ass
with all the crazy stuff he's just so going over
that (hissing) you know that whole thing
which I think is incredible.
That's just another dimension of independence
and I had been messing with it at the time.
Usually all the stuff I write for this kind of stuff
or for my online YouTube videos is things that I was diving
into at the time.
So, for me it's fun to go back and watch it
because I'm like, oh yeah, I remember I was practicing
that at that time or I was doing those rudiments
or whatever.
So, this was something I was into at the time.
I was working with that and I just wanted to
incorporate that into a slower song to get a nice feel
out of it.
- Awesome.
- Yeah.
- Cool man.
Do you mind playing it just for a few more bars?
- Oops.
Care if I drop my stick first?
- No, absolutely not.
We gotta restart.
(laughing)
- Okay, here we do.
(drums beating slowly)
- That's really hard.
(laughing)
- You know, it sounds like an excuse.
Actually I'm not gonna make an excuse.
I messed it up.
- It's the high ascent.
It's really old.
It's not what you're used to.
(laughing)
I already know what you're gonna say.
(laughing)
- No dude, this thing's brand new.
What are you talking about?
- No, it's brand old.
(laughing)
- Oh man.
- Okay, that's cool.
Let's move on.
The next one we're gonna do is I See Stars, White Lies
and this is like an original drum piece?
- Yes.
I did this album December of 2015.
The singer, Devon Oliver of I See Stars
contacted me to do drums for this album
and this was one of my favorite things
that I came up with through the whole album.
This and a groove off a song called Light in the Cave
but that's totally irrelevant.
Yeah, so, here we go.
Full speed, here we go.
(drums beating quickly)
- Cool.
So, cause you, it sounds like a lot of what you play
is gospel chops.
Is that the linear thing or is that some other inspiration?
Like, Chris Coleman, Aaron Spears, another drummer?
- You know, I think it came from, I'll probably talk about
this 13 times during this video, but I think it came
from my time in drum line.
I marched drum line for a year and a half
and I marched snare, I played traditional.
And, I barely touched my kit at that time.
I stepped back, away from the kit.
I practiced the whole world of rudiments and dynamics
that I didn't even know existed except at the time
I was just playing in my favorite band
and I came back to the kit afterwards and I was just like,
wait a second.
There's so much more you can do.
That's crazy.
So, a lot of this stuff was kind of inspired
around the stuff I learned in drum line
and just manipulating rudiments and maintaining
the very strict stick heights that I learned in drum line,
keeping those dynamics very stiff.
Yeah.
- Cool, awesome.
Do you mind playing it a little bit slower?
- Yup.
Here we go.
(drums beating slowly)
- Cool.
I love that little like left hand going underneath.
- Yeah.
- To hit that.
- Thanks.
- You can't even really see if you're hitting it or not.
I was like double checking to make sure you were (laughing).
- It's a ghost hat.
It's a new thing, ghost hat.
- Exactly.
- New trend.
- Guys, is there a Drumeo towel we can get him?
- Oh I'm good dude.
I'll just sweat my life away.
- Wow, come on now.
Okay, let's keep going.
Now, the next one we have is a signature chop.
This one is something with like three note groupings.
- Yes.
- So that's unison and--
- Yup.
- This is a fun one.
I think this one is actually like,
I know there's drummers of all skill levels watching
but, yeah, throw it in here.
- Oh, you guys.
You guys, you didn't have to do that.
- You know, the deal with these is you put them over
your neck like this and it's like the hockey night
in Canada thing when you do your after game interviews.
(laughing)
- Yes dude, thank you.
Dave, you're a saint, scholar, and a gentleman
and I appreciate you.
- Just so you know, this is gonna be on eBay.
It's a towel with Luke Holland's sweat.
- I better just wipe my arm pits with it
and make it real nasty.
(laughing)
Okay, anyways.
- Okay, back to the drums.
(laughing)
What I was saying is there's drummers of all skill levels.
For you beginner drummers looking at like a starting point
to play some of this type of stuff,
this is one of those grooves.
It looks challenging but Luke will slow it down
and you'll see it's quite simple when you figure out
what the pattern is.
So, why don't you take it away?
- Here we go.
(drums beating quickly)
- That just sounds so easy.
(laughing)
- It's, that one's a little random and kind of
unnecessarily complicated but I think it sounds cool.
It gives it, with that (hissing) over here
on the stack and then you have the every other hi-hat
I hit, I believe, is opening and closing.
So it's definitely a lot going on at once
but that snare with the backbeat gives it a nice groove.
- And for those of you watching the sheet music,
there's two versions.
So the first version has no open hi-hat.
The second version has the open hi-hat.
I don't know if we got that one clipped out
but yes, why don't you switch to that one
so we can, maybe do you mind just playing the one
with the open hi-hat now that that's on the screen.
- Sure, yeah.
- Cool.
(drums beating quickly)
(laughing)
- I got a little ambitious there.
- So if you see it, this is when I first figured out
the pattern and I don't know if you people watching
have figured this out.
It's unison, bass, right, left.
- And then bass, right, I believe.
So.
- Yeah, unison, bass, right, left.
And then bass, right, left.
- And then it repeats.
- And then it repeats again.
- Yup.
- So if you just play like super slow,
I mean, it sounds incredibly fast and complicated there,
but you can totally get it.
- Yeah, absolutely.
- Do you mind just playing it like super slow?
- Yeah, yeah.
Closed or open hats?
- Let's do closed.
- Okay, here we go.
(drums beating slowly)
- Nice.
Cool, let's move on to the next one.
So this one has got the threes and the hi-hat.
- Yes.
- This is more of a groove, I would say, then a chop.
- Yeah, I'd say so.
- Yeah.
So, what inspired this one?
- This is one, again, I just kind of pulled this one out.
I love, if you guys have watched my stuff,
I love doing the one and a two and a three and a four
on anything.
I think it just feels and sounds so cool.
I'm kind of addicted to it.
So, this one I just kind of decided I would run with it
and the hardest part, I think, is at the very, very end,
there's the four snare hits all accented with
the one and ah on the right hand.
So.
(sticks clicking)
- Do you bring up your left foot to hit some of those?
- I don't think so.
Oh.
(laughing)
I thought you meant the hi-hat.
Now I feel like an idiot.
- I know because I'm such a loser and making you do
this stupid show.
(laughing)
- Gosh dang it.
Alright, so here we go.
Let's see if I can do this.
(drums beating quickly)
- That one has some almost like funk influences in it, eh?
- Yeah.
- With that faster hi-hat.
- That one took some concentration for sure.
Yeah.
That one, yeah, that was rough.
- You choose one of the harder ones.
(laughing)
So how do you recommend a drummer like a beginner,
maybe intermediate drummer, getting starting with something
like this?
- The biggest thing for me for that particular,
for tackling this one right here, is the threes on the hand.
Which by threes I mean groupings of three
which is just one and a two and a three and a four.
If you aren't comfortable with doing that over anything
then my biggest piece of advice would,
so this groove we have one, two, three, four.
Right?
So I would just do something real basic
like keeping the backbeat on three and maybe take out
all the ghost notes and the opening of the hats
and just do like this.
(drums beating)
- Right, so remove certain elements of the--
- Yeah, yeah.
Or even, if that's too much for you too,
obviously slow it down of course.
But, just take out all the fanciness and just do
maybe two and four just to get that right hand
constant for the entire time.
Because you don't even want to be thinking about
your right hand when you're doing stuff like this.
It should all be, at least for me, I focus on my right foot
and my left hand doing all the hard work
and then my right hand just kind of doing this
and it's just a motion and my fingers,
they've all gotten so used to it.
I don't even have to think about my right hand.
So, that's the point you eventually want to achieve
if possible.
It is possible, what am I talking about?
Yeah.
- Impossible.
- It's, nobody can do it.
Not even me.
- We did some stuff with Thomas Lang once
and he always talks about linear and then non-linear
coordination and that's one of those things
that is non-linear coordination
and it's actually much harder than people think.
People think linear drumming is hardest.
I think this is harder with those four snare hits
at the end.
- I think so too.
Yeah.
Yeah, Thomas's non-linear stuff that he does
is just ridiculous.
So crazy.
- Awesome.
Do you mind just playing it a little bit slower?
I know it's a tough one but--
- Yeah, yeah, I'll give it my darndest.
- Give it your all.
- Here we go.
(drums beating slowly)
- Sounds so cool but freakishly hard.
(laughing)
- Thanks man.
- Next one is Jason Richardson's Hoe's Down.
- Ah yes.
- So,
so this is from the song Hoe's Down.
- Yes.
So, oh.
So, I think it's in the verses of the songs or of the song.
So that song is all over the place.
I think it's almost seven minutes long.
So, the hardest part about this is knowing
that it's all left hand lead between the snare
and the floor tom.
I'm starting everything when it comes to snaring the floor
with my left hand.
So I'm doing groups of left, right, left.
Or, left, right.
Rather than leading everything right, left, right,
right, left.
So, and also this is kind of non-linear
because I'm doing groups of three on my feet
but on the first hit I'm doing a stack hit
with the one.
So.
(humming)
You know what I mean?
So, yeah, I'll demonstrate for you guys.
- Okay.
- Cool, here we go.
(drums beating rapidly)
- Okay, you gotta play that one slower.
- Yeah, yeah, totally, totally.
So here is that pattern slow.
(drums beating)
There we go.
(drums beating slowly)
- Yeah, it's like, it's always hard when you're used
to playing something, you go to teach it,
it's like, oh, how do you like slow it down
from like 100 miles an hour to 30.
- Yeah, that's a tough one to do.
- Okay, next one we're gonna talk about
is Justin Bieber's Sorry.
You choose a Justin Bieber song.
And we're actually gonna play a Bieber song.
- We are, we are.
It's gonna be fun.
Yeah, so, you know, people give Justin Bieber
a lot of crap.
I actually really like a lot of his music
and this was one that people on my YouTube channel
and people in person have come up to me at shows
and they've named it the monster fill.
That's just what people named it.
So, I think that's really cool.
Thank you guys for naming something.
That's tight.
So this one is pretty, this one is meant,
when I was writing this piece, it was meant to be
over the top, super flashy, and for both a non-drummer
and a drummer.
You know?
And I think that's important to think about
when you're approaching YouTube videos and stuff
which is a whole other category I'm not gonna get into.
But, yeah, this is it full speed.
(drums beating rapidly)
Yeah.
- Maybe we should try a few rotations.
(laughing)
- Alright, here we go.
So I'm gonna do this nice and slow.
It starts off with the paradiddles and then it's
doing this weird thing over here.
So.
(drums beating slowly)
- Nice.
So when you record that video and you record that fill,
is it just improvised?
It probably is at the time, right?
- That one was not.
That one I knew the part in the song it was building up
to just, it was perfect for just an over the top drum fill
and then it kind of opens up right after that.
So, that was kind of some composition snazz I guess.
- So then you have to practice that a bunch
before you learn to actually film that.
- You know, that one was kind of based on some fraction fill
ideas that I've done in the past.
It kind of just came together to form a monster fill.
- Nice.
(laughing)
We're actually gonna be filming a course with you
tomorrow on some of those, how you come up
with some of these fills.
Like more in depth, you just mentioned fraction fills
and stuff.
So for those watching who are Drumeo Edge members,
get ready for that.
Okay, let's move onto the next one because we're
getting short on time here.
So we have the, just another random signature fill.
- Yes, this is one of the ones that I sat down
and just came up with.
This came out, so, here we go.
- Okay.
(drums beating rapidly)
- Again.
(drums beating rapidly)
- Awesome.
Do you want to try a little bit slower too?
- Yup, here we go.
(drums beating slowly)
- There's lots of, within your drumming
one thing I noticed is there's lot of like space.
Like, you actually use, if there's a quarter note in there
which you wouldn't think to add something like that.
Just take a break.
- Yeah, I think space is something in the last,
maybe two years of my playing, that I've learned
is so important and so valuable that before I didn't,
I'm not sure where that transition came
but I'm glad it did.
Space is like crucial man.
It's a beautiful thing.
- It makes the other notes--
- Pop.
- Yeah, pop even more.
- Yup, exactly.
- Awesome.
Okay, next one, I believe this is the song you're gonna be
playing at the end.
You're gonna be playing a song called Retrograde, correct?
- Yes.
- So this is a fill from that?
- Yeah, so this is one of those ones that all the music
stops and it's just drums by itself in this song.
So this is like, I try to get ultimate flashy with it
so here we go.
So this is at normal speed.
(drums beating rapidly)
Again.
(drums beating rapidly)
- We're gonna have to try that one slower.
(laughing)
- So slow it is, it's based off of paradiddle-diddles.
- Right.
- And then single strokes right at the end.
- So two paradiddle-diddles?
No, two (mumbles) yeah, three paradiddle-diddles.
- Three paradiddle-diddles and then some fraction stuff
at the very end which is just (drumsticks clicking).
- [Jared] Groups of four.
- Yeah, four, four, two on the hands.
So, here we go.
(drums beating slowly)
- See, when you play it slower it makes way more sense.
(laughing)
- See for me, I'm like, oh God, where am I in the phrase?
So I'm glad that's comforting.
- Yeah, do you mind just doing it, rotating it a few times
so we can hear it.
- Yeah, yeah, so.
(drums beating slowly)
(drums beating rapidly)
- It just goes to show you how much more flashy it sounds
with just speed added.
- Exactly, exactly.
- That's so cool.
Last one, it's a double bass chop.
- Oh yes.
Okay, so this one is just got all sorts of stuff going on.
You got some flams and then a majority of the groove
or the fill is based off of paradiddles and you're accenting
one E, two E, three E, or whatever it might be.
So this is at normal speed.
(drums beating rapidly)
Here we go again.
(drums beating rapidly)
- Nice, do you mind trying that slower?
- Yeah.
- I know I'm a broken record.
- No, you're fine.
I appreciate you telling me because, you know,
it's good to hear.
Here we go.
(drums beating slowly)
- Awesome.
One thing I like what you do a lot of is the use
of ghost notes.
Really like soft strokes mixed in with the accent notes.
- Thank you.
- It gives it lots of texture.
- I love, dynamics is like what I preach
to my students at home.
Some of you guys are watching, hello.
- 'Cause you played a lot of metal (mumbles)
and harder music and so that's something that
a lot of people when they think of metal or that type
of stuff it's like lacking dynamics.
It's one volume, right?
- Yup.
- It's high and triple metso, what is it?
Triple forte or something like that?
- Too much forte I think it's called.
(laughing)
Too much forte.
- Nice man.
So with all this stuff, someone really likes your drumming,
likes your style, they want to get into it,
what would you suggest is like the starting point
for them?
- You know, I think, like I was, I know, now I'm sounding
like a broken record.
I call it prior knowledge.
So it's, I'll set the sticks down for this one.
So, you can't expect to sit down and play all this stuff
if you don't know what you're playing, right?
If you're gonna learn the stickings and you're like,
I don't even know what I'm, it's not gonna happen.
It's not gonna sound fluid and natural.
So for me, prior knowledge, I learned as many rudiments
and the dynamics to the rudiments, most importantly.
Every rudiment has a dynamic to it.
And I drilled those over and over and over
and eventually with lots of practice and time
you'll start throwing kicks in between or on top of them
and mixing the rudiments up
and that's where a lot of that comes.
But, start with your dynamics, start with your rudiments.
It sucks, none of it's fun.
But, man, it will make you so much better.
It'll make your playing stand out more and be more unique
and yeah, I mean, I think that's what most people want
at the end of the day is to be their own drummer.
Do you know what I mean?
- Yeah, exactly.
I think what a lot of people see is they see you
flying around the kit and it looks easy.
Some of those last fills you did are crazy
but so many people don't realize how much time you spent,
like in drum line learning the paradiddle-diddle,
learning the single paradiddle.
You said you took a year and half off of the drum set
and literally just played that.
- Yeah.
- And so, like that's a lot of time and effort
and prior knowledge and building a foundation.
- It was and what's crazy about it, it wasn't intentional.
I just, not like I never touched my drum set
but I rarely did.
I was always doing drum line.
I was always doing rehearsals and practices
and all that stuff so.
- Awesome.
Thanks for sharing that.
- My pleasure.
- Yeah.
So, for those of you watching, we're gonna get into
some questions soon.
Luke is gonna play another track.
You're actually gonna play Justin Bieber's Sorry.
So, if you are inside the Drumeo members area,
you can go ahead and fire off your questions.
We'll get to as many of them as possible.
If you're not, you can join us for a free trial.
It's Drumeo.com/trial.
I'm also doing an interview with Luke after this,
or tomorrow I should say,
that's inside of the, only inside
of the Drumeo member's area as well some other
exclusive stuff that we're filming.
So if you aren't a student, you can sign up for free,
get a free trial.
Try it out.
If you don't like it, you can cancel.
If you like it, stay with us forever.
I want everyone to stay with us forever obviously.
- Including me, I think.
(laughing)
- You want to stay?
- Is this it?
Is there where, is this my life now?
Just Drumeo for the rest of my life?
- Yes.
- Cool.
- We're gonna handcuff your legs to the chair
and tie you to the (laughing drowns out speaker).
- Oh God.
(laughing)
Well, on that note.
- So this is Justin Bieber's Sorry.
(laughing)
(clapping)
- That's the best version of Justin Bieber's Sorry
I've ever heard.
(laughing)
- Thank you.
- Awesome.
Let's get into some questions.
- Ask me questions.
- Alright.
So the first one is from Bassilo.
He says, what are you currently practicing
or struggling with?
- Ooh.
Okay.
So something that I have not delved very deep into,
I'm kind of ashamed to admit it honestly, is jazz.
I never was very keen on jazz music to be honest.
And it's not really something that I've taken the time
to sit down and learn.
Which I know it's something I need to learn
'cause that's kind of like a whole separate area
of drumming that is, when I see people play jazz
I'm just blown away.
That's just like a different instrument almost.
- So why?
Explain why.
Why do you think it's something you need
to learn how to play?
- Because, okay, this is a very important thing.
Because I always say versatility is key.
It's so important.
Nowadays, there's so many musicians and so many outlets
to get your name known and this is who I am,
this is what I'm capable of, that you have to be able
to do as much as you can.
It's like turning in a resume and just being like,
oh, I can do this one thing and that's it.
And it's like, well, we want you to do multiple things.
So, I think it's really important.
So that's something that I need to stop being stubborn
and just finally do.
- Yeah.
- Yeah.
- So what do you do,
maybe I shouldn't ask all the questions.
But I can ask you (laughing drowns out speaker).
There's lots of questions here.
From Andrew Douglas, he says, sometimes when I play songs
with more intricate drumming everything feels good
and then when I go to play trickier parts,
my body locks up and the parts come out choppy
or barely at all.
Is this just an issue of needing more practice
or is there something else that can help?
- I think two things that immediately stuck out to me
is understanding what you're playing is so important.
And the second thing to understanding what you're playing
is taking the time to play it slow and be like, okay,
you hear this cool fill that somebody might be doing
and you're trying to imitate but you don't know
what they're doing so you play your own version of it
and it's probably not coming out the cleanest.
And that's okay.
Just slow it down.
Maybe YouTube some videos of the drummer playing it live
or yeah.
- Cool.
This one's from Mauricio.
He says, why change from the four piece kit
to the beautiful monster that you're playing now?
(laughing)
- Beautiful monster, I love it.
Good question.
Because I am so comfortable on a four piece, that bugs me.
I wanted to get out of my comfort zone.
That was the biggest thing.
And, I wanted whatever I was gonna do next
to be kind of the shock factor, you know?
People be like, whoa, I didn't expect that.
That's kind of left field.
So, that's the main reason.
I wanted to get out of my comfort zone
and it certainly has done that.
It's like playing a whole different instrument, man.
Like, placement of everything has changed dramatically
and just all the different tones.
Actually, speaking of tones, the person who recommended
that I get more sounds, I was talking to Tony Royster Junior
about it and he was like, I was like, dude,
what do I need to do?
And he's like, you need more sounds.
And I was like the biggest influence for me getting
the seven piece.
Yeah.
- Awesome.
Test the Beat says, what has helped you so far
in your drumming career?
- Ooh.
- It's a broad question.
- It's a very broad question.
I was about to say, I wish we could dive into that more.
If it's the social media, that kind of side
or the actual playing side.
Both I could talk about for now or?
- Choose two.
- Okay, so I think social media or getting your name
out there and known, the most important thing
besides of course your playing and being a solid player
is being likable and not being a jerk or somebody
that nobody wants to hang out with.
Right?
Because when you go on tour you are cooped up
in the same bus, well, it might be a bus.
It might be a van, depends on how you're touring.
And, if you don't like that person that you're touring with
and living two months at a time with in a confined space,
they're not gonna hire you if they don't like you.
So, that's very important.
As for the actual playing, I think keeping a very open mind
to music is crucial.
Being able to appreciate different genres
and apply what each genre does to your own playing.
And that's kind of what I've been trying to do.
Like, you're talking about ghost notes in metal
and stuff like that, I've been trying to take
different elements and put them into my playing
so it sounds unique and not just like, blast beats.
(humming)
You know, just all that kind of stuff.
Or, if I'm going to the funk stuff, throwing in some
of that weird stuff that I learned from playing fast
and intricate so.
- You can tell those influences.
You know, like in Justin Bieber you went
to the basso pattern on your bass drum, right?
- Yeah.
- And then the one groove with the three notes,
that sounds very like 70's funk if you played it
a little bit differently.
But, you're kind of taking those influences and putting them
into these new modern styles which is pretty cool.
- Thank you man.
- This is from Pablo Falisz.
He says, you are really successful now
but what kept you motivated initially?
- Ooh.
- This is what a lot of people struggle with,
including myself.
And to see someone touring and like full on doing it,
making it a living, it takes a lot of motivation
and perseverance.
- Yes it does.
It is not easy, I can tell you that.
Pablo, right?
- Yes.
- Pablo, wherever you are out there in the world.
(laughing)
Yes, so motivation is something that's not the easiest
to find.
I think that, it sounds ridiculous but break ups motivate
because success is the number one
motivational factor, right?
Like, I want to be successful.
Who doesn't want to be successful?
Like, nobody wants to be unsuccessful, you know what I mean?
So just different things in my life that were happening
and it just made me want to come home and be like,
I'm gonna get super good at drums.
Which I'm still working on it
but I want to get, I want to be the best.
Which there's no such thing.
But, that's just kind of, that was my motivation
is to be successful.
And I know that that's kind of a stupid answer
but it's always, I've just always wanted to be successful
I guess.
- Yeah.
We're gonna go deeper on this tomorrow.
- Yes, we are.
- Because I have many, many follow up questions for that.
'Cause I'm interested.
Especially with the new modern way of doing this
because like the old way of doing this is like
doing a band in your local town and start playing gigs,
you know?
- Make it big.
- Play on the jazz bandstand.
But now it's completely changed.
The path to success.
- Totally, yeah.
- And so, it's always interesting to talk to people
about it.
Let's take one more and then we've got another song.
This, you don't have to do this if you don't want
but I thought it was a good, I'm not gonna ask you to do,
well, I'm kind of gonna ask you to do a solo.
- Oh well you have to now.
(laughing)
- He says, Kyle Drummer says, if possible, can you try
and do jazz solo (mumbles).
I'm curious to see (mumbles).
- Oh God, no.
That's the thing, I wouldn't even know where to start.
It's pathetic.
- Okay, here's another one then.
- Okay.
- From Dano, he says, what's your best go to beat
that you like to play?
Like, what's your number one?
Someone says sit down and play drums,
what is like the first thing that happens?
There's gotta be something.
- Let's find out.
(drum roll)
Oh I know one.
I love this one and I still haven't really found
a place to put it, I don't think.
But, here we go.
(drums beating rapidly)
(clapping)
- That was great.
- I like that, just that feel.
Kind of dancey, you know?
- Nice.
- There you go.
- Luke, thank you so much.
- It has been a pleasure.
Thank you Jared, Drumeo.
- It's been great.
Thank you to all the companies that helped out.
DW, Remo, Meinl, Vater, Inner Ears.
If you want to sign up to Drumeo, you should check it out.
If not, that's fine.
(laughing)
- Do it, do it.
I have 13 subscriptions.
- You do?
- Yeah.
- That's the only reason we're still alive.
(laughing)
- I've subscribed to you guys so many times.
- Awesome.
So the last song you're gonna be playing
is from your project with Jason Richardson.
Is that right?
- Yes, yes.
- And this one's called Retrograde.
- Yes it is.
- Awesome.
- This one, in the studio when we were writing the song,
the pre-pro name was called Left Foot Action
because Jason wanted a song where my left foot
was just going the whole dang time.
Oh man, this one took a lot of time.
This is one of those things, like, I heard this
and I was like, that's not possible.
It is possible but I don't wanna learn it.
So I had to take the time and sit down
and I would do it on the floor.
I'd take my feet and just, you know,
it'd be, well, you'll see.
But yeah, it took a lot of time to do this one.
- Awesome.
I'm gonna run in there.
- Cool.
- Before you go just let me get out.
- Yeah.
- And then you're all by yourself.
- Yeah, sure, here we go.
(laughing)
(fast-paced rock music)
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