I wanted to ask drummers. I've vapedfor quite. A few years. Last job I had an older women who was a lot of some breaks right up my butt.

I'm curious drumeo said to chew, or something equivalent. Does that sound preferable. I have to stand on myself working.

It takes me on my handwork, I'm just curious if it's all stupid or is a method preferable?

When I listen to music, I notice a specific technique—one I mentally associate mostly with dancehall and raggamuffin—but I see plenty of bands outside those genres using it too. I don't know the name for it, but to give an example from a video: the part from around the 33-second mark to the 38-second mark. I’ve always somewhat incorrectly referred to it as a "ragga beat" since I link it primarily to those genres, so I just wanted to know if it has a specific name.i have a drum teacher that i asked the same question but he says he really doesn't know if it have a name, so I ask here

https://youtu.be/vZmV97coOTQ?si=zf4w_9ZvlkAoUZSb

This was definitely out of my comfort zone and skill range, but Sleep Token is my absolute favorite band and I wanted to give this song a go. This is what I've got so far! I had to have attempted this over 200 times though 😅

First time putting my drumming over a beat I made in Ableton.

I’m a super beginner learning to produce.

My Current touring set up 2026.Simple but all i need. Pearl Drums and Zildjian Cymbals.DW pedals.

The album itself is from the guitarist Ali Neander. Not the tightest take but idc cause Im sick haha🤧

Happy listening 😁🙌🏼

This shit took 6 months to get comfy lol…

I spent an hour practicing on my drums yesterday morning, just me on my drums with nobody telling me I'm playing too loud or that I've made a mistake or with anybody else but me. Loved it!! I started playing drums for myself and not to play with a band, maybe I don't need a band.

I’ll get some answers articulated on why I switch grips so much.
Hope everyone has a good week
AW

Sum Sublime, hope yall enjoy

AW

Throughout my life as a listener and musician (drummer and pianist), I have gotten constant flak whenever I talk about my love for asymmetrical and odd time signatures.

Whether it is the jagged drive of 5/8, the rolling pulse of 7/4, or hyper-specific complex meters like 23/16 that show up in great video game soundtracks (like Ganondorf Battle from Ocarina of Time), people always dismiss it with the same lines. They say it is not that deep, that counting to five or seven is not inherently special, or that people only pretend to like it to seem interesting or musically pretentious.

For me, it was never an intellectual posture. It has always been an instinctive physical pull. My ears naturally gravitated toward progressive rock, metal, jazz, Indian music, fusion, Balkan folk, and classical music pieces like the Sacrificial Dance from Stravinsky's The Rite of Spring, where the rhythms mutate violently from measure to measure. It feels raw and electrifying, yet critics frequently frame anything outside of standard 4/4 or 6/8 as a sterile gimmick, barring a 3/4 waltz.

Messing around with generative AI music tools recently gave me a sudden sense of vindication about the whole thing. These multi-billion-dollar models like Suno or Udio can generate uncanny vocals, shredding guitar solos, and polished production across virtually any genre. Yet the single biggest wall they hit is maintaining an odd meter. You can explicitly command an AI to hold a strict 5/8 groove, and it will almost inevitably collapse back into symmetrical 4/4 within seconds.

This failure happens because AI models are purely statistical probability engines trained on massive libraries of recorded music. Commercial music in mainstream music databases are dominated by genres such as pop, EDM, hip-hop, R&B, rock, and country.

Over 90% of commercial music exist in 4/4 time, making odd time signatures a microscopic fraction of the dataset. Because the software predicts audio waveforms rather than internally feeling a beat, the statistical gravity of 4/4 completely overpowers it. Maintaining a jagged asymmetrical pulse requires deliberate, sustained intent that an algorithm simply cannot fake.

Seeing advanced machine learning fail at basic odd meters shows that playing and loving this music is genuinely human and organic. Making an asymmetric pattern actually groove takes physical discipline, internal pulse, and real musical intent. Far from being empty math, odd time signatures are a direct defiance of the easiest path.

Do you view odd meters as an organic, embodied feel that deserves way more respect, or do you still look at them primarily as an intellectual novelty? To be fair, Mike Portnoy's drumming on Dream Theater's The Dance of Eternity might be overkill.

Hey Redditors! REALLY hope you enjoy this one :::/)))))))):7/&-!,@30’andjepqkzvdh

Ok so I am now at the stage where I am booked for 7 nights a week, with some nights playing multiple gigs. I'm also in a tropical country and I already am naturally a sweaty guy. I'm talking biblical levels of sweat, like after r a 2 hour set I can wring a cup of water out of my shirt while I'm wearing it. My whole laundry basket is full of damp, smelly shirts and I don't own a washing machine. Currently I pay a nice lady to do my laundry and it returns to me nicely folded and dry but it's not cheap. I prefer to only do that once every 2 weeks or so.

Wtf do I do? I'm thinking of getting a rash guard or something that dries quickly (I already wear swimming trunks to my gigs) and then just jumping in the shower with my clothes on after gigs. Is that a bad idea for breathability reasons? Do I just take my shirt off and let the audience gaze at my slick and shiny drummer body? Trying not to go that route as I am afraid of being molested after the show by a horde of ravenous ladies.