You Really Can Build a Professional Custom Drum Set

Building a professional custom drum set is something that is achievable by everyone, from the experienced wood worker, to the low budget garage band musician. I remember before I started building my own drums I would always wonder what it would be like to have an endorsement deal with a major drum company, preferably Yamaha. I would day dream about the different configurations that I would be able to have and how I would entertain an entire music venue full of wild screaming fans all listening to pounding beats emanating from my drums… I think most drummers have this fantasy at least once in their career, only to eventually settle for a second best “out of the box” assembly line drum set.

Drum Building Encouragement for a New Year

I just wanted to remind and encourage all you drummers out there not to give up on this dream. You can and will achieve it if you don’t give up. I feel like this is a post that needs to be written about once a year, and since it’s the beginning of a new year it just felt right to talk about your dreams. 2013 may have been a year where you met lots of your personal and professional goals, or you may have failed miserably. Don’t let your failure bring you down. More specifically don’t let your inability to play the drums well enough to receive a full sponsorship keep you from having the drum set of your dreams. You don’t have to wait for someone to respond to one of your hundreds of emails that you’ve sent to custom drum companies asking and begging for a free drum set. Yes I’m talking about you, you, and you. I’ve gotten all of your emails asking for an artist endorsement deal, and I’m sorry I haven’t responded, but I (and most custom drum builders) just can’t give away free drums. I do, however, have another option for you.

This is your year to learn how to build that custom drum kit in your dreams. I may not be able to help you achieve your dream of playing sold out stadium shows, but there is no reason for you to go another day thinking that you don’t have what it takes to build a custom drum set. I’m not going to give you my sales pitch, but I did want you take a look at what I have been able to do since I started building drums in 2006.

A History Lesson: A Few of My Major Drum Building Milestones

In 2006 my friend Kevin showed me the very basics of building my first drum set. At that time I was able to order all of the shells, parts and finishing materials for under $1000. With no drum building experience at all I was able to crank this baby out.

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It’s Christmas time again and it’s time to share some of the items that are on my personal wish list – along with gifts that any drummer would be happy to receive!

  1. A NEW DRUM SET! $150-$5000. This is the perfect gift for anyone who either wants to learn how to play the drums, or wants to upgrade their current set.
  2. Sabian AAXplosion Cymbals Set. $700. The next best present besides a brand new drum set would be brand new cymbals! Drummers always need better cymbals, and your drummer is will love these.
  3. Vic Firth American Classic 5A Drum Sticks. $6.99. Giving a drummer a pair of new sticks is like saying “I give you permission to rock!”
  4. DW 9000 Series Hardware Pack. $150-$1039. If your drummer was anything like me growing up, he has been buying cheap drum hardware from Craigslist. This year you can make his dream come true by replacing all, or some of his hardware for his drum set. I own these stands and have posted a review of them HERE.
  5. Ahead Armor Ogio Engineered Hardware Sled with Wheels 38x16x14. $200-$300. If your drummer is a giggin’ drummer, then he or she will most definitely need a hardware case or bag for taking their hardware to gigs. I have this particular hardware case and have reviewed it HERE, but I also highly recommend SKB cases.
  6. Kickport Bass Drum Enhancer. $40. I didn’t know what to think about the Kickport when it first came on the market, but after my friends and sound engineers affirming the sound it was giving me, I became a believer. See my review HERE.
  7. Drumming T-Shirt Weapons Of Mass Percussion Drums. $20. …Because every drummer needs that one cheesy drummer t-shirt.
  8. TAMA Rhythm Watch 2. $100. Every drummer should be able to play with a click track, even if you don’t see yourself using a click track in the future, it’s nice to at least have that skill in your bag of tricks.
  9. Roland SPD-SX Sampling Pad. $799. OR  Roland OCTAPAD SPD-30 Digital Percussion Pad $699. For the drummer who wants to integrate some additional sounds into his set up without have to lug around 500 percussion instruments!
  10. Benny Greb The Language of Drumming. $25. Winner of the 2013 Modern Drummer Reader’s Poll for best Clinician/Educator and Educational Book, Benny’s book will transform your drumming.
  11. Mike Michalkow’s Drumming System. $127. This is one of the best drum lessons DVD packages that I’ve ever owned. Check out my review HERE.

For More Drummer Gift Ideas check out these blog posts:



This is a guest post from Dusty Saxton. Check out all of the Pro Drummer Tips here.

My name is Dusty Saxton, and I’m a touring and session drummer from Austin, Texas. I’m currently play with country artist Granger Smith. I toured with my original rock band, Ember, for four years between 2007 and 2011 and shared the stage with Hinder, Theory of a Deadman, Hell Yeah, Halestorm, Disturbed, Avenged Sevenfold, Black Stone Cherry, and Stonesour.  Years ago, I was primarily a guitar player.  In fact, I didn’t even own a drum set.  Drums have always been my primary instrument, but however it happened, I spent many years of my life as a guitarist.  During this time, I spent most of my money on effect pedals.  I loved the idea of making my guitar sound nothing like a guitar.  The soundscapes that were possible with delay pedals, loop pedals, and filters fascinated me.  Over time drums came back into my life and I began to contemplate the concept of adding effects to my drums live.  I tried this a number of ways but the best way I came up with was to use Ableton Live.

Adding Triggers to My Drum Set

Ableton has what are called “drum racks”.  A Drum Rack is basically a drum setup, a collection of sounds, a chain of effects; whatever you may be using for a given song.  Ableton itself sort of works as a sampler.  I added electronic triggers to my drum set.  One on my main snare, one on my kick drum, and one on my last floor tom.  I also added a trigger to a 10″ side snare with a mesh head for purely electronic sounds.  I bought an Alesis Trigger io interface to use the triggers with Ableton.  I don’t use these triggers to replace the sound of the drum they’re on but to trigger an additional sound or a sound with an effect on it.  Currently I play for a country artist named Granger Smith.  Some of Granger’s songs have electronic drum loops in the intros, or an electronic snare or clap sound throughout the song.  Bands I’ve been a part of in the past would have usually just tracked those parts and I wouldn’t have played them live, but I made it my goal to play every percussive part on the album (that my number of limbs would permit). Granger was already running his click tracks and automated light show in Ableton so it was easy to build drum racks for each song within his show files.

Here’s where the programming work comes in.

Granger has a song called Sleeping On The Interstate which on the record has an electronic snare mixed in with the real snare.  I had Granger send me the electronic snare sound from the record, I created a drum rack for the song, loaded the snare sound onto the trigger on my main snare, and there you have it.  Except, the song has a pretty long building intro which doesn’t need the electronic snare sound.  Fortunately, Ableton allows you to automate pretty much any aspect of it.

Automating Drum Triggers Using Ableton Live

Ableton has what are called Macros.  Macros are virtual rotary knobs that you can map almost any parameter of Ableton to in order to control or automate that parameter.  In this case I mapped the Device ON/OFF button for the sound I was using on my main snare trigger to the first Macro of the drum rack.  Since Granger uses Ableton for click track and for controlling lights, I created a track just for drum racks and added a MIDI clip to run for the entire length of that song. Creating this MIDI clip allowed me to automate the Macro assigned to the Device ON/OFF for my main snare trigger throughout the course of the song turning itself on or off only when I needed it.  In the case of this specific song, I didn’t need it for the first 45 seconds of the song.  Ableton organizes its tracks as scenes.  In my case, for each song there was a track for click, a track for lights, and now a MIDI track for my drum rack automation.  Each ‘scene’ includes the click, lights, and MIDI drum rack automation, for each song.  When you play a scene it starts all 3 tracks simultaneously and they run together.  This meant that I could hit play on the scene for Sleeping On The Interstate and count along with the click until I wanted the trigger sound to turn on, then right at the moment when I needed it, I changed the automation to ON.  The sound remained off for the duration of the intro and then turned itself on for the rest of the song when I needed it.

I did this for another song that had a kick drum break.

I had added a trigger to my kick drum that I wanted to put a cowbell sound on for that break so I would be playing an electronic cowbell and my kick drum at the same time.  I did this the same way.  I made a drum rack for the song, created a MIDI clip for the MIDI drum rack automation track, found a cowbell sound that I liked, placed that sound on my kick trigger, hit play on the scene for that song, counted along with the click track until I found the in and out points of the kick drum break, and mapped the automation to turn the sound on only when I wanted it on and turn itself off when I no longer needed it.  The problem now was how to switch between drum racks.  I could just turn both sounds off and leave them off for the rest of the show, but I wanted to put different sounds on my snare for different songs, or have my kick drum trigger an 808 bass hit or a vibraslap.  I didn’t just want to use a cowbell on my kick drum for the rest of the show.  Luckily, drum racks have what is called a chain selector.

Using the Chain Selector and Macros to Automate Changing Drum Racks

This is used to switch between different chains of effects, but we can use it to switch between drum racks.  I continued to think up different ideas for different songs.  Some songs didn’t need any electronic sounds, and others did.  I ended up making 9 drum racks for different songs in the show.  I mapped the chain selector to a Macro and changed the MIDI automation so that each song would load its own drum rack as soon as I hit play for that song’s scene.  If a song didn’t have a drum rack the chain selector would go to 0, which didn’t activate a drum rack at all.  On one song I put a trigger on my side snare, loaded a snare sound onto the trigger, and added a filter delay sound to the trigger but I made the delay effect 100% wet.  This way I only heard the delay sound and not the actual trigger sound.  Having a delay effect on my side snare and playing along with it in tempo with the song made for some really cool grooves.

Automating ON/OFF Switch for Triggers

The awesome thing about Ableton is being able to automatically turn sounds on and off.  I even applied an 808 bass hit to my kick drum, turning it on and off really quick so that I could play the beat of the song and that one specific downbeat would trigger the 808 and all I had to do was play the beat normally and the computer would turn the sound on only for the one hit that I wanted the 808 applied to.  I had essentially created an effects loop and pedal board for my drum set, and could automate when the effects loop would turn itself on or off even down to just a single beat.

Using an iPad to Manipulate Effects on the Fly

I connected my iPad wirelessly using an app called Touchable, which is a remote control app for Ableton, and using an XY pad on the iPad I would manipulate delay effects on my snare.  One song had a quick build that ended into a break with no drums.  I programmed the automation for a clap sound on my main snare trigger to turn itself on right on the very last hit of the build and echo out into the break with no drums.  I programmed the XY pad on the iPad to turn the delay feedback to 100% as soon as I touched it.  I mapped the X value of the iPad to the delay time. Moving my finger to the left would slow the effect down. The Y value I mapped to a couple of different things.  I mapped it to a filter that would take all the high end out of the sound as I moved my finger down, and I also mapped it to a reverb that would increase as I moved my finger up.  I also set the minimum delay feedback value at about 50.

What happened in action was this:

We finish out the chorus, do a 2 measure build, then silence, but on the last snare hit of the build, the drum rack automation turns on the clap sound applied to my main snare trigger loaded with all these effects.  The sound starts to echo, I touch the XY pad on the iPad which turns the delay feedback up to 100%, I slide my finger to the bottom left corner which slows the delay time down, drops the pitch (because its an analog delay effect), takes all the high end out, and as I move my finger towards the top right corner, the delay time starts to speed up, a reverb adds in, the high end of the filter comes back, and once my finger gets to the top right corner I let go, the delay feedback goes back to 50%, and the sound gradually fades out like a space ship shooting off into the distance.  Pretty crazy sounds to be coming from a drum set, and just some of the possibilities that are capable from integrating Ableton and electronics into your acoustic kit.  The simple application is that it allows me to include electronic percussion sounds directly out of the records from the artists I play with, and load different sounds up for different songs quickly and easily, the computer does all the work.  And on the extreme end, it allows me to add delays, filters, and other effects to my drums and manipulate them live with an iPad.  I’m learning new things about it every day and I’m excited to dive deeper into the world of Ableton and add more effects and things to make my drum set and live performance more musical.

TIME SENSITIVE: I have secured a $100 discount from Jared for the first 10 people who order Successful Drumming. It is simple; just use the promo code “makedrums” at checkout to get $100 off! After 10 people have used it, the code will expire!

Disclosure: Since I spent a LOT of time reviewing Successful Drumming, I would appreciate your support in buying lessons through a link on this page. You won’t pay a cent more, but I’ll receive a commission for my time writing this in-depth review, which helps fund this website (and my drum building obsession!). Thanks! —>Use any BLUE AFFILIATE LINK on this page!

Jared Falk's Successful Drumming

I know I’m a dork…and I’m just fine with that.

The Skinny on Successful Drumming

This drum lesson package is like nothing that Jared Falk has ever put out before. I would say that this drum lesson package is about 50% drum lessons and 50% drum coaching/musician career development advice. This lesson package is more like have Jared Falk as your personal mentor and guide to help you set out on the path to become a successful drummer. Actually I don’t think that Jared could have come up with a better name for this lesson package. This is much more than just drum lessons, it is a blue print for a great drumming career. You learn ALL the ESSENTIAL drum lessons to be a successful drummer. Jared feels more like a drumming coach and drum career mentor in this package than he does a drum instructor. This is really great content for people who want to actually play gigs with other musicians and bands and be a… successful drummer. (No pun intended)

This DVD drum instruction package isn’t for someone who wants to learn about every style of drumming (although Jared shows you his most used beats from several different genres of music). To me this package is meant to set up every drummer who watches this for a very successful drumming career. This doesn’t mean your going to be the next great nashville session drummer, but it does mean that if you follow the tips and tricks that Jared is giving you, you will be called again and again when it comes to players needing a drummer. Your getting the call because you know the importance of locking in with a bass player, you know about how to write creatively with a band, YOU KNOW THE SUCCESSFUL BAND METHOD. – This is really good info from some professional musician veterans. REAL Life GIG Talk. Really good to hear. Not a drum lesson, but more of a musician career coaching session, which is in my opinion much more valuable than a drum lesson because this information is going to actually set you up for a better drumming career in the long term.

Successful drumming

Overview of Successful Drumming:

10 training DVDS

7 Audio CDs

1 Giant Workbook (which has some really great exercises, articles and easily allows you to track your progress)

Access to the Online Members Area (You get all of this stuff backed up online, and you get to interact with other students from all over the world!)

Teachers: Jared Falk teaches throughout the entire course, but he also invites some of his professional musician buddies in for some round table forum style discussion on different topics that will blow your mind.

90 Day Money Back Guarantee!

My (Unedited) Notes from Watching the Lessons:
Successful Drumming In Depth Review
The Foundation

Drumming tree is a very smart concept: When you learn the foundational stuff; basic beats, technique, kit setup, how to practice, playing musically, finger control, basic fills, basic theory, cross-sticking, moeller, dynamics, bass drum technique, rudiments, sheet music, posture…. then all of the other stuff falls into place with much less effort. – speed and control, linear drumming, jazz, polyrhythms, rock, prog rock, double bass.

I’m glad to finally have a lesson package that features Jared. He lives and breathes drum lessons.

Jared hits all of the basic stuff, but i loved the lesson on drum set posture.

Incredible split screen video.

He gives clear instructions on how to use this lesson package: “Play these drum beats at 60 BPM and 100 BPM for 2 minutes straight before you move on to the next beats”  and so on.

The Techniques

I love that Jared always demonstrates the exercises slowly, to where you can really see whats going on, and then he shows it at the faster tempo so you can be inspired to practice to make it sound really good at the faster tempo.

Rudiments – are the letters and words of the drumming alphabet.
If your playing drums, your already playing rudiments so you might as well understand what you are playing.

Jared doesn’t break down all 40 rudiments, just 5 that are most used in the drumming world.

The Grooves

The easy Beat system is a cool concept. Build the Beat from the top down (hat, snare, kick) In practice this is a little more difficult to get all my limbs to do exactly what I have written down on paper.

Drum Fill Builder – Both of these are great for composing drum set music.

Style Selector – Jared’s back of tricks for each genre of music. He gives you 5 drum beats for each genre so you can fake it till you make it! (been there done that!)

The Breakdown

The Drumming Cheat Sheet is Jared’s charting method. I’m so glad he included this. This is hands down one of the most important lessons for drummers to learn if they ever want to get gigs where they have a learn lots of songs quickly.

The bassist

Again this is high level stuff that most drummers never have a chance to learn first hand. Drummers – the bass player is your best friend. Play with him.

The Band

Great insight from pro music veterans! Everything from etiquette when working with a sound guy to talking about finances with your band! Oh how I wish I would have known some of this when I first started playing with a band.



Update: This product is no longer publicly for sale. For More information about how to get these videos CLICK HERE.


  • Step by Step video tutorials for how to cut and install re-rings on your drums
  • Easy to follow
  • 26.5 minutes of HD quality footage

Video Tutorial Breakdown:

How to Cut Re-Rings Using a Table Saw

DIY Custom Drum Building Course

Preparing the Re-Rings for Glueing

preparing re-rings for glue

How to Glue/Install Re-Rings In Your Drum

How to Glue Re-rings

Making Your Re-Rings Flush

How to Make your Re-rings flush

Installing Re-Rings on Kick Drums and Larger Diameter Drums

DIY Custom Drum Building

The following is a guest post from Ed Francis. Ed has created a flourishing drum studio where he teaches 50 students weekly, holds creative shows for his students all over town, and encourages drummers of all ages and abilities.  I thought it would be nice to have Ed, write about how he started Round Rock Drums, what his theory behind teaching drum lessons is, and how his teaching style has become what it is today…

drum lessons austin

The Drummer on the Round Rock

You’ve heard the stories where people have related how they felt led to do something;  where they made calculated decisions based on a pre-figured series of events that ultimately brought them to where they are…well, that’s not my story.

The teaching part came quite accidentally when I was 15.  While playing with the Toreadors (a Jr. Drum & Bugle Corp.), one of our snare drummers was unable to attend all the sectional rehearsals.  After each evening’s practice I would memorize all the new parts, get dropped off at my friend’s school, and show the parts they had missed.  It wasn’t my idea at all, teaching others was never on my radar.  One of my instructors asked me to do this, and even though I wasn’t sure of my ability to teach, I knew I wanted us to do well as we competed in New England.  So I showed up twice-a-week, and this went on for several months.

And it was a lot of fun, too.  I had a great time hanging out with my friend, and it also helped to reinforce what I was learning.  In many ways teaching really assisted in me becoming a better drummer.  I liked being able to share what I knew with another person who really wanted to learn.  It also opened my eyes to the power of giving.  I felt special that I could do something for someone else in a way which assisted in their ability to play well.  It was empowering!

Teaching To Change Lives

Later in life, a lady approached me about teaching her 10 year old son after watching me play in a rock band.  She asked if I could teach him how to play on the drum set.  I remember thinking to myself, “I guess I know a little bit more than he does.  I’ll give it a shot.”  Again, I wasn’t seeking to teach – it sort of found me.  And I learned so much from those first lessons.  I had no books, no idea of where to start – I only had a caring attitude and a desire to help this young kid.  I quickly learned that when teaching there’s so much more that needs to happen than just showing someone how to drum.  I discovered that the relationship was an important part of gaining results, and what I was showing wasn’t as important as how I showed it.

As far as motivation goes, I’d like to start with what it’s not (or at least, what it shouldn’t be about).  When teaching, our motivation cannot strictly be about making money.  I know many teachers begin teaching as a way to supplement their income, and there’s nothing wrong with that – so long as it all begins with a caring heart and a positive relationship that helps to open the doors of learning to the student.  If we start with these basic ideas everything else has a better chance to fall into place.  We need to remember what it was like when we were kids, and be the drum instructor we wish we had!

drum lessons teacher student

Concerning theory, I’ll say this:  Everything we do and how we do it impacts others.  Our students watch (their parents, too) what we do and how we relate while teaching.  If we truly care about what we’re doing, and about each student, the results will follow.  It’s an interesting thing to work with people of all ages, abilities, and personalities.  I’ve found it’s when I’m listening the most, and paying close attention to the uniqueness of each student, that I’m best able to be the Drum Coach I need to be for THAT student.

“If I’m trying to teach everyone the same way, then I’m merely providing a cookie-cutter experience lacking in the finesse and excitement required to inspire the next generation of drummers.”

My “style”?  I think it’s my lack of style that helps me to teach well.  When I meet a student and their family I’m just who I am – nothing more, nothing less.  I consider myself a goofy-guy who loves many things, including drumming.   And kids are quick to pick up on our genuineness.  Being kind and showing a real interest are key to starting a functional student/teacher relationship (for both kids and adults, too).  I really try to hang out with each student and get to know who they are, and what makes them tick.  Making those experiences fun and authentic all help to create an atmosphere of extreme learning.  We’re planting seeds of ability, cultivating creativity, and helping ideas to grow into full blown expressionism.  Our ability to nurture and encourage what is already their is our greatest deed.  And it all begins with truly caring about each student, no matter where they might be in their journey to learn.

Teacher Student Relationship

The teacher/student relationship is vitally important.  In my experience, the drumming and music have little chance without establishing that relationship.

And wonderful things continue happening for our students.  We just finished touring with my students as they wonderfully performed drum solos, duets and played as a group (of up to 35 full drum kits) at various locations around town as part of our Spring Concert Series.  I’m excited to share that we’ve recently teamed up with the Music Shack Studio where several of my students will be playing in student led bands during their Spring show in Austin.  I’m also currently working with the advanced tap dancers at The Dance Gallery writing the “Dueling Drum Dance” where I’ll be performing with some very talented young ladies at the Performing Arts Center (PAC) on June 5th & 6th.  And finally, we’ll be recording for the London based DrumOff TV DVD project this Summer where I recently won a spot as the very first DrumOff TV “30-Second-solo” soloist.  And yes…I’ll also be teaching as well.

Click here to find out more about Round Rock Drums.

drum circle

Have you taken drum lessons? What did you like or dislike about your drum teacher? Leave a comment to start a conversation!

This is guest post from Daniel Wainright in part of an ongoing series callled Pro Drummer Tips. If you’d like to submit your own Pro Drummer Tip click here.

One of the best things about drumming is how unique and individual we can make our sound. That can also be both liberating and terrifying in certain applications. Always choose gear that is designed to give you the sound you’re going for. That’s a given that has been stated many times but we can go much more into detail with tuning. Checking your pride in individual sound is also a huge key in making it in this present age of music.

Drum Tuning

One of the blunders I made frequently as a younger drummer is tuning drums out of their designed ranges.

For the typical drummer, gear is incredibly limited. Most drummers have one snare drum, a consistent set of cymbals and a few toms. There’s nothing wrong with this…continually seek the best possible sound and tuning structure on the kit you own. Don’t settle. Dial in what sounds great on every drum. You can make just about any kit sound great with decent bearing edges and the right heads. Make sure the head is in tune with itself (clear rather than murky/split overtones). Always check the relationship between the top and bottom head. Also, newer heads tend to have a better spectrum of sound and are easier to tune to where you want them. Try your best to get the best sound possible in every room you play and learn what tunings make your drums sing in small, medium and large rooms.

Take some time to look at this drum frequency chart online and learn where your drums typically sit within a mix. Most 12 and 16 inch toms are more dark/low in timbre and pitch than you might realize. If you have reinforcement rings, you might want to tune the drum a little higher than you would expect (re-rings raise the pitch of the instrument). You can cut resonance by using gaff tape, Moongel or Mylar rings. You can also do the same plus dropping the overall pitch by lowering the resonant head. The kick should be low and somewhat punchy for mainstream music. Control the resonance with either a pillow, porthole or a KickPort. The snare can be an infinite combination of tuning structures. Try to make sure your using that specific drum “for what it’s made for.” Usual problems in snare sound actually come from the bottom head rather than the top. Get a great sound from the drum first and then personalize it to your tastes

Checking your pride

Drummers always have set expectations and opinions on how their gear should sound live. Those might be spot on but we can be wrong from time to time. Different rooms respond differently and we should always cater to the room/ensemble and the sound pressure level that is normally present and acceptable.

We have all had gigs where we have an overly opinionated sound engineer that wreaks havoc on our pride. I’ve blown it dealing with this situation time after time. When I first moved to Austin, I was appalled at the fact that some sound engineers advised me to put gaff tape on my cymbals. In my head I was thinking, “Why…on earth would you ask me to put tape on precious metal that I’ve searched high and low, far and wide to the ends of the earth to find?” My answer came in the form of a sound guy telling me bluntly that I was completely washing out the rest of the band…I was blowing it as a musician because of my pride.

Todd Hartman, an esteemed sound engineer in the Austin area, suggests tuning a drum into a full and open tone but the sound many drummers are going for today is more of a dry/thuddy sound and as low as possible. You can achieve a healthy compromise. Philip Ellis (drummer for Aaron Ivey) uses a 12×14 (Depth x Diameter) inch floor tom in a genre that consistently asks for incredibly big and open sounds. It sounds huge through a PA because of how he tunes it and how he takes advice from a trusted sound engineer. My encouragement for you is to be in close communication with a sound guy you trust about tuning. They hear stuff you don’t…and trust me, they can be your best friend or worst enemy. If you’re on the road or in different venues then take a little time to talk to your engineer, ask for their name, talk to them like an actual human being and start a good working relationship.

Being solid and a great musician with killer sounds will get you gigs but being approachable and teachable will get you callbacks.

Always positively market yourself in the way you act. Your name goes a long way.

Daniel Wainright holds a music education degree from Tennessee Technological University. He studied privately under Dr. Eric Willie. While there, he was able to participate in every top instrumental ensemble offered from jazz to percussion literature to orchestral music. He currently resides in Austin, Texas and plays with Logan Walter. He has also worked with Jimmie Ingram, Craig Rigney, Aaron Konzelman, Jenny Taunton, Wesley Lunsford, Chris Heerlein and Steve Samuel in the Austin area.