Name: Justin

Where do you live? Philadelphia, Pa

What are the sizes of the drums you built? Snare Drum – 14×8, Bass Drum – 26×16, Floor Tom – 16×16, Rack Tom – 13×8

What type of shells did you use? All shells are 8 ply Keller VSS Maple with reinforcement rings on the snare drum.

What type of drum hardware did you use? All of my hardware is from drummaker.com. I used classic pearl style drum lugs along with the classic style bass drum claws to get a 70s style looking kit.

What type of finish/wrap did you put on your drums? The Wrap is a silver glass glitter.

What was your favorite part of building your drums? My favorite part in building process was putting on the wrap and beginning to see what the drums were actually going to look like.

What was the hardest part of building your drums? The hardest part for me was making sure all my measurements were exact and all the holes were drilled right. I was always nervous before drilling any holes into the drums.

How long did it take you to build your drums? It took me about 6 months to finish my set.

How much money did it cost you to build your drums? I want to say around $1500-1600. I didn’t buy everything at once so I forget exactly how much the total cost was.

How did you learn about building custom drums? I did research online, watching YouTube videos and read your eBook.

What is one tip you could share with someone who wants to build their own custom drums? Do your research and read the eBook before you begin to build your custom drums. It’s an exciting process to be building your own custom drums, just be patient with it.

With Valentines day around the corner, I thought it would be nice to give away my eBook for free!

How to get my drum building eBook for free:

From February 14-17, anyone who buys  The Cobus Method (affiliate link) or Mike Michalkow’s Drumming System (affiliate link) by clicking through either of my affiliate links will also get a FREE copy of How to Make Custom Drums!

After this promotion is over I will verify that you purchased one of those products by using my affiliate link and I will send the latest edition of “How to Make Custom Drums” and it’s bonus material to the email address associated with your purchase!

Also – Get 40% off Mike Michalkow’s Drumming System and a signed card from Mike if you buy it during this promotion!

Why I am giving away my eBook for free:

To keep it short, I own and believe in both of these products and I think that any drummer would benefit greatly by studying and practicing the methods and systems laid out in the DVDs. You can see my full video reviews of each product by checking out these older blog posts:

• Mike Michalkow’s Drumming System Review – How to Play the Drums
• The Cobus Method Review – How to Play Drums Like Cobus

One of the other reasons is that I may receive a small commission if you purchase using my affiliate link.

I was able to meet Mike Michalkow at NAMM this year and learned that not only is he a great teacher, but he is nice enough to let a stranger take a picture with him! He was very friendly, and in the music business that goes a long way. That only made me want to promote his products even more!

Although I didn’t get to meet Cobus, I still believe in his method. Just watch any of his YouTube videos and you may realize that you would benefit from letting Cobus teach you how to play the drums by ear!

Remember this promotion is from February 14-17. Make this Valentines Day doubly special by getting 2 great resources for the price of 1!

Don’t forget to watch Brian Frasier-Moore at the Super Bowl performing with Madonna! I was able to check out Brian’s kit at NAMM this year, and it is a beast of a drum set. It features a custom rack design by Chris Achzet. Chris has been Brian’s primary drum tech for the past 9 years. Brian was endorsed by TAMA drums for over 10 years but was recently recruited by DrumCraft – A German based drum company. Check out the press release from DrumCraft’s website:

We’re very proud to announce that Brian Frasier Moore has joined the DrumCraft family! Brian resides in Los Angeles and has recorded and/or toured with such artists as Janet Jackson, Christina Aguilera, Usher, Aaliyah, Madonna and many more…

Brian will perform with Madonna at the half time show of the Superbowl on Sunday, Feb. 5th in Indianapolis.

We are honored to have Brian on board as a new DrumCraft artist and look forward to a long-term relationship and are excited to watch his career further develop using DrumCraft products.

I’m excited to see him play today. Make sure to friend him on facebook and/or follow him on Twitter @BrianFrasierM. I’m sure he’ll be posting some behind the scenes updates!

I recently had a chance to talk with Ed Francis aka “The Drummer on the Round Rock” to ask him to share some of his drumming wisdom with the community here at Makedrums. Ed shared some really incredible insights on attaining your goals as a drummer, but don’t be fooled! These tips can help you achieve goals in all areas of your life – not just drumming!

MD: Could you share specific examples – some “drum nuggets” of wisdom – that you have held on to, and have seen as instrumental in helping you achieve your personal drumming goals?

Francis: Humility is always a good place to start. When I first began playing [the drums] I knew that I didn’t know it all and I wanted to learn as much as I could about drumming. And I continue to remind myself of that way of thinking – that I still don’t know it all.

MD: A sense of knowing your own limitations has helped you…what else?

Francis: Let me try to create a list of things…

I don’t consider there to be any “hard and fast rules” to drumming success. Everyone’s path will be different. These are merely some examples of what I have done, and ways of thinking, which have assisted me well with my drumming career. I‘m sure there are a few missing that are helpful, but here it goes:

• Practice.

It’s amazing how much more someone will listen to you if you are already doing what it is you are asking of them – and this is most certainly true for teachers. Whether we’re playing for a band, teaching or giving drum clinics, people will first take notice if we’ve put in the required time and effort. As a friend of mine used to say, “the proof is in the pudding.”

The level of consistency we put into practicing our craft is a reflection of its importance in our lives.

•  No matter what I needed to do for a “real job,” I’ve always had drumming as part of my life.

I’ve bumped into many people over the years who have said “I wish I could do (insert passion here), but I just don’t have the time.” They made many excuses for their inability to make their wish a priority. I never understood this way of thinking. While growing up as a young adult I held on to my dream of being a drummer and practiced, played and performed as much as I could around my work schedule.

We make time for the things that are really significant to us.

• Find out what is most important to you.

When it comes to drums there are so many areas of interest. Are you a novice seeking to increase your drumming abilities? Do you have a level of competency on your instrument and looking to develop a stronger presence in the community? What is it that you hope to accomplish with your musicianship? Answer these questions and you will begin to understand what it is that you want to accomplish.

Knowing who you are – and what is most important to you – will help you to reach your goals.

• Do not let anyone else (including me) dictate the terms of what is most important to you.

There are so many distractions out there! People trying to tell us what’s most important. Others trying to sell you things or concepts which are truly not necessary for what it is that you see as most valuable. Knowing yourself and feeling confident about what it is you are doing will aid in your ability to distinguish what is beneficial from what is a drain to your efforts.

Be your own drummer!

• Stay focused on your goals – but be willing to look around.

Once you get a feel for who you are as a drummer, and what you wish to accomplish, it’s always a great idea to look around at what other successful people are doing in the areas which are most important to you. I like to be inspired by those around me who are great at what they do – and this includes my students. Some of the very best ideas and influences may very well come from unexpected sources.

Take the “blinders” off and be sure to learn from others.

• Just because something is good to do doesn’t mean it’s beneficial.

I can’t begin to tell you the number of missed opportunities I’m glad that I missed! We’ve had shows fall into our lap (last minute) – huge media events on big stages with lots of free media coverage – where it practically killed me to decline. When not prepared, it’s far better to miss a great opportunity than to seize that same opportunity only to gain an unfavorable impression in the community.

Making a strong first impression is always the best thing.

• A good name is better than being “right.”

There have been a few situations where people neglected to pay for services I have provided. In the past I sought to collect on these past due amounts only to walk away with the money and the potential for a not-so-flattering story to be told. I’ve learned that I actually make more money by not worrying about a few small payments.

It doesn’t feel good to lose money, but gaining a great reputation is worth much more than any amount of money.

• Be confident with your ability to fulfill what you promise.

Ask yourself: “Is what I say I can do actually what I am capable of providing?” I try to balance my advertising to accurately match what it is that I’m able to accomplish. There is something to be said about doing what you said you can do. People respect that and will highly recommend you to others.

People are always going to gossip – give them something great to gossip about!

• Always have something nice to say, or say nothing at all (at least keep it constructive).

Be careful what you say. People are connected now more that ever before. Our relationships with others may very well be the bridge that allows us to capitalize on future business. And – to be honest – it’s just common courtesy to be nice to others.

If your heart and mouth are in alignment with your passion – and you care about the people you are working for – the money will eventually follow.

• Care about what you are doing and who you are doing it for.

People are smart. They know if you are invested in them or not. Get to know your band-mates, students (their parents), club owners, music store owners, (etc…), and truly seek to add value through what you do with your drumming. It’s about relationships not money.

Investing yourself into the lives of others is investing into yourself.

• Whatever you do – give it your ALL.

Whenever performing (a small daycare facility with only 20 little kids or a huge stadium filled with 5,000 adults) I put my heart and soul into that moment of performance. This is also true for any projects connected to my drum business. Remember, what you do in that brief moment may be the one thing where people base their entire opinion of who you are and your abilities. Always provide your very best at everything you do.

No matter how big or small give it your all.

MD: We always enjoy a chance to hear from you. Would you like to add anything else?

Francis: Thank you for providing this platform. I think what Makedrums.com is doing for the drumming community is great. And a HUGE thank you to all my family, friends and students who have helped to make my drumming career a reality.

MD: We look forward to hearing from you again.

You may find out more about Ed Francis and Round Rock Drums at: www.roundrockdrums.com

P.S. – Check out this awesome drum solo from ED!!!

 What are some of your drumming goals for the year 2012? What do you think of Ed’s solo?  Leave a comment here!

For some inexplicable reason, columns devoted to musicians and their lifestyle always seem to lead in the same direction – directly toward a gutter. Perhaps editors are convinced that the public yearns to know of carnal exploits rather than creative triumphs, that Iggy Pop’s latest bloodletting, for example would be better suited for public exposee than his latest single. The editors are undoubtedly right, but let me assure you, dear reader, that my type is capable of serious discourse, too. And there are a bevy of “legit” musical topics on which to expound.

That much said, I have decided to devote the next several hundred words (that’s pretty substantial, isn’t it?) to one of the greatest musical triumphs in history. To properly dig, you must transport yourself back to another era: the year 1938 and a place called New York City.  On the evening of January 16, a young bandleader called Benny Goodman assembled one of the greatest musical lineups of all time for a little hoedown at a class joint known as Carnegie Hall. We are most fortunate that the resultant events were recorded, for the fellas that night created a stunning musical document, a testament to the glory of swing and jazz: “Live at Carnegie Hall.”

For those of you who are bewildered that my choice for 20th century musical moment did not include the British Invasion or Mr. Presley’s verbotten gyrations, please allow me to explain. The mid-’30’s found America unwell – stuck in the doldrums of a lingering depression, and on the verge of a second world war. The great swing orchestras that rocked the world from 1935-46 – Chick Webb, Duke Ellington, Count Basie, the Dorsey Brothers et. al. – these mighty juggernauts gave the average joe a bit of respite.Their energetic, infectiously danceable arrangments provided weary Americans a thrilling form of escape. In fact, the fervor surrounding swing proved great enough to generate for the first time the sort of hysteria that we now associate with rock’n’roll. It was also one of the few times in history where virtuosity and popularity actually intersected. Under these circumstances did Mr. Goodman organize his little party at Carnegie.

The concert was important for a number of reasons. First, it was an arrival of sorts for the swingin’ cats, a recognition that their music had achieved the sort of credibility demanded for admittance into Carnegie’s hallowed halls. Let us not forget that Goodman, with his multi-racial ensemble (the first of its kind), wildly exhibitionisitic stage act and fanatical youth following, had begun as quite a controversial figure within mainstream American culture (think Alice Cooper or Marilyn Manson, literally).

Which brings us to the lineup. By ‘38, Goodman had succeeded in making a star not only of himself, but of the key men in his band – Gene Krupa on drums, Teddy Wilson on piano, Lionel Hampton on vibes, and Harry James on lead trumpet. Each would go on to legendhood as a solo artist, but here they were, all under one roof -  young, in top form and ready to take the world by storm. The concert also featured a host of stars from Ellington’s ensemble. They participated in a jam subtitled “Twenty Years of Jazz”, a medley of tunes that celebrated the genre’s first legion of heroes – Bix Beiderbecke, Louis Armstrong, the great Duke himself. As if that weren’t enough, John Hammond, the critic-entrepenour who brought us a range of artists from Billie Holiday to Bruce Springsteen, managed to work one of his up and coming discoveries onto the bill – a certain band leader from Kansas City called William Basie. It is the Count’s slammin’ horn section that provides the punch for the incredible second half of the concert. The material chosen that night lingers indelibly, and included “One O’Clock Jump” (Basie’s theme), “Stompin’ at theSavoy” (Chick Webb’s theme and the biggest hit from the concert), and of course, Louis Prima’s “Sing,Sing,Sing”, which by this point in Goodman’s career had morphed into a 12 minute showstopper (take THAT, Peter Frampton).

Amazingly, the entire proceedings were captured by just ONE suspended microphone, the action then relayed via telephone cable two blocks to the CBS studios, where it was “carved” onto master acetates. Primitive indeed, but the incredible accoustics of the hall give this recording a higher fidelity than most of its studio-produced contemporaries. For the first time, drums are audible, revealing every crisp Krupa fill and tomtom flurry (typically, due to frequency and volume issues, drums were kept at a considerable distance from microphones in a studio, the result often sounding more like a pillowfight than an instrument). Each dynamic interplay of soloist, ensemble and audience is delivered with delicious clarity, from Jess Stacy’s five spine tingling choruses on “Sing, Sing, Sing” to Hampton’s grunts on “I Got Rhythm.”

Unfortunately, “Live at Carnegie Hall” also marked the zenith of an era about ready to  fall victim to its own success – only one month after the landmark event, Goodman’s great orchestra split up (the first of several times) due to conflicting egos. Within three years, the mounting expense of a World War would put most of the big bands out of business, and by 1945 swing was out of style altogether. Goodman would play on into the 1970’s, but never again to reach the dizzying heights of stardom acheived on that chilly night in ‘38. As for the recordings, they were finally released twelve years later as one of the first commercially produced LP records, proving that undoubtedly, good things are worth waiting for. And boy, does this one stand the test of time!!

In my opinion, “Carnegie Hall” deserves not only the title of first “live album”, but also the honor as one the best. Do yourself a favor and check it out. Carnegie Hall Jazz Concert Featuring Gene Krupa on Drums

About The Author – Daniel Glass

Daniel is an accomplished drummer, writer, historian, and film maker. He tours regularly, and is a drum clinician. I encourage you to check him out when you can! Check out his tour schedule at www.danielglass.com!

A couple of days ago Ed Francis shared a tip about spiking your drum set hardware layout with tape to make sure that you set your drums up exactly the same every time, which leads to a more efficient set up and comfort when playing. His post reminded me of another important aspect of setting your drums up: consistency when setting the height and angles of your cymbal stands and hardware stands.

One of the main ways to consistently set your drum hardware up the same for every show is by using memory locks. Memory locks are basically small metal pipe clamps that you attach to your hardware stands to mark and stop at a certain height/angle that you like to have your stands at. These memory locks are moved up and down the stand by tightening or loosening the lock with a drum key.

Memory locks are great, but I have a very small SKB hardware case that doesn’t have enough room for me to completely disassemble a cymbal stand, which is basically what I would have to do if I used memory locks on my stands since you wouldn’t want to move the memory lock every time you put it back in the case. In order to fix this problem I just started marking my heights and angles with a fine tipped Sharpie! This completely eliminates the need for memory locks, and allows me to collapse my hardware inside itself enough to fit everything in my hardware case.

This small SKB case fits my kick pedal, 3 boom cymbal stands, hi-hat stand, snare stand and 2 tom L-rod brackets.

Mark the base of your cymbal stand with a sharpie when you have it set up exactly to your specifications. (I used a fine tip sharpie to keep it looking clean, but you can use any sharpie.)

Mark the angle of your cymbal boom arm by making a straight line across the angle adjustment piece. Line the marks up for your perfect angle!

Use the same method for marking any angle you might deal with when adjusting your cymbal stand.

Do you have a drum tip? Leave a comment below and tell us about it!

The Drum Coach from Round Rock Drums, Ed Francis (AKA: The Drummer on the Round Rock), combines his love of life, music and people with a HUGE and generous heart. At no cost to the recipients, Francis tours Round Rock and surrounding areas to share his passion for the arts and drumming. He donates countless hours to elementary schools, middle schools, high schools, juvenile detention facilities, music stores, drum studios, community centers, YMCA’s, daycare centers, and other outlets. He does this with one thing in mind – to spread his passion for music and drumming. I have had the privilege to become his friend over the past year and recently had a chance catch up and ask him to share a drum tip with the readers here at Makedrums.

MD: I know your a busy man, so I’ll make this quick. Can you share just one drum tidbit with our readers that has been helpful to you during your 33 years of playing?

Francis: (laughs) Just one?

MD: My fingers can only handle so much typing…

Francis: Ha! Well, if I had to pick “just one” thing I guess I’d like to talk about the benefits of spiking your drums on  your carpet.

MD: What do you mean?

Francis: One of my pet peeves is to set up my drums only to discover that some of the angles – like the position of my pedals or floor toms relative to the rest of the kit, for example – don’t feel right. And when setting up for a live performance – weather it be for a regular band gig, drum clinic or a special presentation – we drummers have time restraints and getting things “correct” isn‘t always easy.

MD: Are you saying drummers aren’t given enough time?

Francis: If you’re referring to the amount of solo time, then…

MD: I see where you’re going with this.

Francis: Da da, da …ting! But really, We have all this equipment and it usually needs to be set up quickly. In my history of needing to set up quickly has sometimes created a placement problem and left me in the uncomfortable position of needing to make adjustments to how I approach my playing. And thinking too much about the adjustment can take away from your performance.

MD: How did you remedy this “placement problem”?

Francis: I began to pre-mark the placement of my drums with tape on my carpet. I learned this technique while doing a drum-tech gig for John Blackwell (drummer for Prince, Justin Timberlake), Chris Coleman (“Chaka Kahn”, Rachelle Ferrell), and other Gospel drummers, where I was tasked with using the same carpet piece for multiple sets of drums with different drummers. Once each drummer finished their performance we removed the previous kit then placed another on top of areas taped in differing locations. We also used various colors of tape to help us know who’s kit went where.

MD: How did all of that go?

Francis: It went really well. The most challenging part became knowing where to place everything relationally to one another – and these cats depended on us to get it right, and quickly. Once it was set up, the drummers got on the stage, and Bam! Showtime. No excuses.

MD: And how has this experience influenced your personal setting up procedure?

Francis: I’ve got a really goofy-looking carpet! It has several colors and each color has a specific meaning for me. It makes my set up time not only quicker, but also much more accurate and enjoyable, too.

MD: Does all of this preparation aid with your performance?

Francis: Absolutely. When I have all the time in the world to set up my drums it becomes a Zen-like process. Making little adjustments to my kit makes all the difference in my playing and teaching. It helps me to feel more relaxed, and I’m more able to bring something special as I attempt to make more musical moments.

MD: And these “musical moments” can be affected by proper percussion placement?

Francis: I would say that knowing that my drums have a place pre-marked on the carpeting helps to create the same Zen-like feel, even when I’m up against the clock which requires me to execute a quick set up.

MD: Is there anything else you would like to add?

Francis: Have fun with what you do and don’t take yourself too seriously.

You may find more information on Drum Coach Ed Francis on the Round Rock Drums website: www.roundrockdrums.com

1. C&C Custom Drums – Bill Cardwell is a custom drum building legend. He and his son Jake create some of the most classy looking custom drums on the market. Bill started making drums in a 6×12″ room in the back of his drum and guitar retail store about 20 years ago. Their journey has been long and difficult, but they are now one of the most trusted and revered names in the drum industry.

2. Koenig Custom Drum Company – These guys developed the Corian-Granite snare drum. I have never heard a granite snare, but I have to give them props for doing something completely different than most “custom” drum companies.

3. SJC Custom Drums – One of the most innovative custom drum companies out there. Known for their “Butcher Hoops”. Owned by two brothers that are 25 and 23 years old.

4. Molecules Drums – At first glance these drums don’t look like they would sound good, but go check out the audio at their website and make your own opinion! I would love to own a set of these drums! I have never seen anything like this. True innovation.

5. Truth Custom Drums – Great looking drums, Hybrid drum sets blow my mind.

6. Risen Custom Drums – They have some pretty sweet drums, and a LIFETIME warrenty on their drums. Their Glo Kit is one of my favorites.

7. Phattie Custom Drums – I’m blown away by what these guys are doing in Ashville. Great looking unique drums.

8. P.Ellis Drums – Ok. I admit that this is a shameless plug for my own drum company…but seriously, I had to plug myself, because if it wasn’t for P.Ellis Drums, there would be no MakeDrums.com! I started building custom drums over 6 years ago due to the extremely high prices of custom drums. We now have our drum shop in Austin, TX, the “Live Music Capitol of the World!”

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 the Year 2011

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. 2010 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.

I was extremely happy with the way these came out, and you know what the coolest part about this drum set is? The only tool that I owned at the time was a drill! No fancy routers, buffers, spray guns, table saws. Nothing but a good old fashioned hand drill. The company that I bought the shells and hardware from offered to cut the bearing edges, and mark the layout of all the hardware for a little extra cash. All I did to “build” this kit was stain and clear coat the shells, and then drill the holes for hardware that were already marked for me. Doing it this way was well worth it to me because I got to see exactly how they cut the bearing edge profile and then use that as a guide for the second kit I built. It also gave me the confidence that I needed to step up and try some of the more difficult woodworking that goes with making custom drums.

For the second kit that I built I did the exact same thing. And it turned out even better.

Yes that is me, a picture from college, when I was younger, skinny, and more stylish. (I mean you see that I’m wearing Crocs right?) The funny thing about this house, which is now condemned, was that it had an indoor pool that was haunted, and was a great multipurpose room since the water was kept drained.

Both of these kits have a special place in my heart. The top kit is now painted black with red stripes and resides in New Orleans. The second kit toured the U.S. with a band from Dallas for a while, and now I think they are in Kansas.

Skip ahead 6 years and here I am today; still building drums, and still learning from every drum that I make. In fact today I met a huge drum-building goal for myself. I cut and installed my first re-enforcement rings in a snare and a kick drum (with 2 tools that only cost about $10 total!) I plan on adding a new section on the book for re-enforcement ring installation soon!

Last week I completed another drum-building goal of mine; learn how to and perfect wrapping a drum set with stripes. (Wrapping drums with 3 or more pieces of wrap on 1 drum.) I have honestly wanted to build a drum set like this for a long time, but I never knew exactly how to do it, nor did I have the confidence to go down an unknown road. I’m extremely glad I did, because this is the beautiful drum set that came from it;

I think this may be my favorite drum set that I have ever built.

I’m showing all of these pictures not to brag on myself…well ok maybe just a little, but I’m also showing you these pictures to show you how far I’ve come. I went from buying a drum set that was practically an “assemble yourself” package, to learning how to do some of the most difficult and most protected drum building secrets out there. I hope that this will encourage you to act upon your dream. I love getting emails from drummers around the world telling me that they took a chance and built their own custom drum set. I love it when I get these amazing pictures of drums built by drummers who didn’t know that buiding their own drum set was even a possibility. You can do it! May this New Year be the year that you set goals and won’t settle for anything less than climbing that mountain to reach your goal!

Lately I've been asking a lot of my twitter followers what they think of this website. I have gotten some great feedback and I plan on making a couple of changes to this site in the near future. I've gotten lots of feedback from the new drum building podcast. That will definitely stay and I'll be adding more episodes in the future. I strive to offer the best drum building information and content for the blog, and I wanted to ask for your feedback. The question is simple; What do you want to see and hear more of on the blog? Who would you like to hear interviewed for the podcast? Any idea that you could offer would be greatly appreciated! This blog is for you. Just leave a comment below and tell me what you want more of!