S
Want
to send Todd a letter? You can write him here Send
Todd a Question and
his response will be posted along with your question. Please
do not request backstage passes, ask to meet the band, request
autographed items, ask for rides to the airport, free stuff,
stock tips, drumheads, secret recipes, bail bonds, etc. as
Todd is unable to fulfill them. Any
request asking for special favors, autographs, meet and greets
with Styx will not be met with any response. Please
keep your questions to a musical/drumming nature. Thank you!
June 2007
Hi Todd !
Congratulations for your live Dvd with the Contemporary Youth Orchestra of Cleveland, it's a great show and I'm IN LOVE with your performance.I have some questions for you.
1-Would you please tell me what kind of remo's heads you use on top and bottom?
2-I know your ride cymbal is a Chester Thompson Precision Ride,but it's not available!!When I'm looking in Sabian's Catalog ,the Chester Thompson's ride cymbal available is the Liquid Ride,what's the difference ?????
Your's truly, and I hope to see you very soon in Quebec city!
-------------------------------
Dear____,
The heads for the toms are Remo clear Ambassadors top and bottom. The snare is a coated Ambassador top, clear hazy Ambassador snare side. Bass drums are clear Powerstroke 3's with custom front heads by Head First.
I'm not sure why the Precision is no longer in the catalogue but contact Sabian. If you want it, they'll make it. That's an amazing thing about Sabian, huh? Call them up or have your dealer make the call. The Liquid ride is much lighter and "softer" in a way. There's more power and "ping" in the Precision by far.
Hope to be back in Quebec City too, and thanks for the kind words!
Cheers--
Todd
Hey Todd...
Caught the Styx concert w/ the Cleveland Youth Orchestra the other day on Direct TV...That was awesome. You guys really looked like you enjoyed yourselves. I have a question about your floor in your drum room....
What is on the floor to help with the sound dampening so it does not transfer through the slab? I am in the process of turning my garage into a drum room to model after yours!!!
Thanks for the info...
Mike Malenda
Tampa, Florida
-------------------------------
Hi Mike,
Thanks for the compliments, man. The floor is "floated" and has Auralex U joints affixed to the 2"x4"s. There is also Auralex Sheet Block laid out on the floor as well. All info can be found at Auralex.com for all your soundproofing needs. There's also a book by Mark Parsons (search the internet) that can provide valuable information as well.
Good luck---and do it right the first time, even if it's more $$$ than you want to spend.
Take care!
Todd
Hello again!
Always an immense pleasure to talk to the best drummer of my time! I wanted to ask a more technical question if I may. Aside from your time spent at Berkley College, ive always been under the impression you were mostly self taught as a drummer. Ive been playing for about eight years now and have literally learned everything myself. I also live in an area where there isn't much opportunity to have a good or great instructor. Anyway, ive kinda come to a point where im trying to put things together to utilize these skills. For example, rudiments. There isn't a thing you play on drums that isn't derived from a rudiment or some inversion of one....at least to my observation. I see guys like you and Dave Weckl do these unreal drum fills at lightning speed and I know that if I only knew which rudiment or inversion it was, I could learn it! But this also seems to be the one thing that is never covered extensively in DVDs or books...at least not that ive come across. I know ultimately one would say "practice, practice, practice!" and that's true. But what kind of things should I practice, how did you come across all your licks? Did you just stumble upon them? Or did you learn them in a mechanical since, like 5+1=6....so if I do a six stroke roll and accent the first note and the sixth note - ghost the rest - move it around the kit and add two hits on the bass drum at the end...ive got this cool lick!
I mean you didn't have half the technology available to you when you first started out as I do now. Im only 25! It blows my mind to think that your speed and chops came by just listening to Steve Smith, and working out what
you heard. I guess what im trying to say is...how do I learn to pick these fills out or expand my own horizon. I feel ive learned the major rudiments, im not crazy fast but I feel average? Like for instance, what can you do with a paradiddle...as a fill? A lot of gospel drummers and guys like Dennis Chambers seem to add a lot of foot work...almost like they substitute notes played with their hands, on their kick. They'll do like H,F,H,F,F - but then
switch to some other pattern, yet it all still sounds like one long chain. And nothing is out of place. Guys like Dave Weckl do these fills where it sounds like someone is doing a drum roll with one hand, but the other hand
is hitting cymbals, doing runs down the toms, and its one chain of sound. I know im going on with this, but I feel like im in a rut. Can I just come over and you show me how its done!! lol Anyway...I think you get the point
so ill shut up. Any advice from the master?? I really need some. And as always, you ROCK!! Cant wait for DVD by the way...just one personal request...if you plan on making me quit because you just DESTROY the drums
on the DVD....please show me how to do it too!
Thanks for letting me take up your time again!
Eddie
-----------------------------
Hi Eddie,
Let me pose this question to you: How do you speak and put sentences together? How do you think of what to say and then say it?
It's the SAME thing on the drums. It's a vocabulary, and it's no mistake that it's called a MUSICAL vocabulary. It's like learning words and how to spell them, what they mean, and using them to express your ideas. Everything is relatively rudiment based with various permutations and inversions but it's using little stickings as conjunctions from one idea to the next. When a drummer pulls of a long complex phrase it's basically made up of smaller phrases conjoined into one long musical idea---just like the written sentence. Start thinking in that fashion. Learn one rudiment and now orchestrate it on the drum set in different ways. Add feet, change your sound sources, etc. If you can get 12 different ideas from one sticking, you can see doing that thousands of times over with different ideas and patterns will ad to your musical vocabulary which is on call, at any time, for you to use JUST like speaking the English language. I really have no idea how to tell you to do this. Find teachers, get a boat load of books and DVDs and put in your time! There's no substitute for that.
To be clear, I spent a year at Berklee College of Music in Boston, and not Berkley in Northern California. We are all "self taught" to a degree but my father was teaching me from the age of two on. I could read music by age six and spent from 1st grade through eighth grade in the Jr. High school concert band, orchestra, and jazz band. (That 8 years in Jr. High!) So, self taught is not really true BUT my deepest learning has always come from my own journey and thought process.
OK, man. I hope I've helped you in some way! Just be patient and practice things slowly. And put in your time NOW while you're still young!
Good luck--
Todd
Hi Todd!
My name's Gabriel, I'm 26 (I play drums since I was 21) and I'm from Argentina. I discovered Styx earlier this year... I knew about the band but never heard any other song that wasn't 'Come sail away'... thank God that one was enough to make me want to check out the rest of the discography.
I recently got the 'One with everything' DVD... awesome!!!! Man, you play some drums! And how!! I don't think I can pick just one of your song performances, but 'One with everything', 'Everything all the time', 'Blue collar man', and the medley of course, are the coolest!!
I used to have a band, then we broke up, then came back together again, then broke up again... I was tired of that on again / off again deal, so, after we broke up the last time I thought 'that's it, no more bands'... but, I still had my drumset (which I had just recently changed) and didn't want to let go of it... a little while after, I got my copy
of 'One with everything' and was blown away by your drumming... I don't think it's necessary to say that watching that made me want to play again!! SO, here I am, in a band again... thank you for that!
My first (obvious) question is if you guys are ever going to come to my country? That would be cool...
Second, I'm trying to get a double bass pedal (I used to think it was just for hardcore music, just for making more 'noise', but after watching you, I knew I was wrong...) any basic tip or suggestion?
Third, how much did you used to practice when you started? I started playing at 21, when I got a kit for my birthday, and I could coordinate (I don't know if that's the word - sorry for my English) since the beginning (at least) but never had much time to practice, since the drums weren't at home, but at the place we used to rehearse in. Now I'm trying to play at least 1 or 2 hours, 3 or 4 days a week, besides playing with the band on weekends.
Well, hope this wasn't long enough to bore you, sorry for my English again and thank you for being so open to the fans and let us get in contact with you! Hope to see you here someday!!!
Goodbye!
----------------------
Hi Gabriel,
Thanks for your note and for discovering us down there! I appreciate your sentiments and if I had anything to do with your continuation in bands and playing drums.....I'm flattered and it's a great thing!
By all means, explore what a double pedal can add to your ideas. Work things out slowly and try to incorporate them into fills and musical ideas----and not just "train beat" 16th note grooves. Those should be in your vocabulary too, but have fun and try to be creative with them. I practiced a lot when I was young and I've been playing all my life. But it's QUALITY time and not QUANTITY of time that matters. You can get more out of an hour of focused practice than you can out of 3 hours of just messing around on the drums. So put your time in and stay focused! Be patient, practice things slowly, and things will start to sink in to your playing.
I hope to make it to Argentina someday. We don't choose where we go---a promoter from your country has to bring us there. I hope it happens one day soon.
Thanks again for your note, Gabriel. Keep playing and have fun with it!
Todd
Hey Todd.
I was wondering, who designed you drumset? I know that Pearl did, but who?
Thanks.
------------------------
Dear______,
I designed it. You have an enormous amount of choices within Pearl's Masterwork line and the drummer who orders their kit basically designs it him or herself.
Todd
Hello Todd,
I actually came across your site while researching what it takes to make a sound proof drum room. My good 'ol google search brought me to your site. Let me say your drum room is quite impressive and makes me very jealous I hope to have a room and a drum collection like you some day.
Anyway my reason for email is to ask about drum auditions. I have been playing in some bands making some connections along the way here in NYC but I can't seem to track down when and where auditions are being held. I have had a hard time finding a method other then word of mouth to find auditions for drum work. Is there something I should try that might have worked for you when you where starting out?
Thought i'd ask.
Thanks,
Hersh
-----------------------
Hey Todd,
Big fan here. Once again just have to say how awesome and commendable it is that you take the time to answer our questions. I am hoping to get some advice from you, rather than an easy answer to an easy question. As someone whose life I not only admire but desire, I figure I should go straight to the source and inquire about how to go about achieving that. Being a drummer myself, and being at a skill level and experience level that I am confident that is close to professional, I am wondering if you can offer some insight and perhaps divulge any secrets or peices of information that people may overlook when trying to establish themselves and obtain a high caliber, highly professional gig similar to yours. Like for instance, if you suddenly decided that you didn't want or could not continue playing with Styx, what would be the best way for a drummer who is not known within the industry yet to at least obtain an audition? (Not that I could even begin to replace you or would want to fill those shoes of course haha). What do you suggest is the best way for a person who is skilled and has something to offer, who is young and ready to travel and tour and has lots of experience, to go about making that jump and transition from just checking the local reader and musician classifieds hoping to find a break for a major gig, to actually having access to auditions for big gigs that are not advertised in these previous mentioned forums? I know a lot of it is through who you know and friends of friends, but I also thought that there are organizations or companies that are specifcally geared for these kinds of things, and all you do is send them a promo pack? Do such companies exist, and are they a wise way to go? Would that be something like the Musicians Union? Like I said, my interest and desire is not just finding any paying gig or job like playing weddings or in a cover band etc, but working my way into the high level pro gigs that I see on T.V., radio, yours, etc. Do I send a promo pack to a band's management and hope for a call to audition? If that's the case, what should I include in my promo pack? And is a band or artists management easy to get through to? How would I even find where to send it to in the first place? I apologize for all the questions, and even if I sound naive. But I know you were once in my position, so I'm sure you can empathize with me. Perhaps all you can tell me is what worked for you, and that's all you know. That would still be greatly appreciated. I know that it can be different in everyone's case, and what worked for one person may not work for the other. But since you are a pro and living my dream I would like to hear your insight. I wish it was as simple as just keep playing your heart out, showcasing your skills and things will just happen and someday you will be a pro making a living and having an awesome steady gig. Maybe that really is the case and the best advice, but I'm sure there's a more business-like, strategic way of working my way into that situation. Sorry for such a long message Todd. Thank you for your time. Keep kicking butt!
Jason
-------------------
Hi Hersh and Jason,
I thought I'd answer both of you at the same time as the question/subject matter is rather similar. All I can do is answer based on my own personal experience.
I'm mystified at the notion of auditions and "cattle calls for major artists" as I've never done one, been called for one, or heard about one. Everything that has come my way has been through recommendations from other musicians, playing with other musicians, and being seen by other musicians! I know of no organizations or agents who put things together. If they exist at all they probably have a few contacts (musical directors) who have a stable of guys they've played with or know about. This is a friends business big time. I've never sent out (or have ever even made) a promo pack. However, when I got back from my one year at Berklee I put a demo tape together to hit up about 25 music houses in Chicago that hired drummers mostly for jingle work. The tape I made was killer in my opinion and I hand delivered many of them, made follow up calls, and the result was? Nothing. Not one call. These producers had "their guys". So how did I penetrate this clique to the point where I was doing 20-30 sessions a month? I took every gig I could. I was ALWAYS on time and had a good attitude. I was prepared mentally, musically and had the right gear for the call. Having good social graces is paramount. I started working with guys who were entrenched in the studio scene. This was around 1990-91 in Chicago. As I started doing gigs (club dates, weddings, corporate parties) with these musicians, slowly they started recommending me to the music houses when they couldn't get their regular guy. They producers asked the guys recommending me if I was reliable, could I read music, and the like. I went in and had to kill and kill quickly as time is money in the studio. I also had to gauge each producer personally. Some are serious and all business, some are a bit looser and like to have fun, etc. So within 2-3 years I was working a ton in the day and doing all sorts of gigs at night. It was a very exciting time in my life. Sadly, we most likely will not see that much available studio work for drummers again. But what I'm trying to say---it's other musicians that will recommend you for bigger and better things. So the more people you know the better. And ALWAYS be early and prepared. Those are two simple things that a lot of people overlook. I took gigs away from lazier drummers just with those two virtues alone.
So auditions? I still don't know. But hopefully we'll all get recommended for wonderful fulfilling gigs. In my experience, that's how it works.
I wish you both the best of luck! Thanks and take care you guys--
Todd
Hello Todd,
Sorry my English is very bad, I am from Germany.
I have your site in we found and am inspired from your sets. Now to my question. Would you sell the Sonor Lite kit? If as is your price conception? Thanks for the answers.
Good Luck
Rolf
---------------------
Hi Rolf,
Sorry--none of my babies are for sale!
Auf Wiedersehn--
Todd
Todd,
Just wanted to know, could you please list all the songs that were included in the medley you arranged and was played during this concert. We thought is was excellent as was the entire show. The Contemporary Youth Orchestra was stellar and really added a wonderful touch to then entire show.
Thanks,
Jeff and Beverly
----------------------------------
I think......
Put Me On
Madamoiselle
Heavy Metal poisoning
Midnight Ride
Sing For The Day
Shooz
Queen Of Spades
Great White Hope
Half Penny
Borrowed Time
Rockin' The Paradise
Lights
Man in the Wilderness
Put Me On
Grand Finale
There you go!
Todd
Hello Todd! I don’t know if you remember me, but my name is Aaron Kuehmichel, and I work at SSE Music in La Crosse, Wisconsin. You gave a smashing drum clinic here back in April, and we’ve put pictures from that clinic up on our website. If you want to check them out, here’s the link:
http://www.ssemusic.com/music_events.asp#sucherman
We’re going to be editing together the video we shot of the clinic as soon as we have the time (it’s been crazy here lately!). Once that’s done, we’ll get a copy of it to you.
Thanks again for the great clinic!
--Aaron Kuehmichel
SSE Music, Inc.
--------------------------
Hi Aaron,
Thanks a lot! I had a blast with all of you there at the shop. Please give my regards to the whole gang---and thanks for a great night in LaCrosse!
Cheers--
Todd
Hello Todd,
I am in the middle of redoing a 85-86 sonor kit and looking to find a few signature cymbal stands and
hardware and was wondering if you or your tech might have any good leads for me, Thanks for you time and
have a great summer.
Wayne
--------------------------------------------
Hi Wayne,
My tech doesn't but I might. Scour Ebay, go to Sonormuseum.com and go to the classified section, check various Craigslists, and maybe Bentley's drums in Fresno. They're definitely out there--now go find 'em!
Good luck,
Todd
Hey Todd,
I was blown away by your playing when I saw you guys on tour last year. I am planning to catch you in VA again this year. I have a question about your wall of snares…
Where did you get the cubbies/display units? I am looking for something similar. I don’t have 30 snares but I have about 6-7 that I would like to display in my drum room they are currently sitting on the floor. Thanks in advance!
Mark
--------------------
Hey Mark,
Thanks for your kind words! The items in question are book cases from Ikea. I have the Birch veneer finish which I think were about $90 a pop. I got that idea from Steve Maxwell from Maxwell's drum shop in Chicago. He chose the white finish.
There you go! Thanks again---
Todd
Todd,
I am one of the luckiest drumhogs around at the moment. We are moving in to a new home soon that has a 30' X 30' garage that is new, framed, concrete, and has power. Other than that there is no drywall, insulation, etc.
My better half has granted me carte blanch to make whatever kind of drum studio I wish. My problem (I know it pales - again I feel fortunate) is that I have no vision and have no idea where to start i.e. display cases, wall material, stage, siding ??????
Your drum room is fantastic and I was wondering if you have any pix, plans or advice? For what it's worth my car will most likely share one side but I would like it to be fairly open and I have way too many drums.......
Thanks in advance!
Ben Goldberg
http://www.myspace.com/theboinkers
P.S. Where did you get the snare shelves?
--------------------------------
Hi Ben,
You may have seen in an earlier post that the snare shelves are actually book cases from Ikea. The Birch finish ones (like I have) are about $90 each. You really need someone to design your room as I did. My main man from Auralex, Jeff Hedback has left to start his own business. He designed my LA room and my Austin room. He can be reached at projects@HedbackDesignedAcoustics.com
There is info on my site in the drum room page and Mark Parsons wrote a soundproofing book that might give you ideas. Get a hold of Jeff and he will guide you through everything. All I can say is that you should spend the money and do it right the first time.
There you go. Good luck, Ben!
Todd
Man,
I just recently had the honor of meeting you and seeing you play up close for the first time in Birmingham Alabama on June 20th. What a treat it was to get to see my favorite drummer up close and personal. I
really got a lot out of the clinic and you have challenged me to go back and try some things that I have struggled with in the past. I really enjoyed the jungle beat you played on your wife's CD. That fits that tune so nicely. Again, thanks for a great clinic and for being so nice, respectful, and informative. You were very gracious to stay and take pictures and sign autographs even though you had a gig to be at in less than two hours. I thank you and my two kids thank you as well...they were with me and both play and were very inspired. I cant wait to see a
Todd Sucherman instructional DVD hit the market. You are the bomb my friend! OH, and the concert was awesome as always!
Sincerely,
Lee Ogletree
Arab, Alabama
--------------------
Hi Lee,
Thanks for coming to the clinic (on a weekday afternoon no less) and for enjoying it. I really appreciate your kind words and it's great to get your feedback. Thanks!
I hope to be back there soon so we'll do it again. Until then, take care!
Todd
Hey Todd,
It's another Todd writing to you. I saw you guys last week in Milwaukee. I was dissapointed with the length
of set but what can ya do. I also noticed that you guys changed your entrance music. I was just wondering
why? The previous one was awesome. Do you plan to go back to that one or our you guys sticking with the one
you have. See you in a few weeks at Marshfield.
---------------------
Hey Todd,
This is Everett from WI. I just saw you guys last Friday at the Marcus amphitheater in Milwaukee. All though I was disappointed in how long you had to play a great time was had none the less. I just hope next time you guys are there that you get to play more then 7 songs. I know you guys were not at fault but come on 7 songs is kind of ridiculous. Anyway I do plan on seeing you guys again in a few weeks in Marshfield/ Wisconsin dells in October i'am preying those are much better. See you guys soon.
----------------
Hi,
Regarding the intro music, it was changed for this run. New run--new opening.
Look, I'm not thrilled with the length. It's not a matter of 7 songs but rather the length of 50 minutes we have. Come Sail away and Renegade together are almost 20 MINUTES right there. Think about it. Those have to be in the set. This tour is really to get in front of 10,000 plus people who think of Styx as a wussy band and would never spend a penny to see us---and we rock their friggin' heads off in the time we have. There are about 15 shows or so where it's just DL and us, so we'll play longer. When we're on our own we'll play longer but the set length is ALWAYS determined by the buying promoter.
Todd
