Podcasts about Drum

Recorded 2026-02-26 02:00:34

Recorded 2026-02-26 00:02:44

Recorded 2026-02-25 02:16:22

Welcome back to Drummers on Drumming, a podcast powered by Big Fat Snare Drum. This is another segment of The Drum Panel featuring myself, Sarab Singh (MUNA), and Brendan Buckley (Shakira). In this episode, we talk about: Getting over the fear of recording at home and figuring out certain techniques later in your career Why some producers and artists choose emotional takes over technically perfect ones When quantizing, sample replacing, or comping starts to blur the line between your playing and studio editing The tension between technique and comfort—and why great technique doesn't always feel great What makes a groove feel “bad,” and how context, consistency, and taste shape that judgment --- Get Your Copy of the Drummers on Drumming Book Today!

Oliver speaks to John Tierney, the man who is the heartbeat behind the Galway Drum Show.

Lata 90. rzadko wymienia się jako twórczy szczyt w dorobku Davida Bowie. I właśnie dlatego warto się im przyjrzeć! W tym odcinku sprawdzamy, jak od soulowych inspiracji i „Black Tie White Noise” przeszedł do industrialnych eksperymentów, mrocznego „Outside” i drum'n'bassowej energii „Earthling”. To nieustannych poszukiwań – dowód na to, że nawet poza swoją złotą erą Bowie wciąż próbował gonić, a nawet wyprzedzać muzyczny świat.UWAGA: podcast można teraz ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠wspierać w serwisie Patronite!⁠ ⁠⁠⁠⁠⁠⁠⁠Można też ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠POSTAWIĆ NAM KAWĘ⁠⁠⁠⁠⁠⁠⁠⁠Muzyka: Michał Mierzwafot. Les Zg, CC BY-SA 4.0

Recorded 2026-02-24 00:23:46

Recorded 2026-02-24 15:46:52

Recorded 2026-02-23 15:03:08

Recorded 2026-02-23 03:12:08

 A fost o comunicare excesiva sau o reactie responsabila si transparenta? Alexandru Rogobete a fost criticat in spatiul public, inclusiv de reprezentanții unor companii aeriene, pentru că a înspăimântat populația fara sa aiba date concrete despre situatia aparatului de zbor. Unde a gresit , discutam imediat.      Elevii pot folosi inteligența artificială la școală Colegiul Tehnic de Căi Ferate „Unirea” din Pașcani este primul liceu din Iași care a stabilit reguli foarte clare în acest domeniu. Documentul stabilește și măsurile pe care profesorii trebuie să le ia atunci când există suspiciuni privind folosirea neautorizată a inteligentei artificiale.  Franta și Germania cer demisia raportoarei speciale a ONU pentru teritoriile palestiniene, Francesca Albanese, care a denunțat genocidul din Fâșia Gaza Controversa a luat amploare în Hexagon după ce deputați din tabăra prezidențială au acuzat-o pe expertă că ar fi desemnat ''Israelul drept un dușman comun al umanității'', ceea ce Francesca Albanese a negat categoric. Ea a denuntat ''acuzații false'' și o ''manipulare'' a declarațiilor sale.  În Mexic s-a dezlănțuit haosul după uciderea unui baron al drogurilor Bărbaţi înarmaţi suspectaţi a fi susţinătorii săi au blocat autostrăzile din mai multe state şi au incendiat maşini şi magazine. În unele oraşe, turiştii şi locuitorii au fost îndemnaţi să rămână în case, iar şoferii de camioane au fost sfătuiţi să aleagă rute sigure sau să se întoarcă la depozite până la încetarea violenţelor.

Recorded 2026-02-22 19:57:14

Recorded 2026-02-22 23:01:08

Recorded 2026-02-22 01:31:52

Recorded 2026-02-22 17:44:52

Recorded 2026-02-22 13:18:37

From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a collection of reel-to-reel tape recordings of Chocó music and soundscapes made by students Jonathan Ambache and Richard Saumarez Smith in Colombia in 1965.Recorded by Jonathan Ambache and Richard Saumarez Smith.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

This piece began with the field recording: Bom war song and dance from Cameroon. I decided that rather than treating this recording as an objective document of place or cultural practice, I approached it as a temporal fracture in time, the past reanimated. I looked at the recording as a rhythm already severed from the moment that produced it, yet able to reengaged and affect the listener in 2026. This recording felt both ancient and current, both in the same moment, yet a sonic event which felt distant. Being an ever changing and varying rhythmic loop with vocal elements, it felt that this piece became the next stage in the loop's recurrence.I was drawn to the idea that recorded rhythm, like recorded voice, folds time back on itself. Each repetition becomes a reinterpretation, producing a new perception with every cycle. The entire composition is derived from this single recording. The source material contained a strong rhythmic pattern which subtly shifted over time, revealing internal variations rather than static repetition. I was inspired by Steve Reich's phasing work, particularly It's Gonna Rain, as a mechanism through which to explore the differences which emerges. Sampling and beat-chopping techniques were used to fragment the recording into a number of loops, which were then layered against themselves at slightly altered timings to give both the phasing effect of Reich but also a polyrhythmic feel which comes in and out of sync.Ableton Live's follow actions were used to introduce a generative dimension, allowing loops to trigger variations of themselves. This created a piece which is only partially controlled, where rhythmic relationships and patterns evolve autonomously over time. I then divided the piece up into layers and registers, forming a structure comparable to SATB four-voice writing. The piece was the composed through live performance, with layers faded in and out in real time. I feel that the source recording persists, but only in fragmented, phased form. What is heard is not preservation, but sonic recurrence without a sense of closure.Bom war song and dance reimagined by Neil Spencer Bruce.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

For this project I challenged myself to create every sound directly from the original recording. Drum hits, textures, bass and even a cowboy guitar were all manipulated extracts from the sample. The recording contains vocal interjections which I reused as percussive elements.The jaw harp has a rich timbre and a compelling rhythmic drive, but it often required careful processing to soften harsh metallic tones.Man playing bināyā (jew's harp) reimagined by Gavin Inglis.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

From the sound collections of the Pitt Rivers Museum, University of Oxford, being one of a number of miscellaneous or individual ethnographic field recordings (rediscovered during a recent research project).Unknown recordist.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of cassette tape and digital audio tape recordings of Bayaka music and soundscapes made by ethnomusicologist Louis Sarno mainly in the Central African Republic (and the Republic of Congo) between 1986 and 2009.Recorded by Louis Sarno.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a collection of reel-to-reel tape recordings of Berber (Ait Haddidu) music and soundscapes made by members of the Oxford University Expedition to the Atlas Mountains of Southern Morocco in 1961.Recorded by Audrey Butt, Michael R. Emerson or Ralph Hudson Johnson.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a collection of reel-to-reel tape recordings of Chocó music and soundscapes made by students Jonathan Ambache and Richard Saumarez Smith in Colombia in 1965.Recorded by Jonathan Ambache and Richard Saumarez Smith.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

Recorded 2026-02-21 12:55:45

Recorded 2026-02-21 02:41:08

Recorded 2026-02-21 23:19:22

01. Scooby & Shaggy – Looking 4 U 02. Slipmatt – Breaking Free 03. Case 82 – Meet In The Middle 04. Naughty Naughty – Volume One 05. Verb – Turn It On 06. Coco Bryce – Loving U (Stretch & Enjoy RMX) 07.Fez The Kid – Revenge Strings 08. Sykes – Velvet Space 09. Naughty Naughty – Stolen From Orbital 10. 7 Star – Jarck It Up 12. Sykes – Da Licence 13. Fibzy – ICQ 14. Culture Kutoshi – Piece Of Body (V.I.P. Mix) 15. Sykes – Kalima 16. Fez The Kid – Adventures In The Land 17. Naughty Naughty – Volume Four 18. Case 82 – Without You 19. Fez The Kid – Make Ya Feel Good 20. L Major – Seeds Of Doubt 21. Manix – Intelligent Hoodz 22. Naughty Naughty – Volume Ten 23. Sedzy – All My Love 24. The Last Ronin & Tim Reaper – Make It Last 25. Bizzy B – Merda Style VIP 26. 7 Star – Come Down 27. Verb – Things We Do

Cancerul nu afectează doar trupul, ci pătrunde adânc în suflet, zdruncinând credința și schimbând priorități. Chiar în suferință, Dumnezeu nu e spectator. Cancerul poate afecta trupul, dar nu are ultimul cuvânt asupra sufletului. Credința înseamnă să cunoști pe Cineva care merge cu tine până la capăt. Citește acest devoțional și multe alte meditații biblice pehttps://devotionale.ro #devotionale #devotionaleaudio

Recorded 2026-02-20 15:02:37

Recorded 2026-02-20 02:00:20

Recorded 2026-02-20 00:59:11

Recorded 2026-02-20 16:02:31

Recorded 2026-02-20 17:03:37

Recorded 2026-02-20 23:01:01

Recorded 2026-02-20 04:01:08

Book an Astrology Reading for the Year of the Fire Horse!  www.jilljardineastrology.com Buy Jill's book: www.jilljardine.com  "Sacred Sound Formulas to Awaken the Modern Mind: Sanskrit Mantras to Raise your Vibration" Welcome to the episode on the importance of messages from the animal kingdom. Enjoy this drumming meditation to connect with an animal guide or spirit animal who can help you in your life, and give you qualities you desire to manifest. An Animal guide can be a source of inspiration, intuitive and heightened awareness, as well as physical strength, power and courage. Listening to this meditation can help the listener tap into wisdom and guidance available through a connection to Animal medicine. We share our world with animals. They can be our teachers about the lessons we are currently learning in life.  There are many interpretations of the symbolism of different animals that can be found on the internet.  Animal medicine cards are also good sources for interpretation and messages, such as the deck by Jamie Sams, Stephen Farmer or the Druid Animal Oracle Deck by Phillip Carr-Gomm and Stephanie Carr Gomm.  There are also books that share animal guide information such as Animal Speak by Ted Andrews. Animal Spirit guides exist in many indigenous cultures and traditions. A spirit animal is characterized by a personal relationship to the individual. You can have one or several spirit animals throughout your life, during a specific phase of your life or at specific occasions. After listening to this drumming meditation, the listener may want to journal want comes up for them or speak into a voice app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

nirvana @ DJ Глюк Колбасёры DNB 41 @ DJ Глюк Хэппи Питер @ DJ Глюк 1. Nirvana - Smells Like Teen Spirit (DJ Глюк Remix) 2. Nick Lawyer & UFO9 - You Are My Fuel 3. Sigma, Sweetie Irie & Original Sin feat. Jamakabi - SOUNDBOY (Original Sin Edit) 4. NBC9 feat. NORTY - Levitate (NORTY Remix) 5. RSFB - Down The Road 6. Fred V & WHAT EVA - Horizon 7. CLSM - Das Boot 8. DJ Глюк - Колбасёры (DnB) 9. DJ Глюк - Happy Питер 10. John Newman, Arcando -. Love Me Again (Again) (Arcando Remix) 11. John B, The Young Punx, Brendan Reilly, Magellan Starchild - Turn The Lights Off (Dnb Version) 12. CLSM, FooR, Tengu - Stab Parade 13. Oliverse, Laud - Psycho 14. Changing Faces, LIIA - Naughty Girl (feat. LIIA) 15. Alesso, Sebastian Ingrosso, Ryan Tedder - Calling (Lose My Mind) 16. Tantrum Desire, Sophie-Grace - Moonlight 17. DubbleT, Chris Nichols - Higher (Extended Mix) 18. Yussi - I Run 19. David Guetta - Gone Gone Gone (DJ Глюк Remix)

Recorded 2026-02-19 02:01:14

Recorded 2026-02-19 15:11:08

Recorded 2026-02-19 20:07:23

Send me a text and please visit www.livefrommydrumroom.com My guest is Jerry Speiser, original drummer and founding member "Men At Work." In this episode we do a deep dive into Jerry's stellar drumming on Men At Work's “Business As Usual” and “Cargo,” including several tracks. So come along for the ride with Jerry Speiser! Please subscribe!  Live From My Drum Room T-shirts and Hoodies are now available! 100% of the proceeds go toward my PAS scholarship. Visit https://livefrommydrumroom.com for details! Live From My Drum Room With John DeChristopher! is a series of conversations with legendary drummers and Music Industry icons, hosted by drummer and music industry veteran, John DeChristopher, drawing from his five decades in the Music Industry. Created in 2020, and ranked BEST Drum Podcast, "Live From My Drum Room With John DeChristopher!" gives the audience an insider's view that only John can offer. And no drummers are harmed on any shows! Please subscribe!https://livefrommydrumroom.comwww.youtube.com/c/JohnDeChristopherLiveFromMyDrumRoom

Recorded 2026-02-18 18:00:42

Recorded 2026-02-18 02:03:37

Recorded 2026-02-18 04:04:22

Recorded 2026-02-17 14:59:52

Recorded 2026-02-17 23:58:37

When an Australian thrash band that never broke big in the U.S. gets compared to early Metallica, Slayer, and Maiden in the same breath, you know you've stumbled onto something special. This episode dives into Mortal Sin's 1986 debut Mayhemic Destruction—a ferocious, drum‑heavy, DIY thrash record from Sydney that plays like a missing puzzle piece in 80s metal history.Across the conversation, the hosts unpack how Mortal Sin emerged out of Australia's pub‑rock and Buffalo‑style heavy scene into a faster, more aggressive sound after drummer Wayne Campbell discovered Metallica through tape‑trading in 1984. They trace the band's rapid rise from self‑funded studio upstarts to landing a global deal, touring with Metallica, Megadeth, and Testament, and struggling with that classic “too big for pubs, too small for arenas” problem back home. Along the way, they dig into the band's revolving‑door lineup, eerie mystery around the original drummer's disappearance, and the evolution of Mortal Sin's sound across later records.Musically, the episode zeroes in on what makes Mayhemic Destruction such a compelling outlier in 80s thrash. The drums and low end dominate the mix in a way that completely inverts the American template, forcing listeners to dig for the guitars and exposing a strange, rewarding hybrid of thrash, New Wave of British Heavy Metal, power metal, Motörhead grit, and proto‑death‑metal experiments on the title track. There's plenty of love for the riffs, time‑changes, and dark modal choices in songs like “The Curse” and “Lebanon,” but also honest criticism of the limited, Hetfield‑ish vocal approach and the odd sequencing choices that bury some of the strongest material in the back half.If you're into 80s thrash metal, early Metallica, Slayer, Anthrax, Testament, NWOBHM, or obscure Australian metal bands that never quite got their due, this deep dive into Mortal Sin and Mayhemic Destruction is absolutely in your wheelhouse. It's a conversation about more than one album—it's about how geography, timing, and weird production decisions can turn a record into a cult artifact waiting to be rediscovered.Episode Highlights0:00 – Mayhem from Sydney – Setting up Mortal Sin, Mayhemic Destruction, and why this Australian thrash debut matters in the 80s metal landscape.5:05 – Battle jackets and logos – Gavin's origin story with Mortal Sin via patches, Kerrang! mags, and why some bands lived as imagery long before you ever heard a note.7:00 – Band history and lineup chaos – From Sydney origins and early rehearsals with Lino to global deals, tours with Metallica and Megadeth, and constant guitar player turnover.12:05 – DIY Mega Metal and Hetfield's stamp – Recording at 301 Studios, self‑releasing the album, mailing it out like a zine, and landing James Hetfield's 1986 endorsement.17:20 – “The Curse” – How the opening riffing, harmonics, and dissonant second‑guitar lines signal that Mortal Sin aren't just copying Bay Area thrash.22:30 – Drum mix from another planet – Why the massive, low‑end‑heavy drum sound flips the usual thrash hierarchy and changes how you hear the riffs and groove.24:50 – “Lebanon” – Dark, almost Slayer‑like scales, Dokken/Mr. Scary vibes, and how this track becomes a standout for mood and melody.25:30 – Thrash without a ballad – The near‑total absence of slow songs, the fake‑out intro of “Liar,” and what that says about the band's commitment to speed and aggression.30:15 – Honest strengths and weak spots – Praise for the riffs and rhythm section, plus a candid look at the limited vocals, buried mixes, and backward‑feeling sequencing.35:25 – Album art, demons, and Sydney in ruins – The Dungeons & Dragons‑style cover, nuked‑city imagery, and why this screamed “Tipper Gore nightmare” in the 80s.35:30 – “Mayhemic Destruction” (title track) – Proto‑death‑metal vocals and blast beats a year before Death's Scream Bloody Gore, and why burying it as the closer was a smart move.40:30 – Live vs. studio – What the 20th anniversary live tracks reveal about the band's true sound compared to the unique, drum‑heavy studio mix.[45:00 – Final verdict – Is Mayhemic Destruction a worthy album, a decent single, or a lost cult gem in the Australian thrash canon?Love uncovering 80s metal obscurities and lost thrash gems? Hit subscribe, leave us a review, and share this episode with a fellow metal nerd who still remembers drawing band logos on grocery‑bag book covers. Dive deeper into archives, polls, and bonus content at digmeoutpodcast.com and join the Union to vote on future episodes at dmounion.com. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.digmeoutpodcast.com/subscribe

Recorded 2026-02-16 03:07:31

Recorded 2026-02-16 23:48:26

Recorded 2026-02-16 15:00:10