Tutchi's "Taiko Kidan" 11th episode | Differences in sound makeup between work and private life

Hello everyone reading the JPC newsletter.
The time has come for the familiar Taiko Drum Story.
If you count, this is the 11th time this series has been published.
Now, after receiving the request for a manuscript, I've been staring at a blank screen for several weeks wondering what I should write this time.
I can't make any progress with my pen.
When I reread the email from Manager Nishio again,
The article says, ``Recently, I have been seeing a lot of your personal (performance) activities, so it might be interesting if you could write about the differences between the sound make-up for your own instrument and the sound make-up you do at work.'' So I have to follow the editor's instructions faithfully when writing this. lol
So, today I would like to write about musical instruments, which is rare.

This is where everyone draws a line between work and private life.
When it comes to work time, you sell your own time, and it is generally accepted that the more value you add to your work, such as your skills, achievements, and experience, rather than just your time, the higher your compensation will be.
Private life is truly time for oneself, and it is a world that is defined solely by one's own values, such as space, colors, sounds, smells, tastes, and textures.
The more common elements there are between the public scene of work and the ultra-personal scene of private life, the more the line becomes blurred. Being a musician is a profession where the lines tend to be blurred. Daily practice is essential to continuing to perform well, so even in your private time you are working. I can't say for sure.

Perhaps the most important thing I pay attention to when working is to ``throw away my ego.''
When approaching an instrument, I simply think about what the music wants, and what kind of sound I want the song to have. Of course, we also listen to the opinions of the drummer himself, songwriters, producers, engineers, and many other people. But the most important thing is the music. Sharpen your ears and catch the sound the moment you enter the music.
There's no ego there. I don't want to force myself to do this just because I want to do it or because I like it.
It's not natural. Because I'm just behind the scenes and don't actually participate in the performances.
Our job is to create an environment where the drummers who play the drum sets there can immerse themselves in the music without any hesitation.
There's absolutely no room for my ego in there.
However, there are rare times when that ego is required. At that time, I will grasp the situation and "propose" as much ego as necessary. As soon as you let your ego out, your field of vision becomes narrowed and you end up feeling like you can't move. Maybe it's the pride I have in doing my job.

I will not write here about specifically how to tune an instrument.
All you have to do is gain practice and experience in capturing the sounds of music and ``reproducing'' them with the instruments you have at hand.
I can only do things my way, and I'm actually extremely clumsy. I'm so stunned.
One of the feelings you get by letting go of your ego is the feeling of caring for others.
In this case, the other party is the music itself, and the performer who plays it.
For some reason, when I look at the drummer's back every day during a live performance, I feel like, ``Oh, I guess he wants to drink water after the next song.'' After the song is over, I remove the cap from a plastic bottle and offer it to the drummer's left elbow.
When the drummer noticed this, he cleared his throat and handed the bottle back to me.
Timing is important.
To find out, all you have to do is "look, watch, watch."
I feel that I have been taught that instead of listening to sounds, I should "see" them, read the atmosphere, and say "see."
This is my sound makeup when I'm working.

Now, private.

Now, this is a completely different world where egos are exposed. lol
You can tune the drum set and tune it however you like. No matter what instrument you use, no one will complain.
Is it true?
Again, the most important thing here is the music.
You have to create a sound that matches the music you want to make. but! , I'm a bit of a nuisance, so I wouldn't accept such an honest response. It's a place where you can show your ego, so I'm going to have fun doing it. I'm fully exposed. lol
It seems like my tastes have finally solidified a little recently.
Apparently I love "low-pitched, dry sounds that don't make much noise." As I've written before, as a result of this, the bottom heads of the toms and floor have become mesh heads, and the kick has also been completely muted, creating a tight sound. The reaction from the people who sit on my set and play the music is always, ``Everything is so messy lol.'' It's okay. I'm doing it because I love it.

At first glance, you might think that other people's drum sets, other instruments, guitars, basses, keyboards, etc. follow the same standard shapes, but the details are a lot of attention to detail.
I feel that the drum set is the best example of this. That's why I still feel a fresh surprise when I sit down at someone's drum set. No two people have exactly the same settings, like, "What! I'm playing with these settings!", "The pedal springs are too tight", or "The cymbals are too high". There's no way this can't be fun anymore. At first glance, the drum set of drummer Soyasu Shomura of the band [Alexandros], which I am currently working with on live shows and recordings, is on a roll with the momentum of dropping flying birds.At first glance, it looks like a 2-tom, 2-floor set, but the two cymbals on the left hand side are set as high as the Sky Tree. It's a very unique setting, and once you see it, you'll never forget it.
But when I play that set at soundcheck, a big problem arises. Yes, it doesn't really hit.
The reason for this is my frozen shoulder, which has become particularly severe recently.
I try my best to stretch my arms out, but my right shoulder screams, which makes me sad... Lately, I've gotten used to it, and I've gotten the hang of it. lol
The Chinese cymbals that soar like the sun, which are often seen in hard rock and visual kei music, are nothing but torture these days, but I have absolutely no right to say no to that, and I have no intention of saying anything like that. It is the expression of that person.
There are no rules that say ``it has to be this way'' when it comes to drum sets. There is only a format in which the current basic shape has been created due to the structure of the human body. From there, I think you develop your own style by letting your imagination run wild, and how you want to stand out, be cool, be popular with girls, not want to lose to the drummer in the band you're playing with, and all sorts of other egos.
That's very important. If there's one rule, it's just that you don't make anyone around you uncomfortable.
I definitely don't want someone to be selfish, not cooperative, not caring, not considerate. Even though our personalities may clash, I think we can only start by respecting each other.
Ah, I'm off topic again.
Since I suffer from frozen shoulders, my settings are quite low. The two toms that rest on the 20" kick are set low and almost horizontal, and the two cymbals on the left and right are also placed symmetrically a little above them. The floor tom is lower than the knee, and the snare is about the height of the belly button, and these two are placed completely flat. At the back of the floor is the China cymbal. It is slightly above the floor. It is completely flat. Lol
Hi-hats are pretty normal. Please refer to the photo from the drummer's side.
Today and tomorrow, I will be visiting people's drum sets and helping them improve their sound.
Even if a set has been put together many times, the set will always change like a cat's eye, depending on the drummer's physical condition and mood that day, and the music he is playing. It is also important to be able to come up with good ideas. I sometimes put that experience to good use when I play with my band, but sometimes I think, ``I wish someone would give me ideas, or tune things with a different ear than mine...'' In times like these, it's fun to ask fellow drummers for their opinions and get inspired.
There's no end to the stories about pedal tension, head types, sticks, cymbals, chairs, shoes, etc. When you have fun talking about what's good and what's good with each person, you'll get to know each person's individuality, and you'll have a great time together.
This may be my favorite part of this job.
You get to talk about all kinds of things with all kinds of people, have a good time, create good music, and a lot of people can have fun again with that music.

In the 1960s, during the hippie era, there was a saying like this.

"Let's turn all weapons into musical instruments"

These words may sound naive and unrealistic in this day and age. But guess what? Wouldn't it be fun to think about what would happen if something like that really happened?
An Islamic drummer played a darbuka, an American guitarist played a Fender Stratocaster, a Chinese musician played a kokyu, and an African percussionist joined in on a djembe.JapanAs the drums and shamisen roar, a German synthesizer sounds and Scottish bagpipes resonate.
Once you say it, it will come out more and more. With the collaboration of Trinidad and Tobago's steel pan and Balinese gamelan, and the backing of African thumb piano and Brazilian percussion.JapanGagaku music resounds. South Korea's Samulnori faces off against Brazil's Capoeira! How exciting will it be?
I can't help but hope that such a world will come someday. This time it was a little longer. There are also big elections coming up this year. I also want to think carefully before casting my vote. When I say this, people say, ``Mr. Tsuchida, you have political ideas,'' but in reality, I just want to live surrounded by good music and cute girls every day... Now that the conversation has gotten a bit frivolous, let me say goodbye. See you soon. Thank you for your cooperation!