DRUMS
DRUMMING WITH MORE PASSION AND LESS VOLUME | Carl Albrecht
At almost every conference or worship musician seminar, worship leaders ask me how they can get their drummers to play softer. And many of the drummers say the team, the techs, and the people always complain that they play too loud. But it doesn’ t feel that way to them.
Ah … such is the life of a drummer. Our instrument, by its very nature, is acoustically loud. Well … maybe … it could just be the player. Are you willing to admit that? I hope so. So let’ s be honest and fix the problem. You can fix this … without using a drum booth.
I’ ve taught all my students through the years to have control over their dynamics, balance, and technique. I call it“ playing the room.” Every musician should be able to hear and feel the way their instrument is blending with the other players and singers. And this is most difficult for drummers. So HOW do we do it?
1. LISTENING IS THE FIRST KEY TO GREAT MUSICIANSHIP. It’ s the main way we learn for sure, but it is also the way we learn to fit into the sound of the team; the band! Being in a band or orchestra or any ensemble relies on making a“ sound as one.” If all we do is think of ourselves, and our drum sound, then we’ re probably not getting the best results.
So what do we listen to? First, when practicing, have a time where you just play with no other music and no headphones or earplugs. Learn to listen to you playing the drums in your room, church, or auditorium! Just be totally aware of the acoustic sound of the drums. You should do this anywhere you play. Listen carefully to how your drums actually sound in the room. Change the types and weights of sticks your using to play. Try switching to HotRods, Blasticks, or brushes to be able to listen to what happens to your sound and your volume. To begin with play in a way that feels normal to you. Then adjust your approach by playing as soft as possible and still maintaining control. Don’ t swing high and hard, just float over the drums staying as low as possible. Use more fingers for control and less arm movement. Gradually change your volume to different levels, controlling the different dynamics by at least six levels: Pianissimo – pp, Piano – p, Mezzo Piano – mp, Mezzo Forte – mf, Forte – f, and Fortissimo – ff. As you go through each level then you can bring the height of the sticks up and use more arm as you get louder.
This can feel very difficult at first. Especially if you’ ve been in the habit of just playing the way you want to without adjusting to the acoustic environment you’ re in. But you can learn new ideas. Just set your mind to make it work. And don’ t let any bad attitude infect your mind while you do it. Don’ t complain or whine about how this will stifle your expression. Attitude is everything! Maintain a good one and you’ ll grow!
2. INTERNAL BALANCE. What is that you might ask? The ability to control every limb according to the balance of volume you want to hear from the drum kit. If you have not worked on this it will feel very strange at first. Don’ t get frustrated that you don’ t feel the same control as when you’ re playing hard. It’ s supposed to feel different. So take your time and get use to the variations in your technique as you get used to the various dynamics you’ ll be playing.
The internal balance you’ re looking for is probably heavier on the kick drum, lighter on the snare … and heavier on the toms, lighter on the cymbals. This seems to be the greatest challenge. Again, the more you listen to the blend of the different parts of your kit the more you become aware of your“ physical drum mix.” The goal is to be able to put a microphone or even your cell phone in front of your drums and record a perfectly blended drum mix. Of course it won’ t sound like a master mix, but you just want to pay attention to the blend. The way you want to hear your drums on a recording is how you want to hear them with one microphone.
3. RECORD THE ROOM WITH YOUR BAND. This exercise will give you a real picture of how you sound in the room when you actually perform. If you play with in-ears or headphones turn up the drums in your mix until it forces you to play softer. Even with in-ears you want to pay attention to the blend. I recommend turning up the overhead mics if you can.
You can use your cell phone in the room to record, or better yet, get a portable digital recorder if you can. Something that records in stereo would be nice. Even using your laptop to record is fine. Just set the recorder in the middle of the auditorium during your rehearsals and sound checks and see what you sound like in the room. Again, you’ re not looking for hifidelity, you’ re just listening to the blend. Adjust your dynamics as you hear the live mix. Work with your engineer to see what works and what doesn’ t. Practice; Improve; Repeat!
OK, there ya go! Email me or send notes to my socials and let me know how it goes.
Blessings, Carl
Carl Albrecht Professional drummer for 30 + years, playing with Paul Baloche, Don Moen, Ron Kenoly, Abe Laboriel, LeAnn Rimes and others. He’ s also a clinician, author & pastor. Contact Carl for coaching, online lessons, producing, or sessions. I’ m still growing too... www. CarlAlbrecht. com carlralbrecht @ gmail. com
104 July 2025 Subscribe for Free...