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[kmonayyy]

[theater-of-my-dreams-blog]

Bill Robinson on Dream Theater:

THE ARTIST COMMENTARY

Mike Mangini, Drums

As Mangini and I chatted, he rapidly drummed on pads in the dressing room. Like most drummers I know, Mangini is hyperactive and always moving. For 11 years, Mangini was a professor at Berklee College of music.

"I was on the road with Extreme and Steve Vai before Berklee but I’ve always been a teacher," Mangini started off. "My being a teacher forced me to understand how to explain myself to somebody else meant I had to understand cognitive science and a lot of the sciences. And a lot of different world religions too because we had a lot of international students as well. The teaching has always been important to me and learning more about myself is tremendously important. However, since the music and sports programs have been cut in our schools it’s got to be one of the worst things in world because when you’re a kid those two things are fun. And those open up passageways in the brain, make people think and make them happy. They don’t seem like work. And the fun thing about Dream Theater is and you’ll see this tonight, the music appears to be complex, and it sure is as far as the meter and the changing, but it’s not a quick listen; we’re not a fast-food; you’re going to a nice restaurant and paying for well-prepared, great food. After a number of listens, people who see Dream Theater start to get it."

"The whole point of my drum set is it’s designed for ambidexterity, left and right. With that drum set, it’s designed to reflect the ‘orchestr-ality’ of our music. I look at all those toms as one entity. I can match our guitar player’s hitting higher notes by going up on the toms. I also have pads that trigger the sounds of the timpani. temple blocks, cowbell and all the other forms of percussion but I have a drum module to make all those sounds. I have four triggers for my hands and four for my feet."

When I told Mangini that I was 10 when I got a blue-sparkle Ludwig drum set for Christmas but hadn’t kept up with it, he encouraged me strongly. “Go get another one!! Get another drum set. Let me tell you something, look it, your joy and your intention is really, really important at any age. Not everybody has to be the end all and be all at anything they do. You can just enjoy what you’re doing.”

Then, Mangini and I as two drummers sitting around rapping started discussing the intricacies of drumming. It was an education for me. “As a drummer, you have to develop an ‘inner voice,’ in your mind, you have to develop selective attention. Where you hear an external time source like a metronome and you pay attention to it and then you also have to focus on which limbs are landing where on the drums, and then, you also have to focus on where you are in the song, and then you have to focus on the management of your balance. All of these things, you only have one brain to manage them, so you have to develop a modular reality where you layer … you now how Photoshop can layer? Well a drummer can layer different thoughts and sounds.” Does he ever get distracted and lose time on a song? “I am the center of the time for everybody onstage, so in my mind my center of time is my inner voice keeping time. Or an external time source. Not much can really crack me. Unless I get lazy. Then yes, something that happens with another musician can crack me, something I see visually can crack me or some thought that comes into my head about what I ate for dinner can throw me off. Because I’m losing the order in which I prioritize my thoughts. I’m using my inner voice a lot to subdivide time. I’m thinking in noise and numbers.”

What other drummers do you like to listen to? “If I’m in a groovy mood, I’ll listen to Steve Gadd who has a plain, almost military sound to him. If I’m in an artistic mood, as far as the use of cymbals and drums on the kit, I’m going to look to Terry Bozzio. If I want to hear someone who takes something complex and simplifies it, I’m going to put on Neil Peart. You know what’s so wonderful about Neil’s playing and Rush is they take time signatures that don’t have a standard, simple beat to it and they make it sounds so musical. They’re just fabulous.”