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SteveHatfieldDrums.com
The official site of drummer/educator Steve HatfieldThe Search for the Perfect Stick-Pt. 2! 30 Nov 2016, 7:41 am
Well, here we are again! Since I posted almost 2 years ago on this same subject, I have gone through yet another period of searching for that one perfect stick for all of my musical needs. I know that by the end of my last post I had settled on both Vic Firth 85A and AJ3 models and believe me, at the time, I really felt that that was going to work. However, the 85A’s proved to be just a bit too light for louder playing situations and as much as loved the tones the AJ3 pulled out of my dark, washy ride cymbals, I couldn’t get the solid, meaty sound I was looking for on the actual drums. Now, this is not to say that another drummer might not find these sticks perfect for their needs. In fact, there were certain times when each WAS the exact stick for what I wanted at that moment. More often than not, however, I had to sacrifice feel for sound or volume for speed.
So once again I set out to find “the perfect stick”. This time however, I vowed to learn more about what goes into making a stick feel and sound a certain way. I focused on how length, taper, front or back weighting, type of wood, and tip design all come together to make a stick feel the way it does. Why, I can spout off all kinds of specs that are guaranteed to boggle the mind and bore any non drummer in the room! And as before, I even investigated other brands. I just wouldn’t know if I had found the best stick for me if I hadn’t allowed myself to at least LOOK outside the Vic Firth catalog a little bit (spoiler alert: Vic Firth IS the best stick for me. Stay tuned!).
So after trying probably 20 different models in a variety of settings, here’s what I learned: ANY stick could feel exactly right and/or totally wrong at any given moment. Changes in volume, how agile my hands felt that night, or even if my ears were more sensitive for some reason are just a few of the variables that can make a stick that feels perfect one night, seem like a foreign object the next. It was finally becoming clear to me that what I needed was to find a model that would feel good in my hands MOST of the time. and that, with just a slight amount of adjustment in technique, could get ANY sound out of my drums and cymbals. I also realized that I personally felt more comfortable playing a slightly heavier stick a little softer when needed vs. trying to play a lighter one harder. In short, I needed something that worked for everything I do without it being so specific that I couldn’t use it for something else. After all, trying to find individual models for each and every specific situation was what led me to carrying 4 or 5 different sizes in my bag and making myself crazy in the first place!
So what was my final decision? What rare, cutting edge design finally won me over? Well, it was non other than the good ol’ Vic Firth American Classic 5A! This makes perfect sense since this was the stick that I had played off and on since high school and had brought me back to Vic Firth after a long period representing another manufacturer. Simply put, I can do whatever I need to with this stick and it just feels like home. 
And I don’t think I’m alone in this. After all, there’s a reason the Vic Firth 5A is the #1 best selling stick in the world! Just looking at it inspires me gives me confidence that I can tackle anything thrown at me. Having said that, I am often in environments where I have to play incredibly soft and this stick is just too much. But since I am trying to keep things consistent, changing to a different size just isn’t appealing to me right now. What’s the answer? Well it just so happens that Vic Firth makes the same stick in maple: the American Heritage 5A. Compared to the hickory used to make the American Classic version, 
maple is less dense and thus lighter in weight a softer, more “airy” sound. So it’s a perfect option when you need to reduce your volume but don’t want sacrifice the overall feel in your hands. So that’s it! The Vic Firth American Classic 5A in hickory and the same size in the American Heritage line. I should also mention that I play the 5ADT. Which is a 5A stick with soft, tympani stile mallet on the butt end.
Now, it should be clear that I am not necessarily suggesting that these particular sticks are going to work for EVERYONE. But it is my hope that in presenting my findings and revelations, others may be able to make a more informed decision in this highly personal quest. Best of luck in finding YOUR “perfect stick”!
2016 District & All-State Jazz Drum Auditions 30 Aug 2016, 4:35 am
Auditioning on drum set for the 2016 Kansas District and All-State Jazz Ensembles? Well here are a few videos I put together along with the rest of the Jazz faculty at Wichita State to help you nail the audition!
Don’t just practice… PLAY! 14 Feb 2016, 5:59 am
As a young drummer, I would play for hours a day. Practicing never felt like a chore and it seemed that I made improvements each and every time I sat down at the kit. But once I became immersed in formal study, and later, playing for a living, I began to find it difficult to retain the same level of enthusiasm for drumming that I once had. In short, I had become burned out! I no longer looked forward to spending time at the kit and my sense of creativity had long been replaced with regurgitating uninspired patterns and fills that held no emotional connection with me. What had happened? After some soul searching, I realized the answer to this question was simple and yet quite profound: I no longer “played” the drums when I practiced.
What do I mean by “playing” when practicing? Well, in my youth, I would balance working on my weekly assignments with activities such as making up short little “drum songs”. Or I might try rearranging my kit to see if I could play left handed. And I almost always devoted time to playing along with my favorite records (yes, RECORDS!). As an adult/professional the majority of my time was spent learning specific material for upcoming gigs or plodding through countless technical exercises that had little to do with actually “playing” music. Although these studies were essential for my professional survival, they did little to keep me engaged or inspired.
So I set out to develop and/or collect some exercises, or “musical games”, that stressed creativity and musicality and make them part of my practice routine. The results have been both eye-opening and inspiring! My improvisation skills have grown by leaps and bounds and I feel a much greater connection with the instrument. Granted, I still need to work on technique and keeping up with my playing commitments. We all do! But I now look forward to and appreciate the time I get at the kit and no longer equate practice with work. And what’s really great about these types of exercises is that it doesn’t matter what level you’re at in your development! I have passed these on to students of all ages and abilities and have marveled at how quickly their confidence, command of the instrument and, most important, sense of enjoyment have grown!
I have discovered and created countless musical games that have inspired me in this quest and have listed a few of my favorites (along with some examples) below.
1) Create limitations. Sometimes it can be overwhelming when you’re told you can play whatever you want, HOW ever you want. Try limiting yourself to using just two drums. Or maybe only half notes and quarter notes. Play an 8 bar phrase using only metal sounds (cymbals, stands, rims, etc…) You get the idea.
2) Play over an ostinato. “Ostinato” is just a fancy word for a repetitive pattern. Start by playing something as simple as quarter notes on the bass drum or maybe your right hand on the ride cymbal. Then, at the same time, improvise on the rest of the kit. As you gain confidence, you’re ostinatos can become more involved.
3) Mix and match different implements. Here’s a fun a game! Throw a bunch of sticks, brushes, and mallets into a bag. Then, throw in some common household objects like pencils, coins, or an empty water bottle… whatever! Sit at your drums and without looking, reach into the bag and pull out the first two implements you grab. Using only those two tools, compose a short piece of music.
4) Incorporate melody. Try playing the rhythm of a well known melody (Ex. A) on the snare. (Ex. B) Next, move it around the kit and try to make a difference between long and short notes (Ex. C). Then, try to find ways to suggest the actual pitches of the melody on the set (Ex. D). Here is a link to a short video of me demonstrating this playing “Seven Nation Army” on the drums: https://www.youtube.com/watch?v=2FSUxV2htg0 Also, check out drummer Ari Hoenig to see how a master does it!
5) Release the snares! This is a simple one. When you’re trying to improvise but find yourself playing the same old thing, reach down and release the snare strainer. This forces you to really listen to what you’re playing and to use the snare to interact with the rest of the kit instead of as a “home base”.
6) Listen to yourself. Playing along with a metronome, loop, or song, improvise a one or two- bar phrase and then immediately repeat it back verbatim… stickings and all. See how many times you can do this without missing and then try to beat that number the next time. This is much more challenging than you might imagine!
7) Use alternative muses. Basically, a “muse” is a source of inspiration. Look for nontraditional devises to spark your creativity. For instance, try putting on a movie, turn the sound all the way down and improvise a new soundtrack. Say your phone number out loud, listen to the rhythm that it makes (Ex. E) and use that as a fill (Ex. F). Hold a stick high above the kit, let it drop, take note of the first three sounds you heard and then use them as the theme for an extended solo.
I encourage you to take 5 or 10 minutes to incorporate these, and any other creative studies, into your practice routine each day. You’ll love the results!
Seven Nation Army on Drums 8 Nov 2015, 4:30 am
As part of my ongoing work to add more intention and musicality in my soloing, I’ve been working playing melodies on the drums. Here’s a quick pass at The White Stripes “Seven Nation Army”… just for fun!
Open & Closed Hi-Hat 25 May 2015, 4:12 am
A few tips on the often misunderstood open and closed hi-hat pattern made famous by the great swing drummers.
The Search for the Perfect Stick 22 Feb 2015, 3:59 am
Alright, so I’ve spent the better part of the last 3 months searching for and experimenting with different sizes of sticks. In an effort to find the best combination of sound and feel and to narrow down my usual 3 or 4 models of go-to’s to 1 or 2, I researched specs and tried out probably 25 or 30 contenders. And yes, dare I say I even looked at other brands than Vic Firth just to make sure I wasn’t missing and opportunity to find that perfect stick. In the end, I settled on the Vic Firth 85A as my “everything” stick.
I believe I can use this for just about any musical situation I find myself faced with. A little smaller than the 5A for a nice, articulate cymbal sound but enough weight up front to hang in there on a high volume gig. But since I often find myself having to play in very low volume situations for long periods of time, I was also looking for a stick that could keep the noise down to a minimum and still allow me to dig in and play with intensity. I found this in the Vic Firth AJ3. 
I’ll most likely continue to experiment with different sticks here and there but I’m excited to commit to just 1 or 2 models and simplify things a bit! My thanks to Christian Lyman at Vic Firth for help and patience in this process. Just another example of why Vic Firth is the best stick company in the world!
So, what’s YOUR stick? Do you use just one size or do you rotate between different models? Do you have a brand loyalty or is it purely about what feels right? Chime in and share your thoughts.
2 to 8 Warm-up 28 Oct 2014, 4:07 am
Here’s a great warm-up that will also help develop proper technique, sound, and rhythmic awareness. Enjoy!