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REACTION! RUSH NEIL PEART 1992 Drum Clinic PART 1 PAYPAL REQUEST Irvine CA

REACTION! RUSH NEIL PEART 1992 Drum Clinic PART 1 PAYPAL REQUEST Irvine CA

What’s going on everybody how you doing in today’s video we are doing a paypal request video this video has three people that have requested it that’s lucinda and ray and jesse all ask for the same video i it should really be two different separate requests because lucinda and ray came in as the same person so anyways they’re related or something anyways thank you

To everybody in 1992 neil pierre did a drum clinic in irvine california that’s what we’re checking out this is a really long video so i cut it up into five parts because i don’t i’m not crazy about doing ultra long videos i don’t i’m not crazy about it so i’m like 20 minutes is plenty you know like i’d rather people watch you know like and we just do parts just

Break it up into 15 minute sections or whatever and there’s enough time for me to do the rest of the things that i got to do talking and all that kind of thing like this so uh that’s what we’re doing five parts this is gonna be very interesting because neil is talking about he plays a bunch of songs he’s talking about triggers i know this just from what uh lucinda

Ray and jesse were telling me so very cool very cool requests very interesting this will be super interesting and i was informed that it was filmed on a potato this is 1992. so expect that type of quality if you’re new here please subscribe check out my videos all kinds of videos reaction videos bass videos music videos all kinds of videos check it out if you like

The channel if you want to support the channel all kinds of ways you can hit super thanks underneath this video you can hit me direct in the description i got paypal venmo amazon wishlist mailing address amazing and now doing request videos if there’s a song or a video you want me to watch if you want me to react to something if there’s a topic a subject that you

Want me to talk about if you have a question any of that kind of thing hit me direct paypal or venmo and in the notes let me know what your question is what the video is what you want me to make a video on if there’s a link a description and i’ll make a video like this awesome okay so this is part one neil peart clinic 1992 irvine california part one let’s do

This band hey welcome to the work station uh two years ago at the la foreign differences we go through the songs what i’ve done i just took a live tape from the other night in reno and i’m going to pump it through the monitors and play along with it and uh kind of explain what a pretty song is made up of musically and technologically and what i’m having to deal

With out here in terms of challenge and one of the first ones is a song called time stand still from a few years ago and this one lie i’m having to work through a quick track because of the female vocalist sounded amy mann and obviously she’s not free to travel with us all the time so we have her up on the screen and in order to keep the song in sync so that when

She comes up there singing she’s actually singing for the audience as well i’m playing with click tech through that and then apart the stuff i got a kind of an array of samples which is uh just a little sit here is a handy little trigger that we invented and had made us like a miniature simmons pad it gives me access to an electronic trigger right in the middle

Of things instead of all the electronic fans or pads are mostly difficult to get to and sometimes if you’re having a stretch too far we can put you off your uh this combination has a little block down there and then a sheet of metal up there and different parts of the middle of castanets over there and i reared it out in there and then we’re also just to posting

A three-piece we use a lot of keyboards and a lot of stuff on our records it’s difficult to reproduce the other guys are so busy with foot pedals and choreographing all their moves because one of our points about sampling is that nothing nothing can come from off stage anything that gets triggered is triggered by us in real time so that we’re the ones that have

To get it in time and i have to set up the tempo sometimes two minutes into a song a sequence around i’m in the sequence are in perfect tempo so i’m responsible really to keep the song together right up till that level so when that sequencer comes in the song suddenly doesn’t go away or slow right down so that’s an extra special challenge in the show too is that

When i’m not playing to a click there still are those constraints and at a certain point in the song suddenly this bit of perfect tempo is going to come in and i’d better be ready for it you know and again from the other guys too whoever triggers that thing has to trigger it at exactly the right time so that it doesn’t upset the tempo and the flow of the song so

There’s one part in this song where i’m wired into getty’s keyboard setup and this little doze pad here that’s its function it’s it’s the voice of the keyboards so in places where i can help them out and i can see they’re having trouble juggling at all i said give me that part i can play that and in this part we have a part um we call it event city and basically

It’s all uh it’s a series of sound effects that were put together over the course of a day in a studio it’s not even playable live and you’ll hear it as it goes through the song that it’s another thing that i have to play it exactly in the right time stay in time with it to through a seven seven four section and then come out of it on time still in time with the

Quick track of the film and all that so there’s a whole lot of stuff going on that’s uh only driving my mind crazy and hopefully just keeping the song together so we’ll get going with that one and he’s got his bike helmet it’s like barely fits his head foreign oh god potatoes thank you celebrations he buries the kicks thank you nice

Yeah everything please foreign thank you i really want him to go through it because i’m like you hit something over there i don’t know what i do i have no clue yeah what is that doing i’ve said it before nice cool okay what are you hitting just an example of all the variables you have to deal with in a song that say most of our songs

Are free from click or anything we have two where other people’s voices are involved so we stay in sync with it but through all that other people are triggering sequencers through there and the one i mentioned from the keyboards final nail that on time through that seven section then you know the train wreck happens we had a couple times on this tour when it has

To happen to everybody and i know it does even even buddy rich i know what happened to that the whole band just the guy’s on the sound board will be making this here comes the train so there are infinite opportunities it’s one of the things that does make the show uh such a case of stress and before it comes up it’s like what’s in your mind is all the things that

Can go wrong and all the things too that are outside of your control because there’s so much of it is technology and even mechanical things if a snare head breaks at the wrong time you know an absolute nightmare the next one i was going to go on to is one called bravado from the new album it’s interesting i think because it’s basically fundament um founded upon a

Four on the flora bass drum rhythm which is one thing like i think a lot of drummers i used to be leery of you know i think i’m not going to sit there and play a four on the floor bass from being for all day and especially in the 70s when it was sort of uh symptomatic of disco it was like it was poison even by association but over the years i have found interesting

Ways to apply it and the thing that it does do beautifully is that it roots a rhythm and allows your hands to go all kinds of different places and this song i spent a lot of time refining down a drum part that i think is almost architectural it supports the song in different ways dynamics come in and out of it it gave me a great opportunity to use having a floor

Time on my left as you’ll see both rhythmically and as a jumping off point for fills and it’s another one too in which sequencers come in and out in perfect time so it’s another one where i have to nail the tempo from the beginning and parts of the sequences go away for minutes at a time and then suddenly they’re back in so i have to keep the song rooted through

The whole space of it and then at the end of it there’s an entire improvised section that we added to the recorded version in the rehearsal room we decided after all these years we’ve learned how to reproduce our records live which for a long time was a goal and we’ve taken criticism for it but i think it was a noble thing to try to reproduce what is actually a

Superhuman performance in the studio you can make it perfect you can correct all your mistakes if there’s a little bit you don’t like you can go out and fix that a little bit you know it is truly and literally superhuman so we pursued for probably 16 years just that goal of trying to be as good live as we were on record and we felt that we more or less achieved that

To our satisfaction so this tour we immediately started changing our goals and even the new songs we right from day one of rehearsals we started changing arrangements we’re gonna have to drive this guy out we started changing arrangements adding improvised bits and so on and this song is an example like of that where the whole end part evolved out of rehearsal

Room rehearsals our rehearsal room jams basically but then we found out when we came into a venue like this suddenly the intimacy most personally and musically among us was kind of lost and in arena particularly it was awfully difficult for us to feel truly free in an improv improvisational sense so we found that all these patterns and ideas that we developed

In the rehearsal room served as well as a foundation but the chances i would take in the rehearsal room obviously are much greater than the ones i would take in front of an audience i think that’s a safe enough bet in fact i had an interesting conversation about that with mickey hart i went to my first grateful dead show in atlanta early in this tour and he was

Telling me he said the last night they’d had an absolutely great show and that night’s one he thought was pretty boring because their show is so much predicated on improvisation as is so much jazz that as as human nature and human behavior is it has to range from the ridiculous to the sublime some nights it’s going to be brilliant like any of us another nice it’s

Going to be really lousy like any of us so that’s that’s also the weakness of improvisation so it’s a reason why we like to keep our show well balanced in favor of organization so it will always be at least good and if we’re having an extra special night there is room and there are jumping off points where each of us and collectively we can now take it further if

It’s happening but i thought it was interesting for mickey to admit that that you know some nights they had a brilliant night and other nights he felt you know and admitted that uh it was pretty lame what’s going on with the bravada cool nice awesome yeah i thought that was very cool and i liked all that and talk talking to mickey hart all that that was because

He’s right what he’s talking about it’s it’s definitely accurate that just makes it all the more incredible you know in terms of like jazz artists that are just that good where so many of the nights are fire you know a lot of that improvisation without that kind of music and just without music that’s improvised you know you lose that now i i consider myself an

Improvising musician i could play parts i could do all that kind of thing that’s fine but like i improvise i like to improvise i like to not play the same thing i like to add in different things i like to you know if there’s like a bass part or whatever i like to improvise within that improvise within the song okay here’s your boundaries improvise within this it’s

Not just a to b how else can i get from a to b how else can i get from a to b what’s another way that i can get from a to b every night right really cool but it’s accurate some nights you just it’s just not there and other nights it’s like man i’m on fire right now or i it’s just flowing all of it it’s really cool uh what else do i want to bring up about this video

That i thought was really cool i wish he talked about maybe he’ll he’ll do that eventually in one of the other parts where he’s talk where he’ll talk about like some of the things that he’s hitting because i’m like you’re hitting some kind of pad to his left and i don’t know what it’s triggering i couldn’t tell i don’t know if that’s because it’s not a potato

Or what or what oh yeah he talked about um this next song which is coming up in the next video in the in part two bravado which i’ve not heard yet that’s on uh uh roll the bones he said right i’m not there yet but he said it’s founded on a four on the floor rhythm which i’m like you played four on the floor in time stands still under that whole part he’s playing

Four on the floor he’s it kicks going four on the floor that whole time it’s just downbeats all right that whole section and then it breaks once uh uh you know experience slips away all that kind of thing see i know some of the lyrics wow incredible people telling me about lyrics okay let me just do my thing all right guys geez anyways yes i know the lyrics i know

Enough of the lyrics all right i don’t even like that album jesus come on ain’t no credit i’m just i’m i’m just kidding i’m going too far anyways really cool again i’m not a drummer when i said bury the kick that’s that’s like drummer talk right i you know again not a drummer but what i mean is that he’s at least how i understand it means is that he’s hanging the

Kick and he’s leaving his foot down he’s burying the beater in the kick until he hits the next note he’s not like hitting it and then getting off so that the beater comes off in between notes he’s hitting it and it’s staying the beater is staying on the drum head from what i know that’s called burying the kick anyways i didn’t mean audio wise burying the kick or

Like he’s drowning out the kick volume or something something like that that’s what i meant anyways amazing very cool very interesting and uh yeah let’s get on to part two thanks for watching i’ll catch you on later

Transcribed from video
REACTION! RUSH NEIL PEART 1992 Drum Clinic PART 1 PAYPAL REQUEST Irvine CA By Justin Panariello