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Table of contents
- Learn How to Use Cross Sticking
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- Biker Chain Cross Pendant - Chris Slade Spirit of the Drum Jewelry
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Learn How to Use Cross Sticking
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Biker Chain Cross Pendant - Chris Slade Spirit of the Drum Jewelry
My girl, the object of my affections, had vanished into thin air.
We called this a cross stick. Name the technique by the sound it makes? Tick tock, rim-clock….
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The other objection is the heritage of the cross-stick. It is almost enshrined in Nashville. During the late s I began to do freelance country sessions in my region. Back then, there were proper, free-standing studios mixed with the sort of project studios we see today. At any rate, producers would, fortunately for me, hire freelance session guys.
I learned not to mess with the cross-stick. I learned how to locate the sweet spot on the rim and the optimum spot for my palm to rest, neither muting the batter too much or allowing to much ring, and then guard the zone as if a life depended on it. In those days of close-miking, which has fallen back into favor, any variation of the stick against the rim—heaven forbid you sneeze or get an itch—registered on tape and, even if you played the take in-time, would cause the groove to sound suspicious.
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This woodblock-timbre defined country drumming and while no producer ever called me to task on mine, I realized as take grew into take not to allow the cross-stick pitch to vary. The late Carlos Vega, best known as a session drummer in the fusion genre, and for his amazing work with James Taylor, surprised me when he appeared on a number of Vince Gill albums. Although arguably his his Cuban heritage distanced him from Nashville country, he obviously did his homework and sounded great on Vince Gill albums. The block tone with bead or butt?
Most drummers turn the stick around when executing a cross-stick, aka rim-click such that the butt end of the stick strikes the rim at Sweet spots vary. This provides a contrast with the sound of his fingers, the middle two of which tap the batter head, execute trills, combine with closed hi-hat work and result in valid 5-stroke rolls. Once that happens, the chances of subtle figures emerging at quiet volumes is minimal.
Depending on batter head tension, rim die cast, stamped, wood, etc you find you can work in an interval up to a fifth.
Some of the more marginal tones, however, might set off alarms in purist producers.