Chords for On Stage With Simon Phillips - Tama Mirage Drum Kit Tour | iDrum Magazine
Tempo:
105.5 bpm
Chords used:
G
A
Cm
D
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
I haven't seen the clear Vista-like Tama kit in the past.
Is this basically a road kit or do you use it in other scenarios?
It is.
It's a live kit, definitely.
[A] I wanted to
I've never [E] had a Vista-like kit, see-through kit.
And I always wanted to try one out.
And I went to see, funnily enough, we were in Vegas, I went to see the Blue Man Group.
And the night I went to see them, the guy that actually [Gb] made all the drums for them [Cm] was there.
And he makes the shells and Tama supply all the hardware.
So it's a kind of
it's like a Tama-badged
[D] drum kit.
It's a bit like [A] [Cm]
when you get an engine.
[G] You get a
what is it?
Porsche used to badge a TAG engine, or TAG -stamp the Porsche engine back in Formula 1 days.
You get that happening a lot, actually, [A] with engines.
Somebody will build the engine, but somebody will actually badge it.
It's made under license.
It's kind of the same as this.
[G] He makes these shells under license.
[Cm] It's actually called a Mirage kit.
That's what Tama
[N] I did record with it once, but I was [C] extremely disappointed with it.
[D] The bass drums were phenomenal.
Absolutely, they were great.
And these, by the way, are standard [N] retro 24 by 14s.
Just like they were in 1973.
It's great.
And they really respond.
The front head [G] responds very quickly.
So it actually makes it sound bigger than a deep bass drum.
This is the way the heads work.
They [Ab] recorded great.
These don't record great.
Mainly because of the lack of sustain [G] and the lack of [E] top end and bottom end.
Just because of [Gb] the construction of the shells, [Cm] their sound tends to be reduced in bandwidth.
[E] It doesn't have a lot of attack.
[Eb] It doesn't have a lot of bottom end.
But what you get [B] is very mid-rangey, very compressed and very thuddy and [C] useful.
So we [A] tune them up pretty high.
[Eb] And through a PA system, they're incredible.
[E] Every sound engineer I work with live, it's their favorite kit.
[B] It's a bit weird to play because [Cm] you do have to adapt.
I'm used to the wooden drums.
[A] I'm used to the long sustain of a wooden [Eb] drum.
And the [G] fact that they're a bit more [N] subtle.
With this drum kit, you have bass drums, you have snare drums, and you have tom-toms.
And that's it.
There's no in-between.
With the other kits, [Cm] the Maple Star Classic [Eb] and the Bubinga kit and the Bubinga Maple [Cm] kit,
[D] there's a bass drum, snare, and tom-toms, but they're much more integrated.
I can make the toms blend [G] in better with the bass drums and the snare drums.
So in a way, it's a more musical kit to play, the wooden kit.
And it feels nicer.
But there's definitely something that [D] feels good about this.
But you kind [A] of have to play differently because every time you
I live on the tom-toms.
I do a lot of tom fills.
I have to be a [Cm] little bit more aware of every time I play the toms, [D] they really stick out.
So I've [A] got to be careful not to make it all start sounding like a drum solo.
It's still [Ab] music.
So there is a bit of adapting to do.
The [G] other bit of adapting to do is [N] generally higher pitched.
The wooden drums will be just a little bit lower.
So I generally have to remind myself [D] to go down, [G] play the lower toms a little more
[D] because they cut too much.
They're in [N] danger of being a bit invasive to the music.
So it's a fine line to tread.
But it's a [G] great kit and it's such a great [A] thing.
And the gongs, [N] these big drums sound fine.
There's nothing wrong with these.
Mainly as you get to the smaller drums, they just don't have the sustain
and the cajones of the wooden drums.
Plus they look fantastic.
They do.
And I have to be careful what I wear now because people can see what I'm wearing through the drum kit.
Days of bottomless performing.
Yes, [E] exactly.
I'll have to be a little more [F] tasty in my clothing and tie.
[B] [N]
Is this basically a road kit or do you use it in other scenarios?
It is.
It's a live kit, definitely.
[A] I wanted to
I've never [E] had a Vista-like kit, see-through kit.
And I always wanted to try one out.
And I went to see, funnily enough, we were in Vegas, I went to see the Blue Man Group.
And the night I went to see them, the guy that actually [Gb] made all the drums for them [Cm] was there.
And he makes the shells and Tama supply all the hardware.
So it's a kind of
it's like a Tama-badged
[D] drum kit.
It's a bit like [A] [Cm]
when you get an engine.
[G] You get a
what is it?
Porsche used to badge a TAG engine, or TAG -stamp the Porsche engine back in Formula 1 days.
You get that happening a lot, actually, [A] with engines.
Somebody will build the engine, but somebody will actually badge it.
It's made under license.
It's kind of the same as this.
[G] He makes these shells under license.
[Cm] It's actually called a Mirage kit.
That's what Tama
[N] I did record with it once, but I was [C] extremely disappointed with it.
[D] The bass drums were phenomenal.
Absolutely, they were great.
And these, by the way, are standard [N] retro 24 by 14s.
Just like they were in 1973.
It's great.
And they really respond.
The front head [G] responds very quickly.
So it actually makes it sound bigger than a deep bass drum.
This is the way the heads work.
They [Ab] recorded great.
These don't record great.
Mainly because of the lack of sustain [G] and the lack of [E] top end and bottom end.
Just because of [Gb] the construction of the shells, [Cm] their sound tends to be reduced in bandwidth.
[E] It doesn't have a lot of attack.
[Eb] It doesn't have a lot of bottom end.
But what you get [B] is very mid-rangey, very compressed and very thuddy and [C] useful.
So we [A] tune them up pretty high.
[Eb] And through a PA system, they're incredible.
[E] Every sound engineer I work with live, it's their favorite kit.
[B] It's a bit weird to play because [Cm] you do have to adapt.
I'm used to the wooden drums.
[A] I'm used to the long sustain of a wooden [Eb] drum.
And the [G] fact that they're a bit more [N] subtle.
With this drum kit, you have bass drums, you have snare drums, and you have tom-toms.
And that's it.
There's no in-between.
With the other kits, [Cm] the Maple Star Classic [Eb] and the Bubinga kit and the Bubinga Maple [Cm] kit,
[D] there's a bass drum, snare, and tom-toms, but they're much more integrated.
I can make the toms blend [G] in better with the bass drums and the snare drums.
So in a way, it's a more musical kit to play, the wooden kit.
And it feels nicer.
But there's definitely something that [D] feels good about this.
But you kind [A] of have to play differently because every time you
I live on the tom-toms.
I do a lot of tom fills.
I have to be a [Cm] little bit more aware of every time I play the toms, [D] they really stick out.
So I've [A] got to be careful not to make it all start sounding like a drum solo.
It's still [Ab] music.
So there is a bit of adapting to do.
The [G] other bit of adapting to do is [N] generally higher pitched.
The wooden drums will be just a little bit lower.
So I generally have to remind myself [D] to go down, [G] play the lower toms a little more
[D] because they cut too much.
They're in [N] danger of being a bit invasive to the music.
So it's a fine line to tread.
But it's a [G] great kit and it's such a great [A] thing.
And the gongs, [N] these big drums sound fine.
There's nothing wrong with these.
Mainly as you get to the smaller drums, they just don't have the sustain
and the cajones of the wooden drums.
Plus they look fantastic.
They do.
And I have to be careful what I wear now because people can see what I'm wearing through the drum kit.
Days of bottomless performing.
Yes, [E] exactly.
I'll have to be a little more [F] tasty in my clothing and tie.
[B] [N]
Key:
G
A
Cm
D
E
G
A
Cm
I haven't seen the clear Vista-like Tama kit in the past.
Is this basically a road kit or do you use it in other scenarios?
It is.
It's a live kit, definitely. _ _
[A] I wanted to_
I've never [E] had a Vista-like kit, see-through kit.
And I always wanted to try one out.
And I went to see, funnily enough, we were in Vegas, I went to see the Blue Man Group.
And the night I went to see them, the guy that actually [Gb] made all the drums for them [Cm] was there.
And he makes the shells and Tama supply all the hardware.
So it's a kind of_
it's like a Tama-badged _
[D] drum kit.
It's a bit like [A] _ _ _ [Cm]
when you get an engine.
_ [G] You get a_
what is it?
Porsche used to badge a TAG engine, or TAG _ -stamp the Porsche engine back in Formula 1 days.
You get that happening a lot, actually, [A] with engines.
Somebody will build the engine, but somebody will actually badge it.
It's made under license.
It's kind of the same as this.
[G] He makes these shells under license.
_ _ [Cm] It's actually called a Mirage kit.
That's what Tama_
_ [N] _ I did record with it once, but I was [C] extremely disappointed with it.
_ [D] The bass drums were phenomenal.
Absolutely, they were great.
And these, by the way, are standard [N] retro 24 by 14s.
Just like they were in 1973.
It's great.
And they really respond.
The front head [G] responds very quickly.
So it actually makes it sound bigger than a deep bass drum.
This is the way the heads work.
They [Ab] recorded great.
These don't record great.
Mainly because of the lack of sustain [G] and the lack of [E] top end and bottom end.
_ Just because of [Gb] the construction of the shells, [Cm] their sound tends to be reduced in bandwidth.
[E] It doesn't have a lot of attack.
[Eb] It doesn't have a lot of bottom end.
But what you get [B] is very mid-rangey, very compressed and very _ thuddy and [C] useful.
So we [A] tune them up pretty high.
[Eb] And through a PA system, they're incredible.
[E] Every sound engineer I work with live, it's their favorite kit.
_ _ [B] It's a bit weird to play because [Cm] you do have to adapt.
I'm used to the wooden drums.
[A] I'm used to the long sustain of a wooden [Eb] drum.
And the [G] fact that they're a bit more [N] subtle.
_ _ With this drum kit, you have bass drums, you have snare drums, and you have tom-toms.
And that's it.
There's no in-between.
_ _ With the other _ kits, [Cm] the _ Maple Star Classic [Eb] and the Bubinga kit and the Bubinga Maple [Cm] kit, _ _
_ _ [D] there's a bass drum, snare, and tom-toms, but they're much more integrated.
I can make the toms blend [G] in better with the bass drums and the snare drums.
So in a way, it's a more musical kit to play, the wooden kit.
And it feels nicer. _
But there's definitely something that [D] feels good about this.
But you kind [A] of have to play differently because every time you_
I live on the tom-toms.
I do a lot of tom fills.
I have to be a [Cm] little bit more _ aware of every time I play the toms, [D] they really stick out.
So I've [A] got to be careful not to make it all start sounding like a drum solo.
It's still [Ab] music.
_ So there is a bit of adapting to do.
The [G] other bit of adapting to do is [N] generally higher pitched.
_ The wooden drums will be just a little bit lower.
So I generally have to remind myself [D] to go down, [G] play the lower toms a little more
_ [D] because they cut too much. _ _ _
They're in [N] danger of being a bit invasive to the music. _
_ So it's a fine line to tread.
But it's a [G] great kit and it's such a great [A] thing.
And the gongs, [N] these big drums sound fine.
There's nothing wrong with these.
Mainly as you get to the smaller drums, they just don't have the _ _ _ sustain
and the cajones of the wooden drums.
Plus they look fantastic.
They do.
And I have to be careful what I wear now because people can see what I'm wearing through the drum kit.
Days of bottomless performing.
Yes, [E] exactly.
I'll have to be a little more [F] tasty in my clothing and tie.
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_ [B] _ _ _ _ _ _ [N] _
Is this basically a road kit or do you use it in other scenarios?
It is.
It's a live kit, definitely. _ _
[A] I wanted to_
I've never [E] had a Vista-like kit, see-through kit.
And I always wanted to try one out.
And I went to see, funnily enough, we were in Vegas, I went to see the Blue Man Group.
And the night I went to see them, the guy that actually [Gb] made all the drums for them [Cm] was there.
And he makes the shells and Tama supply all the hardware.
So it's a kind of_
it's like a Tama-badged _
[D] drum kit.
It's a bit like [A] _ _ _ [Cm]
when you get an engine.
_ [G] You get a_
what is it?
Porsche used to badge a TAG engine, or TAG _ -stamp the Porsche engine back in Formula 1 days.
You get that happening a lot, actually, [A] with engines.
Somebody will build the engine, but somebody will actually badge it.
It's made under license.
It's kind of the same as this.
[G] He makes these shells under license.
_ _ [Cm] It's actually called a Mirage kit.
That's what Tama_
_ [N] _ I did record with it once, but I was [C] extremely disappointed with it.
_ [D] The bass drums were phenomenal.
Absolutely, they were great.
And these, by the way, are standard [N] retro 24 by 14s.
Just like they were in 1973.
It's great.
And they really respond.
The front head [G] responds very quickly.
So it actually makes it sound bigger than a deep bass drum.
This is the way the heads work.
They [Ab] recorded great.
These don't record great.
Mainly because of the lack of sustain [G] and the lack of [E] top end and bottom end.
_ Just because of [Gb] the construction of the shells, [Cm] their sound tends to be reduced in bandwidth.
[E] It doesn't have a lot of attack.
[Eb] It doesn't have a lot of bottom end.
But what you get [B] is very mid-rangey, very compressed and very _ thuddy and [C] useful.
So we [A] tune them up pretty high.
[Eb] And through a PA system, they're incredible.
[E] Every sound engineer I work with live, it's their favorite kit.
_ _ [B] It's a bit weird to play because [Cm] you do have to adapt.
I'm used to the wooden drums.
[A] I'm used to the long sustain of a wooden [Eb] drum.
And the [G] fact that they're a bit more [N] subtle.
_ _ With this drum kit, you have bass drums, you have snare drums, and you have tom-toms.
And that's it.
There's no in-between.
_ _ With the other _ kits, [Cm] the _ Maple Star Classic [Eb] and the Bubinga kit and the Bubinga Maple [Cm] kit, _ _
_ _ [D] there's a bass drum, snare, and tom-toms, but they're much more integrated.
I can make the toms blend [G] in better with the bass drums and the snare drums.
So in a way, it's a more musical kit to play, the wooden kit.
And it feels nicer. _
But there's definitely something that [D] feels good about this.
But you kind [A] of have to play differently because every time you_
I live on the tom-toms.
I do a lot of tom fills.
I have to be a [Cm] little bit more _ aware of every time I play the toms, [D] they really stick out.
So I've [A] got to be careful not to make it all start sounding like a drum solo.
It's still [Ab] music.
_ So there is a bit of adapting to do.
The [G] other bit of adapting to do is [N] generally higher pitched.
_ The wooden drums will be just a little bit lower.
So I generally have to remind myself [D] to go down, [G] play the lower toms a little more
_ [D] because they cut too much. _ _ _
They're in [N] danger of being a bit invasive to the music. _
_ So it's a fine line to tread.
But it's a [G] great kit and it's such a great [A] thing.
And the gongs, [N] these big drums sound fine.
There's nothing wrong with these.
Mainly as you get to the smaller drums, they just don't have the _ _ _ sustain
and the cajones of the wooden drums.
Plus they look fantastic.
They do.
And I have to be careful what I wear now because people can see what I'm wearing through the drum kit.
Days of bottomless performing.
Yes, [E] exactly.
I'll have to be a little more [F] tasty in my clothing and tie.
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_ [B] _ _ _ _ _ _ [N] _