Chords for Remo + Stewart Copeland: Why Remo
Tempo:
76.125 bpm
Chords used:
B
Ab
C
Db
Bb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[B]
[Ab] [Db]
The snare drum head is the Ambassador coated.
I've tried all kinds of different things.
This is like, I think, one of the really old remos that they've made for a long time.
And I've used it for a long time.
This drum is a really old drum that I've used.
I used this drum on all the hits and I'm still using it.
I think [Abm] I've had it for maybe 30 years, this snare drum.
And this head I've had for rather less than 30 years.
[Gb]
[N] The coated Ambassador has a certain amount of ring to it, but it has a lot of muffling as well.
And you know, how much is too much ring, how much is not enough ring is an individual thing.
And obviously I do my own mods here as well.
But it seems to start from the
I have no idea.
It sounds better than the other ones that I've tried.
Now this little tom, the point here is that I like that old, dare I say the word, jazz.
The Joe Morello Tom Tom sound, which actually is very ringy and works at kind of low volume.
That's very ringy sound.
I can play the Take Five drum solo.
I have that drum just so that I can do the Take Five drum solo.
But [B] then these guys here, this is where [E] Daddy comes in.
And for this you need heft, weight, and rock.
So this, [C] the pinstripe, once again, I have no idea what the physics are or what's going on.
I [B] try all the different heads.
These sound better.
So [Ab] these guys here need to sound like the footsteps of God.
Which [Eb] they probably don't in your [N] microphone there, but they're just very heavy.
And this here is kind of a mix between those two, but it's its own animal too.
You know, most of the time when you have two tom toms in front, they're both two halves of the same idea.
I have them kind of distinct from each other.
And guess what?
When I do a roll down, a do-ga-do-ga-do-ga-do-ga-do.
But for individual do-da-da-da-da-da, I select one tom tom.
Each one of them actually has a different identity for different things.
And of course I sit there and make these calculations while I'm playing.
Four bars from now, I'm feeling like I [Bb] need a slightly heavier muffled sound, so I'm going to go with tom [Bb] two.
You see, that's how the drummer's mind works.
You know that already.
What it is, actually it's a pinstripe, okay?
[N]
On the other side, I have something, most people have all kinds of different philosophies about the front head.
People obsess about the front head more than they do this head here.
Once again, I've just found that the pinstripe with a pad on it works just great.
It creates whatever skin it is, something about the size of the drum, the fatness of the beater, something about the kick drum and its roll.
You don't want it to be too ringy, but you do want it to have life, all that stuff.
Somehow, it is about the other head.
Somehow, this gives you your impulsion, gets the air moving.
This head just gets the air moving.
The actual resonance of the drum and the sound that you get when it goes, or whether it's Bonham or Jordison, two very different uses of the kick drum, is all about the front head.
On this drum here, I have an old-fashioned flappy thing with no hole because I like a lot of extra after effect to the drum.
I like it because I've got it tight.
When I do fast stuff, it's got the definition that we all look for.
But when it's, you know, you want that to have some gravitas, some space to take up.
You own the lower frequencies except for that bass player guy.
But that's all yours.
I don't just want that bit of it down there.
I want it all the way up to the singer's navel.
[B]
[N]
[C] [Db]
[C]
[Ab]
[B] Well, [Gb] [C] [N]
for the octopans, I really use only one head, which is the dot.
I don't use dots on any of the tom-toms over there.
But for the octopans, there's that thawk sound that just makes them do
It just makes them cut more.
Just somehow, once again, who cares about the physics, but just putting that little dot right in the middle just rounds out the sound.
So it's such a skinny drum.
It just doesn't go clink.
It goes think.
[A] [D] [Bb]
[D] [Db]
[D] [Ab]
[Ab] [Db]
The snare drum head is the Ambassador coated.
I've tried all kinds of different things.
This is like, I think, one of the really old remos that they've made for a long time.
And I've used it for a long time.
This drum is a really old drum that I've used.
I used this drum on all the hits and I'm still using it.
I think [Abm] I've had it for maybe 30 years, this snare drum.
And this head I've had for rather less than 30 years.
[Gb]
[N] The coated Ambassador has a certain amount of ring to it, but it has a lot of muffling as well.
And you know, how much is too much ring, how much is not enough ring is an individual thing.
And obviously I do my own mods here as well.
But it seems to start from the
I have no idea.
It sounds better than the other ones that I've tried.
Now this little tom, the point here is that I like that old, dare I say the word, jazz.
The Joe Morello Tom Tom sound, which actually is very ringy and works at kind of low volume.
That's very ringy sound.
I can play the Take Five drum solo.
I have that drum just so that I can do the Take Five drum solo.
But [B] then these guys here, this is where [E] Daddy comes in.
And for this you need heft, weight, and rock.
So this, [C] the pinstripe, once again, I have no idea what the physics are or what's going on.
I [B] try all the different heads.
These sound better.
So [Ab] these guys here need to sound like the footsteps of God.
Which [Eb] they probably don't in your [N] microphone there, but they're just very heavy.
And this here is kind of a mix between those two, but it's its own animal too.
You know, most of the time when you have two tom toms in front, they're both two halves of the same idea.
I have them kind of distinct from each other.
And guess what?
When I do a roll down, a do-ga-do-ga-do-ga-do-ga-do.
But for individual do-da-da-da-da-da, I select one tom tom.
Each one of them actually has a different identity for different things.
And of course I sit there and make these calculations while I'm playing.
Four bars from now, I'm feeling like I [Bb] need a slightly heavier muffled sound, so I'm going to go with tom [Bb] two.
You see, that's how the drummer's mind works.
You know that already.
What it is, actually it's a pinstripe, okay?
[N]
On the other side, I have something, most people have all kinds of different philosophies about the front head.
People obsess about the front head more than they do this head here.
Once again, I've just found that the pinstripe with a pad on it works just great.
It creates whatever skin it is, something about the size of the drum, the fatness of the beater, something about the kick drum and its roll.
You don't want it to be too ringy, but you do want it to have life, all that stuff.
Somehow, it is about the other head.
Somehow, this gives you your impulsion, gets the air moving.
This head just gets the air moving.
The actual resonance of the drum and the sound that you get when it goes, or whether it's Bonham or Jordison, two very different uses of the kick drum, is all about the front head.
On this drum here, I have an old-fashioned flappy thing with no hole because I like a lot of extra after effect to the drum.
I like it because I've got it tight.
When I do fast stuff, it's got the definition that we all look for.
But when it's, you know, you want that to have some gravitas, some space to take up.
You own the lower frequencies except for that bass player guy.
But that's all yours.
I don't just want that bit of it down there.
I want it all the way up to the singer's navel.
[B]
[N]
[C] [Db]
[C]
[Ab]
[B] Well, [Gb] [C] [N]
for the octopans, I really use only one head, which is the dot.
I don't use dots on any of the tom-toms over there.
But for the octopans, there's that thawk sound that just makes them do
It just makes them cut more.
Just somehow, once again, who cares about the physics, but just putting that little dot right in the middle just rounds out the sound.
So it's such a skinny drum.
It just doesn't go clink.
It goes think.
[A] [D] [Bb]
[D] [Db]
[D] [Ab]
Key:
B
Ab
C
Db
Bb
B
Ab
C
_ _ _ _ _ [B] _ _ _
_ _ _ _ _ [Ab] _ _ [Db] _
The snare drum head is the Ambassador coated.
I've tried all kinds of different things.
This is like, I think, one of the really old remos that they've made for a long time.
And I've used it for a long time.
This drum is a really old drum that I've used.
I used this drum on all the hits and I'm still using it.
I think [Abm] I've had it for maybe 30 years, this snare drum.
And this head I've had for rather less than 30 years.
_ [Gb] _
_ _ _ _ [N] The coated Ambassador has a certain amount of ring to it, but it has a lot of muffling as well.
And you know, how much is too much ring, how much is not enough ring is an individual thing.
And obviously I do my own mods here as well.
But it seems to start from the_
I have no idea.
It sounds better than the other ones that I've tried.
Now this little tom, the point here is that I like that old, dare I say the word, _ jazz.
The Joe Morello Tom Tom sound, which actually is very ringy and works at kind of low volume.
That's very ringy sound.
I can play the Take Five drum solo.
I have that drum just so that I can do the Take Five drum solo.
But [B] then these guys here, this is where [E] Daddy comes in.
And for this you need heft, weight, and rock.
So this, [C] the pinstripe, once again, I have no idea what the physics are or what's going on.
I [B] try all the different heads.
These sound better.
So [Ab] these guys here need to sound like the footsteps of God.
Which [Eb] they probably don't in your [N] microphone there, but they're just very heavy.
And this here is kind of a mix between those two, but it's its own animal too.
You know, most of the time when you have two tom toms in front, they're both two halves of the same idea.
I have them kind of distinct from each other.
And guess what?
When I do a roll down, a do-ga-do-ga-do-ga-do-ga-do. _ _ _ _ _ _
_ _ _ But for individual do-da-da-da-da-da, I select one tom tom.
Each one of them actually has a different identity for different things.
And of course I sit there and make these calculations while I'm playing.
Four bars from now, I'm feeling like I [Bb] need a slightly heavier muffled sound, so I'm going to go with tom [Bb] two.
You see, that's how the drummer's mind works.
You know that already.
What it is, actually it's a pinstripe, okay?
[N] _
_ _ _ On the other side, I have something, most people have all kinds of different philosophies about the front head.
People obsess about the front head more than they do this head here.
Once again, I've just found that the pinstripe with a pad on it works just great.
It creates whatever skin it is, something about the size of the drum, the fatness of the beater, something about the kick drum and its roll.
You don't want it to be too ringy, but you do want it to have life, all that stuff.
Somehow, it is about the other head.
Somehow, this gives you your impulsion, gets the air moving.
This head just gets the air moving.
The actual resonance of the drum and the sound that you get when it goes, or whether it's Bonham or Jordison, two very different uses of the kick drum, is all about the front head.
On this drum here, I have an old-fashioned flappy thing with no hole because I like a lot of extra after effect to the drum.
I like it because I've got it tight.
When I do fast stuff, it's got the definition that we all look for.
But when it's, you know, you want that to have some gravitas, some space to take up.
You own the lower frequencies except for that bass player guy.
_ But that's all yours.
I don't just want that bit of it down there.
I want it all the way up to the singer's navel. _ _ _ _
[B] _ _ _ _ _ _ _ _
_ _ _ [N] _ _ _ _ _
[C] _ _ _ _ _ [Db] _ _ _
_ _ [C] _ _ _ _ _ _
_ _ _ [Ab] _ _ _ _ _
[B] Well, _ [Gb] _ _ [C] _ _ [N]
for the octopans, I really use only one head, which is the dot.
I don't use dots on any of the tom-toms over there.
But for the octopans, there's that thawk sound that just makes them do_ _ _
_ _ _ _ _ It just makes them cut more.
Just somehow, once again, who cares about the physics, but just putting that little dot right in the middle just rounds out the sound.
So it's such a skinny drum.
It just doesn't go clink.
It goes think.
_ _ _ _ _ [A] _ _ [D] _ _ _ _ _ [Bb] _ _ _
_ _ [D] _ _ _ [Db] _ _ _
_ _ _ _ _ [D] _ _ [Ab] _
_ _ _ _ _ [Ab] _ _ [Db] _
The snare drum head is the Ambassador coated.
I've tried all kinds of different things.
This is like, I think, one of the really old remos that they've made for a long time.
And I've used it for a long time.
This drum is a really old drum that I've used.
I used this drum on all the hits and I'm still using it.
I think [Abm] I've had it for maybe 30 years, this snare drum.
And this head I've had for rather less than 30 years.
_ [Gb] _
_ _ _ _ [N] The coated Ambassador has a certain amount of ring to it, but it has a lot of muffling as well.
And you know, how much is too much ring, how much is not enough ring is an individual thing.
And obviously I do my own mods here as well.
But it seems to start from the_
I have no idea.
It sounds better than the other ones that I've tried.
Now this little tom, the point here is that I like that old, dare I say the word, _ jazz.
The Joe Morello Tom Tom sound, which actually is very ringy and works at kind of low volume.
That's very ringy sound.
I can play the Take Five drum solo.
I have that drum just so that I can do the Take Five drum solo.
But [B] then these guys here, this is where [E] Daddy comes in.
And for this you need heft, weight, and rock.
So this, [C] the pinstripe, once again, I have no idea what the physics are or what's going on.
I [B] try all the different heads.
These sound better.
So [Ab] these guys here need to sound like the footsteps of God.
Which [Eb] they probably don't in your [N] microphone there, but they're just very heavy.
And this here is kind of a mix between those two, but it's its own animal too.
You know, most of the time when you have two tom toms in front, they're both two halves of the same idea.
I have them kind of distinct from each other.
And guess what?
When I do a roll down, a do-ga-do-ga-do-ga-do-ga-do. _ _ _ _ _ _
_ _ _ But for individual do-da-da-da-da-da, I select one tom tom.
Each one of them actually has a different identity for different things.
And of course I sit there and make these calculations while I'm playing.
Four bars from now, I'm feeling like I [Bb] need a slightly heavier muffled sound, so I'm going to go with tom [Bb] two.
You see, that's how the drummer's mind works.
You know that already.
What it is, actually it's a pinstripe, okay?
[N] _
_ _ _ On the other side, I have something, most people have all kinds of different philosophies about the front head.
People obsess about the front head more than they do this head here.
Once again, I've just found that the pinstripe with a pad on it works just great.
It creates whatever skin it is, something about the size of the drum, the fatness of the beater, something about the kick drum and its roll.
You don't want it to be too ringy, but you do want it to have life, all that stuff.
Somehow, it is about the other head.
Somehow, this gives you your impulsion, gets the air moving.
This head just gets the air moving.
The actual resonance of the drum and the sound that you get when it goes, or whether it's Bonham or Jordison, two very different uses of the kick drum, is all about the front head.
On this drum here, I have an old-fashioned flappy thing with no hole because I like a lot of extra after effect to the drum.
I like it because I've got it tight.
When I do fast stuff, it's got the definition that we all look for.
But when it's, you know, you want that to have some gravitas, some space to take up.
You own the lower frequencies except for that bass player guy.
_ But that's all yours.
I don't just want that bit of it down there.
I want it all the way up to the singer's navel. _ _ _ _
[B] _ _ _ _ _ _ _ _
_ _ _ [N] _ _ _ _ _
[C] _ _ _ _ _ [Db] _ _ _
_ _ [C] _ _ _ _ _ _
_ _ _ [Ab] _ _ _ _ _
[B] Well, _ [Gb] _ _ [C] _ _ [N]
for the octopans, I really use only one head, which is the dot.
I don't use dots on any of the tom-toms over there.
But for the octopans, there's that thawk sound that just makes them do_ _ _
_ _ _ _ _ It just makes them cut more.
Just somehow, once again, who cares about the physics, but just putting that little dot right in the middle just rounds out the sound.
So it's such a skinny drum.
It just doesn't go clink.
It goes think.
_ _ _ _ _ [A] _ _ [D] _ _ _ _ _ [Bb] _ _ _
_ _ [D] _ _ _ [Db] _ _ _
_ _ _ _ _ [D] _ _ [Ab] _