and after that maybe a video about how to apply dynamics by combining the two?

@@mikeZL3XD7029 It's really useful to understand Moeller as a principle in physics that you can apply anyway you want rather than a specific technique. This is why being loose is so hyper important. You need to ensure you conserve momentum down the line. Being tight prevents the energy waves from propagating, and the force is instead directed at your tendons, causing stress and inflammation.

Working on this for two years now. Weight, velocity, and the wrist are still key elements in my experience. Distance, too. Staying relaxed while minimizing how high you let the stick lift off the heads. Relaxing and keeping the movements natural have been the toughest lesson. It's almost like really working on your ghost notes. Heel down is easier to keep quiet on the kick drum, but heel up is more comfortable at faster speeds. A bit like jumping rope. I would be interested in a video on it, too. I'm probably not explaining it well.

An insta fix is tightening your grip at lower dynamics. Don’t death grip it but definitely tighten it a lot. Always worked for me

Smaller stick size, hit closer to the rim of the drums without rimshotting (especially snare), hold the sticks further up (same deal, not a lot of rebound but much less weight), use LESS whipping moeller stroke and focus on wrists and fingers only, use heal down bass drum technique with foot all the way up. Get used to playing that way and you'll be playing much lighter without needing to change your intensity!

high velocity but low stick heights. You'll still get that same crack and you'll feel the energy more, but with less volume. And just like how Rob said to choke back for more volume, choke way up on the stick to play quieter.

I switched up and forced myself to play left hand lead for a while. All the weakness in my left hand disappeared. (I noticed John Blackwell typically played left hand lead although he is a righty, and his power was intense with both hands.)

At 60 and a total novice in traditional drumming I am so excited about the new journey. I don’t see paradise is a drag, I don’t see practice of single and double strokes to get them really smooth as a drag anymore. Quite the contrary, I find that send moment when it sounds perfect. Although those moments are fleeting right now, I look forward to the day when that’s how I play. Even if you buy 70s! Thank you man network, And thank you Rob “beatdown”!!!

Same principles (plus one): - velocity (your control) - weight (stick material and build) - stiffness/softness (try brushes, hot rods, lighter sticks, dampened drumheads...)

You don't usually need more cymbal volume, most drummer's play cymbals way too loud anyway. That don't sound nice.

Dr. SamE I will agree most drummers play cymbals too loud. I like to use both extremes, in terms of dynamic contrast. While some music calls for loud, I like when people I play with comment that they could feel me more than hear me.

Bossa Nova?

I play in socks. Try it.

Jojo Mayer has a leather sole glued to a Converse All Star pair ;)

I'd say yes, but there's a lot of settings for increasing the volume on your e drums, and also I'd say it also depends where you hit it (sensors and stuff)

Yes it applies to electronic drums all the same. And if you use electronic drums as a practice tool to be a better drummer on acoustic drums, i don't recommend you use "easy" settings on your e-drum... Quite the opposite actually. Have settings that kinda work "against" you (making you hit the shells harder (by lowering their volume), and the cymbals softer (by raising their volume), and having loose skin tension), and when you will play on an acoustic kit, you will fly and sound great !

From my experience, I would say first, work on accuracy. If you are hitting nice meaty rimshots, dead on (hitting head and rim exactly the same time.) they will almost never hurt. And for the love of God, LOOSEN YOUR GRIP! If your squeezing like it's no tommorow, its gonna h u r t to hit hard. :)

@@jakegreene4313 I've got a super relaxed grip; just enough to not drop the stick. Whenever I do rim shots using traditional grip there is a load of pressure on the joint that connects my thumb to my hand. I use technique over force, so I'm not hitting too hard by any stretch. It's really irritated me, because I had to take time to get my left hand caught up to my right hand using matched grip so I can still have strong back beats with the same level of speed and finesse as my traditional grip; which kind of sucked as I never used match grip for anything, and I use finger control for everything. I basically had to start over from scratch on my left hand.

@@legacyShredder1 for what it's worth that's exactly where I am. My problem is my right hand has millions and millions of hits in its muscle memory, playing American grip, and my left hand has almost that many playing trad grip .. nowhere near that number in matched grip. It's struggling to catch up in matched grip. I suspect there's nothing for it but getting the hours in. Trying at the same time to master push-pull, which I never used to play: it has a strangely levelling effect as it's a learning experience for both hands.

@@harrysmart6236 Here is what got my left hand equal to my right : Simple triplets- (Right left left) Use triplets in say a 4/4 drum beat, using the left hand for ghosting on the snare, and also the 2 & 4 on the snare. Paradiddlediddle using left hand lead. (Play as 2 sets of triplets) Six Stroke Roll left hand lead. (Play as 2 sets of triplets) Combining the two rudiments while left hand lead. Six stroke Roll into Paradiddlediddle: L r r l l R L r l l r r (Again 4 sets of triplets) (I use basic rudiments as hi-hat beats. As with a paradiddle- (on the hats) L r l l R l rr; Next left is a Snare hit, followed by the rest of the hits on the hats.) Buddy Rich uses this one all the time, so I figured I should abuse it myself: R L R L R R L L, and the left hand lead version L R L R L L R R Do all of these with rebound, without rebound, play variations with all accents, play variations without accents, again with and without rebound. Use fingers only, use wrist only, use arm only, and of course use combinations of all three. Also just play your normal routine using the left hand as a dominant. Any technique that you do on the right, learn on the left, and then lead with the left. (Something I realized after a little while; I was over gripping with my left hand while over compensating for a lack of muscle memory. My left hand was constantly getting worn down and exhausted due to over squeezing/gripping, making me believe that I didn't have the same strength with that hand. Once I relaxed my grip everything started falling into place a lot faster.)

Yamaha Stage Custom Birch is a great sounding, affordable kit. I have one and zero complaints.

those shoes are uncannily wonderful, and I speak as someone who has the paradiddle t-shirt in grey

That snare ain’t goin’ NOWHERE 😑⭐️⭐️⭐️⭐️⭐️

@@RobBeatdownBrown Glad to here it!!!

Exactly👌🏽