And a piece of apple pie. NO CRUST!!

Same.

Aquiles!!!!

Right??!!

Going to see the show tonight in Melbourne, Australia 🇦🇺

@@bradwilliams1691 🤘

@@underbedmonstersmusic Shine on, brother.

Never going to happen. Waters hates them really

@@markrushton1516 And they hate him. Done him dirty lately as well. Quite sad, really.

Way too late. There’s no Rick Wright.

They said it's 18 inch too!

My hunch is he doesn't hit them as hard these days because of age or other physical issues, so he needs a bigger sound. A bit like Federer moving up a racquet size in his final years.

Can I ask how you like your PAISTE cymbals? I became a PAISTE person when they introduced the Signature line.

The real mystery is that by 1986-87, Gilmour stated that Nick was so out of practice that session drummers were brought in to record "...Lapse Of Reason", and the Tour had to have a surrogate drummer (that hyperactive prick who played w/Nick Kershaw) before Nick could handle it, which he did early on. How do you "lose it" like that, as much as Mason had played previously? Though I don't respect him much, the same thing with Peter Criss. His playing went down so bad (according to the others) he was replaced on the late 70s albums and eventually fired. (I'm sure the coke, and the 'don't care' attitude didn't help) I always assumed drumming was like riding a bike. Maybe a couple of days practicing to shake the rust off, and the muscle memory is back. Sorry for the long reply!

@@JasonSmith-jr7jh​​⁠​⁠after The Final Cut, Nick Mason went into kind of a retirement. He spent time off racing cars and with his family which I don’t blame him, I would be exhausted after Roger. When Nick was called back up he obviously hadn’t been playing drums so he was obviously out of practice. But the reason they hired Gary Wallis was because he controlled the samples, and extra percussion like Timbales, Cowbells, Gongs, and him drumming along with Nick thickened the drum sound out more.

​@@JasonSmith-jr7jhagree totally. From the "Delicate Sound" tour on they had Gary Wallis as the surrogate drummer. He did mostly cover electronics and accents, but he did also play fills that were certainly NOT what one could call "challenging" but ...and Peter Criss? He god-awful. He never lost that habit of believing his own hype, and along with thinking he's a John Lennon -type songwriter and as good a singer as Rod Stewart, I can imagine how insufferable he would be to put up with.

@@yourlocalryan True. Sorry to criticize Gary, as he's a fine drummer. But when I first saw him with Kershaw (and later with Floyd) his schtick of setting the cymbals up high on the 'drum-rack' so he had to jump up and hit 'em (while kicking his legs back to add extra attention) came across as "Look at ME!", and rubbed me the wrong way. The polar opposite of what Floyd's onstage persona was about. Thanks for the Reply!

@@toddmorrissey8372 Re: Peter Criss. He and another guy wrote BETH (Methinks it was more the other guy) but Gene and Paul maintain that the song's "Hook" was not from Peter. Also Bob Ezrin got credit on that, for good reason. But boy, did he milk that cow! If he DID write it, how come he never wrote anything else? His solo records were abysmal and for the most part he didn't even drum on 'em! As a drummer, when he was good, he was good...but never great. I actually feel sorry for him. He's had to eat an awful lot of humble pie over the years.

Yeah the two Nicks were quite a team 🙄

Hey he's got the GigaBell ride, so you know he's slamming some skank beats and blasts too! Yeah, you're right, but he's always had a double bass kit, though I've never even heard him do pedalling 8th notes, let alone 220 bpm blasts.

Apart from that clip with all the tuned toms. Can’t see that working on a 4 piece 😂

I think the double kicks are more For air when he plays the ride. Quick double 16th etc

Saucer full of secrets

@@latentsea that's not a DW model Collectors Series, I'd love to know what the shells are made from(type wood)

Maybe different height too, 20” right, 22” left?

Hard to beat those vintage Japanese Tama’s. Some of them have a tight punchiness that I haven’t heard in any other kits.

Peart's tuning seemed to have been a factor, too. He kept tuning them tighter and tighter. Their R-30 tour kicked off in Nashville, and the DWs sounded like tin cans. By the Limelight ending, the snare finally started sounding right. Didn't know if it was Sound Engineer problems, the way too tight tuning or the DWs? Maybe a combination of all three? The TAMAs sounded GREAT on EXIT... STAGE LEFT (album and video) and the Ludwig's weren't bad, either.

Pretty sure that they play what they want and like

You’re 100% correct on this. I was a fan of Nick’s Premier kit and Neil sounded best on Ludwig’s IMO. DW has the deep pockets to do this, and it’s good that some tell them to kick rocks when they show up.

Tbh I think dw are way overrated I like Ian pace he kept with pearl drums never turned his back on them everyone uses bloody dw overrated imo!!

W is a "double U" thats how its said, not some retarded american dubba-ya.

Pretty much how it’s supposed to be pronounced no? Unless you’re from west Texas & then it’s “D-Dubya”

Yes, George W. refers to his kit as D-Dubya’s. “Lerah, I’m gonna go rock my D-Dubya’s, if anybuddy calls, tell em’ I’m out choppin’ wood”.

@@latentsea You beat me to it!

Yes he should

I thought Roger played the drums by shoving the sticks up his arse whilst playing lead guitar with his teeth and keyboards with his hands, then getting a surrogate bass player in?

Sounds about right.

Vic has better models, promark better Woody imo.

@@davidperez5089 that is true

Pro mark forward balanced, and select balance are pretty nice sticks.