Steve Smith's
Drum Talk:
My Setup - Today
Drums
Today I play two main kits. On the west coast
I have a maple Sonor SQ2 kit finished in Silky
Oak with 8x7, 10x9, 12x11 rack toms and 14x14,
16x16 floor toms. The bass drum is 20x20. The
side-snare is 12x5 and made of clear acrylic. My
East Coast kit, (stored in New York), and my
Europe kit, (stored at the Sonor factory in
Germany), is my 30th Anniversary Signature kit
which is made of 9 ply beech and finished in
Birdseye Amber satin. The kit includes: 8x8,
10x8, 12x8 rack toms and 14x14 & 16x16 floor
toms, a 20x16 bass drum and a 12x5 matching
beech side-snare. With all of the kits I use my
5.5x14 Steve Smith Signature metal snare drum.
Heads
Since 2009 I set up my toms with Remo Clear
CS “Black Dot” heads on the top and bottom. This
is the setup that I saw Tony Williams use and
I’ve always loved that sound. With this setup I
can have the toms tuned to warm, melodious
tones, with a relatively short sustain. Before
that I used Clear Ambassadors on the top and
bottom of his toms. In both cases I had the
bottom head tuned slightly higher than the top
head.
For many years now I’ve has used a
Clear Powerstroke 3 on the batter side of my
bass drum and a white coated Powerstroke 3 on
the resonant side. There is no hole in the front
head and the only muffling is a felt strip on
each side, placed about 3” down from the top of
the drum. The tension of both BD heads is
medium, just getting rid of the wrinkles. By
using a front head with no hole, and no padding
inside the drum, the drum is more responsive –
and has a full sound – when played with a wide
range of dynamics.
I set up all of my
14” snare drums with a Clear Ambassador, or
Diplomat, on the snare side (bottom) and a
Fyberskin 3 Diplomat on the top. The Fyberskin 3
Diplomat gives the snare drum a warm tone and is
perfect for brush playing. On my 12” side snare
I use a White Coated Ambassador on my wood drum
and the Clear CS “Black Dot” head on my acrylic
drum. With all of his snare drums I have the
bottom head tuned tighter than the top.
Cymbals
My main ride cymbal is a prototype of the K
Zildjian Renaissance, a 22” model designed by
Zildjian’s Paul Francis and veteran jazz drummer
Adam Nussbaum. The cymbal is thin with a nice
“give,” plus clear stick definition with little
build-up of overtones. My secondary ride,
positioned to my left, is the 19” Armand
Zildjian “Beautiful Baby” ride that comes with
three sizzles. A third ride that I place to the
right of the main ride is a 22” K Zildjian
Complex II. My other favorite ride that I
occasionally use is a 22” Hi Bell Dry, which
Zildjian no longer makes.
When I need
more of a rock sound I use a 20” A Platinum Ping
ride and for some music I use a 20” K Flat Top
as an additional ride.
For both jazz and
rock I prefer very thin 18” crash cymbals. I
usually combines two of the following: the A
Armand Zildian thin crash, A Custom Medium Thin
Rezo crash and the K Custom Hybrid crash. For
rock recording I use thin A Zildjian crashes.
I have two different Hi Hat setups. One is
the 14” A Armand Zildjian Hi Hats, which are
reminiscent of the Zildjian Hi Hats from the
60s. The other setup is a hybrid that I came up:
a 14” A Mastersound bottom and a 14” K Custom
Dark top.
Depending on the music, I have
some other favorite cymbals that I may put up, a
22” A Swish Knocker or a 22” K Bounce ride.
Bass Drum Pedals
My main Bass Drum Pedal is the the DW 9000
Titanium double pedal, which was a limited
production. I also use a double pedal setup that
I put together after years of experimentation:
Since the late 80s I've used the DW double pedal
with the nylon straps and the light footboards.
But I’ve made a custom adjustment which is I use
the 5000 Delta Chain pedal with the heavy
footboard as my left pedal. The added weight of
the heavier footboard and the double chain helps
to give the left pedal an easy “swing.”
With both versions of my double pedals I use the
medium size DW felt beater and I have them
lowered a bit so they swing smoother and I can
play with a wide dynamic range. When the beaters
are fully extended, it's harder from me to
control them and play softly. I have the springs
tensioned loosely, that way the pedal feels
light and follows the motion of my foot very
easily.
Sticks
When Vic Firth suggested that I design a
Steve Smith Signature stick I resisted the idea
for a few months. I was extremely happy with the
Vic Firth 5A model and couldn't conceive of
improving it. When Vic wouldn't take no for an
answer, I start to seriously think about a
personal signature stick and decided that I
wanted a stick based on the 5A, but with a new
tip.
I always like the Elvin Jones and
Jack DeJohnette sticks that I bought from the
NYC Professional Drum Shop in the 1970s that had
elongated tips. Vic made me a few different
sticks with the elongated tip and I discovered
immediately that I liked the balance better than
the 5A. Suddenly the 5A felt heavy in the back
and light in the front, and my Steve Smith
Signature model felt well-balanced and just
right. We tried Maple and Hickory and I felt
that Hickory had the best overall feel. I've
been very happy with the stick ever since. Even
with all of my recent technical developments,
the Steve Smith Signature stick still feels just
right to me.
I also use my Vic Firth
Tala Wands, which come in both Birch and Bamboo.
In 2001 when I started playing with drummers
from Indian I needed to find a to blend my
sounds with the very low volume of the Indian
drums.
I tried some bundle products that were on the
market and none of them felt good to play with.
By adding a “foam core” to the center of the
stick the feel and rebound improved immensely. I
also adjusted the wrapping higher up toward the
middle of the stick so it accommodated the
balance point where I hold the stick. When I
want to play light and fast I use the yellow
Birch 12 model and when I want to groove at a
low volume I use the purple Bamboo 11 model.
Microphones
For most gigs I use a simple micing setup: 4
overheads and a bass drum mic. I use a Shure
Beta 52 on the bass drum and four Shure KSM 137s
as overheads. I use four overheads because my
kit is rather spread out and with two overheads
it may not cover the 16” floor tom and the 12”
side snare. I position the mics so they are over
the drums rather than over the cymbals.
Occasionally I’ll use a Shure SM 57 on the main
snare and when I use tom mics I like the Shure
SM 98s.
Electronics
Since 2010 I’ve incorporated a Korg Wavedrum
into my setup. I find the instrument to be an
inspiring addition to my sonic palette as it
sparks many creative ideas and has many unique
and usable sounds.
Accessories
I use Puresound snares on all of my snare
drums, they improve the sound of any snare drum.
I carry a supply of Puresound snare wires when
on tour and if I am using loan equipment I’ll
put the Puresound snares on rental drums and it
always helps the sound and feel.
The
Zoom Q3 HD has become an important tool for me.
I’ve always enjoyed recording my gigs and
practice sessions and with the Q3 I get
excellent sound along with very good video.
Cases
I do not endorse any case company as I use a
variety of cases depending on my needs.
Final Thoughts
I've stayed with all of the companies that I
started with because I only endorse the
equipment that I truly play and believe is the
best available. I've been fortunate to have a
long career and develop good relationships with
the people that work at all of these companies.
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