Top 705 Snare Drum Quotes & Sayings

Well one of the times I did a stunt was in the devil's snare room and they lifted me up on a harness and a safety rope really, really high, and they just dropped me down into the devil's snare.

Since I first picked up the violin, I've been very interested in tone and texture: I would have very visceral reactions to the texture of a snare drum or a pedal steel guitar or a violin.

I love the percussion. It's a right brain, left brain thing. There are different beats, but cooperating together. It's your whole body doing it, you're doing the snare drum and the high top with your hands and the bass drum with your foot. You're this whole motion machine.

Devil’s Snare, Devil’s Snare . . . what did Professor Sprout say? — it likes the dark and the damp —” “So light a fire!” Harry choked. “Yes — of course — but there’s no wood!” Hermoine cried, wringing her hands. “HAVE YOU GONE MAD?” Ron bellowed. “ARE YOU A WITCH OR NOT?

It's certainly no coincidence that big bands became the entertainment of the army in WWI and WWII, and that jazz drumming style is very military influenced. The snare drum comes from the military and becomes the core kind of sound of jazz drums.

I've wanted to be a drummer since I was about five years old. I used to play on a bath salt container with wires on the bottom, and on a round coffee tin with a loose wire fixed to it to give a snare drum effect. Plus there were always my Mum's pots and pans. When I was ten, my Mum bought me a snare drum. My Dad bought me my first full drum kit when I was 15. It was almost prehistoric. Most of it was rust.

I love the sound of '70s glam records. I love that snare sound. The recordings I like, it's all based on if the snare sounds good. The drums have to sound great.

I feel like a drummer with no sticks and somebody keeps farting on my snare drum.

When you're young you want to show people what you can do, no matter what the cost. Whereas when you're older, and you realise that maybe a drum machine is better than you playing, then use the drum machine.

The only time I can ever remember Steven crying over any of it was after my treatment, when I tried to use my foot on his bass drum pedal, and we realized I could never play a drum set.

I strive to create drum samples that have a variety of engineering and capturing options in order to build a unique drum sound.

Playing well with others is important - not being too flashy, just keeping good time and of course coming up with cool beats. A good snare drum, kick drum, high hat. Just getting good at the hand feet coordination.

Neil Young, who isn't really evident when you listen to my music, is probably my favorite of the legends, besides Dylan. They're all a huge influence on me. For me, just following rock history and watching Darkness On the Edge of Town and realizing that's it's okay to be obsessed with a snare sound because Bruce Springsteen was obsessed with a snare sound.

Don't quit. Never give up trying to build the world you can see, even if others can't see it. Listen to your drum and your drum only. It's the one that makes the sweetest sound.

Well, things hold up even if they sound dated. It can be very difficult to listen to 80s pop songs with really, really gigantic smashed drum sounds. You just want to turn that gated reverb down on the snare. It sounds wrong now. It sounds amateurish. And ugly. But at the time it sounded state-of-the-art. So yeah, I think it's important not to sound state-of-the-art in a way that anybody else is going to sound. Or you'll quickly sound like yesterday's state-of-the-art.

I had some proper training, but that was only on snare drum. Learning all the techniques in marching bands and realizing how important it is to play tight set a standard for me for when I did get into a band.

Yes, if you want to say that I was a drum major, say that I was a drum major for justice. Say that I was a drum major for peace. I was a drum major for righteousness. And all of the other shallow things will not matter. I won't have any money to leave behind. I won't have the fine and luxurious things of life to leave behind. But I just want to leave a committed life behind. And that's all I want to say.

We all have those friends that tick to their drum, and you don't want them to tick to anybody else's drum.

Every time I talk about this, I say: when the singer is singing, he must be respected, you must be able to hear what he's saying. You can't put a trombone and a drum up there, and a microphone on the drum, microphones on everybody. You can't hear what he's saying.

On the first album, it was me and a producer in a basement going though hundreds of snare drum sounds to find the right one.

You can get the oldest drum machine out and whack out four sounds like a kick, snare, and two types of high-hat, and try and come up with the freshest thing on the spot. The gear can guide you - you can choose one bit of gear and it's obviously got its restrictions and its limitations, but at the same time, you've got to exploit what it's capable of and what it's best used for.

Hark! I hear the tramp of thousands, And of armèd men the hum; Lo, a nation's hosts have gathered Round the quick alarming drum Saying, Come, Freemen, Come! Ere your heritage be wasted, Said the quick alarming drum.

My dad was a kind of semiprofessional Dixieland-type drummer, and I learned the drums from him. When I was about twelve, we bought our first Ludwig drum set from a pawnshop - a marching-band bass drum, great big tom-toms, and big, deep snare drums.

Dad bought me a toy drum one Christmas and I eventually destroyed it. I wanted a real drum and he bought me a snare drum. Dad continued to buy me one drum after the other.

I'm a freak, everything has to be totally flat when I play. Ed Will, my jazz teacher, set up everything completely flat, and then you'd tilt your snare drum away from you, so I do that too. So my snare tilts away from me.

My favorite instrument is the snare drum. In Scotland, the snare drum is very prominent in Highland bands. The Scottish style of playing is in my blood. It's a very powerful instrument, but it can also be soothing, like velvet. It's a real challenge for composers.

Well one of the times I did a stunt was in the devil’s snare room and they lifted me up on a harness and a safety rope really, really high, and they just dropped me down into the devil’s snare.

It's important to recognize how special New Orleans is. You play the snare drum or the clarinet in any other city, and you'd be considered a nerd, but here, there's no shame in it, and it's absolutely valued.

For live you need a microphone for the snare and the high hat, the kick drum, a nice stereo overhead and one for the toms - you can get away with using four mikes.

The evocative power of the drum can be compared to the Trinity. The drum's frame comes from the trunk of a tree, and that tree has a spirit. It is not dead wood. There is also spirit in the animal skin. If there wasn't, it would not produce sound. Those, plus the spirit of the person playing become an irresistible force.

I've always liked a very dry snare and, like everyone else, a very dry bass drum.

I consider the electric guitar to be like a drum with strings. It became the drum of the Baby Boom generation. And the drum has always been the center of the tribe, a new electronic tribe.

Yeah, my drum programming especially is based on my knowledge of playing a drum kit. For the bass too, definitely. It was the first thing that I translated any sort of ideas through. It must have shaped it somehow.

It's as if my left heel is my bass drum and my right heel is the floor tom-tom. I can get snare out of my right toe by not putting it down on the floor hard, and, if I want cymbals, I land flat on both feet, full strength on the floor.

It's been years and years and years I've been playing the drums, and they're still a challenge. I still enjoy using drumsticks and a snare drum.

I learned to drum and I'm very excited today. Well, first of all I got to...I learned when I was in New York I sort of did some prepping with just learning basic stuff like beating my couch next to my drum teacher, who's this incredible guy named Charlie Green.

When Mr. Ludwig invented the bass-drum pedal, that's what made the drum set possible.

One that really caught me was Joe Morello. He was the first drummer I ever saw that could do a roll with one hand. He would turn his hand over and use his fingertips to get the stick bouncing. He could sit there with his right hand doing stuff on the cymbals and tom-toms while he was doing a roll with his left on the snare drum.

One of the instruments that really stuck out to me was the talking drum, which is basically the first type of communication device. It's a drum you put on your shoulder, and you can pitch it with your arm, and you can 'talk' with it.

Gaps can be very emotional. I mean, that's in my drumming. When I drum, you know, I don't need to drum all over the track. I play with the singer and I can back off.

I was in a Montessori school. There was a drum circle with all the kids passing around a little bongo drum. I was the last person in the circle, and when it got to me I played 'Shave and a Haircut, Two Bits' - in front of all the parents. Blew the crowd away at five years old.

'Swagger' would be the word for 'Dirt On My Boots.' With the real funky drum loop and the ganjo rolling down, and then the fiddles and the guitar and steel, it really took an old school style where it's fiddle, steel, guitar, and mixed it with a drum loop.

I did a smaller gig with an acoustic guitar and a drum machine. In one song, something wrong happened with the drum machine. I tried to cover up the mistake by playing faster and improvising a new song but it became crazy, and I had to admit it was all a mess.

With a computer, you have access to so many drum sounds and samples that your snare drum will be unrelated harmonically to your kick drum.

Dad bought me a toy drum one Christmas, and I eventually destroyed it. I wanted a real drum and he bought me a snare drum. Dad continued to buy me one drum after the other.

Then I tried out for the Fontana High School drum line, in Riverside, and I did really well. I got second chair, and played snare in that drum line for three years.

In the late '80s and early '90s, there was a slightly retro drum sound that was popular in hip-hop music called the 808 bass drum sound. It was the bass drum sound on the 808 drum machine, and it's very deep and very resonant, and was used as the backbone as a lot of classic hip-hop tracks.

Then the musical instruments appeared. Dad’s snare drum from the house, Henry’s guitar from his car, Adam’s spare guitar from my room. Everyone was jamming together, singing songs: Dad’s songs, Adam’s songs, old Clash songs, old Wipers songs. Teddy was dancing around, the blond of his hair reflecting the golden flames. I remember watching it all and getting that tickling in my chest and thinking to myself: This is what happiness feels like.

The Creator wants us to drum. He wants us to corrupt the world with drum, dance and chants. After all, we have already corrupted the world with power and greed....which hasn't gotten us anywhere - now's the time to corrupt the world with drum, dance and chants.

When I was in the marching band, I used to take my snare drum and turn it over and use my drumstick and scratch on the other side. That was just being creative.

I feel like, with drum programming, the way I used to do it, I'd think of how somebody would play these drum patterns and then try to replicate that through programming. It's not that it's better or worse, it's just a different style.

I was in orchestra in high school, but I really started when a friend of mine who's a drummer showed me some things. I was always just really fascinated with drums, it was the instrument I was always drawn towards. My ear sort of went to rhythmic aspects of music and songs. But he really was the beginning point of starting me on drum sets; like I said, I was in the orchestra first and I was playing orchestral snare and mallet instruments first.

I'm a Gemini, so there's two people in me. Straight up. There's the nerd who is totally zoned out in the studio, EQ-ing this kick drum, raising this snare one decibel, or swapping this high hat out for another. Then there's the other side who's a performer. I have to go out on stage and be electric, a fire cracker, just run around the stage and give a show.

When I do something I have to do it all the way - that goes for music, with a high-hat, a snare drum, a rhyme, everything. I have to push it to the extreme. That's how I realized I have addictive behavior. Somebody told me this once, that the thing that makes me bad is the same thing that makes me good at other things.

Just really be yourself, and if being yourself means you play two snare drums and nothing else, then play two snare drums and nothing else! Really figure out who you are and how you want your drums to feel because it's a very emotional instrument.

I was playing legit snare with a traditional grip, not a matched grip. After I broke my left wrist, I couldn't hit a snare drum anymore. From the age of 13 to 17, I couldn't really get a pop on the snare drum. I would hit it, and my wrist would almost shatter.

I'm always moving forward creatively and don't like stalling, trying to find the perfect snare drum sound.

My drum parts are a song within the song; that's the way I look at writing my drum parts. They follow patterns, and they're written to interact with the rest of the band. There's quite a bit of thought that goes into it.

The sound levels on stage were so loud with all that constant banging and smash, smash, smash; it did untold damage to the fine nerve endings in the inner ear, though it is worse in the left, which is the side of my snare drum and the monitor.

I played the drums. I basically started off in drum line. So it was just straight percussion. Then I got into the drum set. I was in the jazz band and then all through high school I was in orchestra.