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 Show Setup for The Producers

This is the basic kit.  It does change from time to time, depending on who is currently conducting, or even who is starring in the show.  For instance, when Nathan Lane is in the show, I up the sizes of the crash cymbals by an inch, and use a Manu Katche 14 x 5.5 brass snare drum, because Nathan really likes to "feel" the rimshots and cymbal crashes, and I need a little extra power to cut right "thru" the wall of the pit into the stage.  Also, at times when I know that I will be in playing the show a lot, I will use Remo Suede Ambassadors on the tom batters, simply because I love the mellow tone that they produce.  It's very reminiscent of "old time" Hollywood musical scores, to my ear.  But, when I'll be out of the show a lot, I put the coated Ambassadors back on, simply because they are more durable, and are easier for all of my different drum subs to come in and get a consistent tone, which is important for the sound department.

There is a specific reason for EVERYTHING that I have chosen to play in the pit.  For example I often get asked, "Why do you use a 14" deep bass drum?"  Simple.  SPACE!!!  The pit is SMALL and I have limited amount of space available.  The more I can do to compact my drum setup, the better.  (also note how the cymbals are so close together and layered ontop of each other... another space consideration.)  Most other choices are based on musical reasons, tho.  But there are definite times when a give n take approach is required.

Beech drums have become the choice in the pit for me, for several of the past Broadway shows I've played.  They have just enough resonance to be warm and full sounding, yet stay out of the way.  Which is VERY important for close-miked pit situations.  Sound designers go crazy with drums that ring for days, and I personally hate to muffle the drums at all.  So, I tend to steer towards beech.

Cymbals:  the 14" HHX Evolution hats were a godsend.  Thanks to Dave Weckl and the team up at Sabian for coming up with one of the most versatile sets of hats that are being made today.  I can play them anywhere from delicate & soft, to open and brashy...they do it all, and do so MUSICALLY.  I love them so much that I have several different pairs so I never have to be without them.  I can leave one set in the pit permanently, keep one set in my studio and one set for recording & gigging around town.  I'd say I use these hats on 70% of the live gigs I play.  When I'm in the studio, you'll often find me playing the 14" HHX Legacy hats.  (Thanks again, Dave & Sabian!)  The same ideas of Evolution hats, just darker, warmer, and less piercing... but they still retain the shimmer.  Beautiful hats.

When it comes to crashes, I'm a big fan of thin, fast cymbals, that's why I like the AAX & HHXplosion crashes.  Big bang, and then they are gone.  Musical and easy to control and I can get many different sounds from them.  Very versatile cymbals.