DUAL-PEDAL DIFFERENTIATION

Since I have added the double pedal to my setup, I have been reacquainting myself with the sounds that this "extra beat" makes, and adjusting myself to the feel of both feet operating pedals.  It doesn't take long to realize there are a few muscles I haven't been using and need to work on.  I can hear my left foot lagging a little, struggling to keep up with the right.  It will take some time to build up my chops and be able to do "quads" and steady eighth notes more smoothly, but I'm getting there.

Here, for comparative purposes, is the standard "single bass" method of simulating a second bass drum.  This is a very difficult technique most commonly associated with Led Zeppelin drummer John Bonham, who used this tricky lick often and very likely invented it.  I can't tell you how I learned to do it other than by listening to him, watching him and trying my dangdest to copy him.

Okay, so there you see my right foot bouncing the pedal at lightning speed so that it sounds like I'm doing double-bass fills when I'm not.  My left foot stays on the hi-hat pedal.  You also hear the "triplets"* that I do on the toms.  Doing "quads"** with one pedal can be done, but might lead to a groin injury so I'm not attempting it here.

Now, here I will add the second bass drum pedal.  You can see how much easier and smoothly the tom rolls are now that we are adding a fourth beat to the "triplets," turning them into "quads," and I am able to use my left foot to assist my right foot in executing the fill.  Let us observe:

There I have briefly if not concisely explained the difference that adding a double-bass pedal brings to the kit.  I wish I had done this long ago, but I guess I had to build up to it.  Hope you enjoyed this edition of "Drum Talk That No One is Really Interested in Hearing, Much Less Reading."  Good night.
_________________________________________________________________
*Note: "Triplet" tom fills, which are three notes spread evenly over each of the four beats of  4/4 time, as in "1-2-3-1-2-3-1-2-3-1-2-3...," can be designated and remembered by counting: "One-ee-uh, two-ee-uh, three-ee-uh, four-ee-uh;" reciting the term: "tri-puh-let, tri-puh-let, tri-puh-let, tri-pu-let;" or my personal favorite, saying the word "chocolate" like this: "cha-co-lit, cha-co-lit, cha-co-lit, cha-co-lit."


** "Quads" are a little smoother for a 4/4 time signature because they fill each beat more evenly and tightly (as you should be able to hear), and eliminate that very brief pause that exists somewhere between triplets.  Quads are counted "One-ee-and-uh, two-ee-and-uh," and so forth.