Articles from Broadway Drummers and Percussionists.

Drumming for "Ain’t Too Proud" by Clayton Craddock

Posted by Billy Miller on

"When I first got the call to start working on Ain’t Too Proud - The Life And Times Of The Temptations, I was curious about which era the show was going to focus on. Their career began in the early 1960’s and they’re still releasing albums today."

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Drumming for "Ain’t Too Proud" by Clayton Craddock

Posted by Billy Miller on

"When I first got the call to start working on Ain’t Too Proud - The Life And Times Of The Temptations, I was curious about which era the show was going to focus on. Their career began in the early 1960’s and they’re still releasing albums today."

Read more


What it Takes to Live in New York City as a Professional Musician - An Overview from a Veteran - by Ray Marchica

Posted by Billy Miller on

"If you are passionate, driven, feel you have a calling, a burning desire to play, practice, perform, and record music that you can share with the world, then choosing to be a professional musician here will make you a fulfilled and happy person. You’ll meet the most amazing people on stage, in the rehearsal room and in the audience."

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"If you are passionate, driven, feel you have a calling, a burning desire to play, practice, perform, and record music that you can share with the world, then choosing to be a professional musician here will make you a fulfilled and happy person. You’ll meet the most amazing people on stage, in the rehearsal room and in the audience."

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It's Groundhog Day... Again! by Joe Mowatt

Posted by Billy Miller on

"The unique part of Groundhog Day was that the drummer had to play on stage, in a groundhog costume, wearing a giant groundhog head. Since I could barely see out of the head, it was impossible to read a chart (and there wasn’t a music stand), so it had to be memorized."

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It's Groundhog Day... Again! by Joe Mowatt

Posted by Billy Miller on

"The unique part of Groundhog Day was that the drummer had to play on stage, in a groundhog costume, wearing a giant groundhog head. Since I could barely see out of the head, it was impossible to read a chart (and there wasn’t a music stand), so it had to be memorized."

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My Tuning Philosophy by Sean McDaniel

Posted by Billy Miller on

"I’ve learned to experiment more when I get to a new drum booth, stage, or studio. The best part about having the system is that I can just move the heads up or down in half steps to see what works best for each drum."

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My Tuning Philosophy by Sean McDaniel

Posted by Billy Miller on

"I’ve learned to experiment more when I get to a new drum booth, stage, or studio. The best part about having the system is that I can just move the heads up or down in half steps to see what works best for each drum."

Read more


Setting Up a New Broadway Percussion Book by Bill Hayes

Posted by Billy Miller on

"When preparing a percussion book for a new Broadway show, we occasionally get the music in advance. That allows us to start our “treasure hunt” early, to have the right sounds ready, and to get a jump on the setup. But often, Broadway is the first appearance of the fully orchestrated show, and we have seen very little before the first rehearsal."

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Setting Up a New Broadway Percussion Book by Bill Hayes

Posted by Billy Miller on

"When preparing a percussion book for a new Broadway show, we occasionally get the music in advance. That allows us to start our “treasure hunt” early, to have the right sounds ready, and to get a jump on the setup. But often, Broadway is the first appearance of the fully orchestrated show, and we have seen very little before the first rehearsal."

Read more