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Ain't Misbehavin' - Scot Sexton

Scot Sexton’s drum set setup for the Seattle Musical Theater's production of Ain’t Misbehavin’ in Seattle, Washington.

Read Scot's write-up about the show, below the photos.

Scot Sexton’s drum set setup for the Seattle Musical Theater's production of Ain’t Misbehavin’ in Seattle, Washington.Scot Sexton’s drum set setup for the Seattle Musical Theater's production of Ain’t Misbehavin’ in Seattle, Washington.Scot Sexton’s drum set setup for the Seattle Musical Theater's production of Ain’t Misbehavin’ in Seattle, Washington.Scot Sexton’s drum set setup for the Seattle Musical Theater's production of Ain’t Misbehavin’ in Seattle, Washington.Scot Sexton’s drum set setup for the Seattle Musical Theater's production of Ain’t Misbehavin’ in Seattle, Washington.Scot Sexton’s drum set setup for the Seattle Musical Theater's production of Ain’t Misbehavin’ in Seattle, Washington.Scot Sexton’s drum set setup for the Seattle Musical Theater's production of Ain’t Misbehavin’ in Seattle, Washington.Scot Sexton’s drum set setup for the Seattle Musical Theater's production of Ain’t Misbehavin’ in Seattle, Washington.Scot Sexton’s drum set setup for the Seattle Musical Theater's production of Ain’t Misbehavin’ in Seattle, Washington.Scot Sexton’s drum set setup for the Seattle Musical Theater's production of Ain’t Misbehavin’ in Seattle, Washington.Scot Sexton’s drum set setup for the Seattle Musical Theater's production of Ain’t Misbehavin’ in Seattle, Washington.

Ain’t Misbehavin’ has held a special place in my heart for several years now. As this is my fifth time playing show, I had a pretty solid idea going in what was needed. I was once told that ’As a theatrical drummer it is our job to not only play the book, but by changing cymbals, heads, tuning, and drum shell material; we add more color and texture to the production.’ Every instrument used in this show has a unique voice color within the show itself. As the drummer for this production, I chose to utilize vintage cymbals and old maple shells. I wanted that old 'big band sound' so I went with a 24”x14” bass drum with no muffling. All toms, except for the 16”, are open with no muffling as well.

It’s a hobby of mine to buy vintage drums on eBay that might not look the best and give them a new life. The drums I chose on this production are refurbished vintage Ludwig’s that I put Slingerland Beavertails on. The rack tom is a '67 Ludwig, the 14” floor is a '72 Ludwig, the 16” floor is a '62, and the 24” bass drum is a 1961 Ludwig.

I chose each of the cymbals for a specific sound as well. I went with fast crashes so that the sound would fade away fairly fast. The band was on stage, so the speed of fade was an important aspect so as to not interfere with the vocals. The venue was an old movie theater from the ‘40s with very little renovations, so the walls are all concrete. In this type of space sound can bounce around for a while after the actual hit, giving the impression to an audience of being louder than I actually am. All of this had to be factored in as I selected what to use."

Drums:

  • Ludwig ’67 12”x8” Maple Rack Tom
  • Ludwig ’72 14”x14” Maple Floor Tom
  • Gretsch Round Badge ’62 16”x16” Maple Floor Tom
  • Ludwig ’61 24”x14” Maple Bass Drum

Heads:

  • Remo Fiberskyn’s on top and bottom of all toms
  • Remo Fiberskyn on bass drum batter and Remo Ebony on bass drum resonant side
  • Remo Suede on snare batter and Remo Ambassador Hazy on snare side

Cymbals (Left to Right):

  • Zildjian 13” early 70’s Hi Hats
  • Zildjian 12” A Custom Splash
  • Zildjian 20” early 60’s Ride
  • Sabian 16” AAX XPlosion
  • Zildjian 14” A Custom Fast Crash

Toys:

  • LP Black Beauty Cowbell
  • LP Blue Jam Block

Sticks:

  • Regal Tip Combo
  • Regal Tip Jazz (wood tip)
  • Regal Tip Aluminum Brushes

Electronics:

  • Rolls PM50s Personal Monitor Amplifier
  • Westone UM Pro 30 In-Ear Earphones

Ain’t Misbehavin’ - Regional - Scot Sexton
March 2018

Scot Sexton’s drum set setup for the Seattle Musical Theater's production of Ain’t Misbehavin’ in Seattle, Washington.

Sal Mazzotta's setup for The Tattooed Lady at the Suzanne Roberts Theatre, in Philadelphia, Pennsylvania.
Brian Kilgore's percussion setup for the International Tour of Pippin at the Hollywood Pantages Theatre in Hollywood, California.
Ethan Deppe’s setup for The Little Mermaid at the Chicago Shakespeare Theatre in Chicago, Illinois.
"After a week or two of rehearsals there is usually a performance or two of the show for an invited audience. Sometimes these performances can be intense if there are important people in the room, or if certain sections of the show feel under prepared. This is why it’s so important to know the score and script very well."
  • 6 min read
"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."
  • 4 min read
"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."
  • 6 min read
Steve Gadd's drum solo from the track "Signed, Sealed, Delivered I'm Yours". From the album Live Stuff (out of print) from the legendary 1970's New York based band Stuff.
Robbie Ameen's drum solo from the track "Spring Fling".

Gene Krupa's drum solo from "Gene's Blues" from the album Gene Krupa and Buddy Rich released November 1955.

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