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Chicago - Tim Sellars

Tim Sellars' setup for Chicago at the Court Theatre in Christchurch, New Zealand.

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

Tim Sellars' setup for Chicago at the Court Theatre in Christchurch, New Zealand.Tim Sellars' setup for Chicago at the Court Theatre in Christchurch, New Zealand.Tim Sellars' setup for Chicago at the Court Theatre in Christchurch, New Zealand.Tim Sellars' setup for Chicago at the Court Theatre in Christchurch, New Zealand.Tim Sellars' setup for Chicago at the Court Theatre in Christchurch, New Zealand.Tim Sellars' setup for Chicago at the Court Theatre in Christchurch, New Zealand.

"I really enjoyed tackling this classic show. It was great to play it with a 7 piece band consisting of drums, double bass, keyboards x2, clarinet, trumpet, and trombone.

I spent a lot of time before the first rehearsal figuring out the best possible set up for all the extra auxiliary percussion and glockenspiel. As I listened and played along with the Broadway recordings, I soon realized that the position of the temple blocks and triangle was going to be key. There were some fast numbers (eg 'Me and My Baby') with intricate patterns between the blocks and triangle with no time to move too far.

I enjoyed getting to play glockenspiel in combination with the drum kit and again the placement of this instrument was important. I had it set up to my right next to my music stand and in line with the conductor. The only instruments I didn’t need to play in this score were a tambourine and the pop gun. These ended up being played by two of the cast members in their respective scenes.

For the ‘clank’ sound I went with a car brake drum which you can see is placed over on my left side by my hi-hat. I ended up striking it carefully with the brass head glockenspiel mallet which allowed it to cut through at a decent volume.

This show was fast paced with limited time between numbers. Some favourites to play were 'We Both Reached for the Gun', 'Me and My Baby', and 'Cell Block Tango'.

Would happily play this one again!"

Drums: Taye RockPro

  • 20" Bass Drum
  • 14" Floor Tom
  • 12" Rack Tom

Snare Drum

  • 14" Tama SLP (Sound Lab Project) Vintage Poplar Maple

Cymbals:

  • Zildjian 21" K Constantinople Big Band Ride Cymbal
  • Bosphorus 18" Traditional Series Paper Thin Crash
  • Zildjian 17" Zildjian A Custom Crash 
  • Bosphorus 14” Hammer Series Hi-Hats
  • Zildjian 10” Zildjian A Splash

Heads:

  • Bass Drum: Remo Powerstroke 3 for both batter and resonant heads
  • Snare Drum: Aquarian Texture Coated
  • Toms: Remo Coated Emperor's for batter and Clear Ambassadors for resonant

Percussion and accessories:

  • Glockenspiel
  • LP Castanet Machine
  • Meinl Cowbell
  • Ratchet
  • TreeWorks 5” Triangle
  • Miller Machine for Triangle
  • Acme Siren Whistle
  • Pearl Woodblocks (used as temple blocks)
  • PAB20 Ash Tone Block High-Pitch
  • PAB50 Ash Tone Block Med-Pitch
  • PAB100 Ash Tone Block Lo-Pitch 
Brake Drum (used for the ‘clank’ sound in the score)
  • Gibraltar Single Post Accessory Mount (2)
  • Gibraltar Multi 4-Post Accessory Mount
  • Gibraltar SC-Mat Medium Accessory Table
  • Shure 215 In-Ears

Sticks/Brushes/Mallets:

  • Vater Sugar Maple Sweet Ride Sticks
  • Regal Tip Classic Brushes
  • Mike Balter T1 Ultra Staccato Timpani Mallets
  • Promark Dan Fyffe DFP640 Xylophone/Bell Mallets
  • Brass Head Glockenspiel Mallets

Chicago - International - Tim Sellars
January 2018

Tim Sellars' setup for Chicago at the Court Theatre in Christchurch, New Zealand.

"Conducting a National Tour is incredibly challenging, but so rewarding. Stepping on to the podium with a new orchestra every few weeks really keeps you on your toes. Every player responds differently so you are constantly adjusting to get the desired result. I would compare it to playing a multi-percussion piece where the instruments are constantly moving."
"After a grueling four years at SUNY I still had one theory class left to finish. I was really depressed. A classmate of mine recommended me for a tour of a Broadway show. This completely changed the course of my life."
"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."
"The timpani tunings are the real challenge of The Little Mermaid. Changing pitches must be done by feel, that was my biggest challenge. Memorizing the mallet parts was also very necessary."
"As you can see in the pictures, I prefer to have as much 'stuff' right in front of me, as close as possible. Because there are so many instruments close in, I have mounted a music stand off of the tom mount.
"Different from the tour, the original Broadway production had acoustic drums, an acoustic set of timbales, and an acoustic tambourine - the tambourine is now programmed in the SPD-SX."
  • 2 min read

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

Steve Jordan's drum solo from the title track of the album Casa Loco.
Robbie Ameen's drum solo from the track "Spring Fling".

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