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Triangle Arm

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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.

Sal Mazzotta's setup for the World Premiere of Here You Come Again, a new Dolly Parton Musical, at the Delaware Theatre Company, in Wilmington, Delaware.
Andrew Warren's setup for Head Over Heels at the Gateway Playhouse in Bellport, New York.
Paul Pizzuti's drum set setup for the 2014 recording session of NBC’s Peter Pan Live at Avatar Studios in New York City.
  • 1 min read
"It hasn’t always been easy (and it’s certainly very odd right now!) but personally I’ve always enjoyed the challenge. I’ve heard a few things along the way that have informed how I’ve thought about New York City and the idea of 'making it'”.
  • 5 min read
"The musical experience of recording a Broadway cast album ranges from easy to difficult depending on the circumstances. I find that the two factors that contribute most to the quality of the experience are: 1) how good the band is; and 2) how soon after you started the show you record the album"
  • 5 min read
"When I was preparing to conductNice Work if You Can Get It, I began by watching a video of the conductor and marking my score with any cues or beat patterns that were not obvious to me. I wanted to be completely comfortable with the Musical Directors choreography before watching the video of the stage and trying to put the music to the action of the actors and dancers."
Bill Stewart's drum solo from the title track of his album Snide Remarks.
Robbie Ameen's drum solo from the track "Spring Fling".
Steve Jordan's drum solo from the title track of the album Casa Loco.

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