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Kiss Me Kate - Scot Sexton

Scot Sexton’s combined book setup for the Seattle Musical Theaters production of Kiss Me Kate in Seattle, Washington.

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

Scot Sexton’s combined book setup for the Seattle Musical Theaters production of Kiss Me Kate in Seattle, Washington.Scot Sexton’s combined book setup for the Seattle Musical Theaters production of Kiss Me Kate in Seattle, Washington.Scot Sexton’s combined book setup for the Seattle Musical Theaters production of Kiss Me Kate in Seattle, Washington.Scot Sexton’s combined book setup for the Seattle Musical Theaters production of Kiss Me Kate in Seattle, Washington.Scot Sexton’s combined book setup for the Seattle Musical Theaters production of Kiss Me Kate in Seattle, Washington.Scot Sexton’s combined book setup for the Seattle Musical Theaters production of Kiss Me Kate in Seattle, Washington.Scot Sexton’s combined book setup for the Seattle Musical Theaters production of Kiss Me Kate in Seattle, Washington.Scot Sexton’s combined book setup for the Seattle Musical Theaters production of Kiss Me Kate in Seattle, Washington.Scot Sexton’s combined book setup for the Seattle Musical Theaters production of Kiss Me Kate in Seattle, Washington.Scot Sexton’s combined book setup for the Seattle Musical Theaters production of Kiss Me Kate in Seattle, Washington.Scot Sexton’s combined book setup for the Seattle Musical Theaters production of Kiss Me Kate in Seattle, Washington.Scot Sexton’s combined book setup for the Seattle Musical Theaters production of Kiss Me Kate in Seattle, Washington.
Above: Two cut off wheels for face scratch sound effect.

"Knowing I was going to have to be combing the books for this production, I approached this process as I usually do. I lay them out next to each other and see what is the easiest to catch. Then I start working layer by layer adding more and more. I was lucky as I was able to catch around 90% of the percussion parts along with 100% of the kit parts. For the glockenspiel, crotales and timpani notes I used Apple’s Logic Pro on the Alesis SamplePad and edited them to sound as natural as possible for what was notated in the book.”

Drums:

  • Gretsch 14”x5.5” Snare 
  • Custom 12”x8” Rack Tom (custom built birch shell by Scot)
  • Custom 16”x16” Floor Tom (custom built birch shell by Scot)
  • Ludwig 24”x14” 1952 Bass Drum

Cymbals:

  • Zildjian 20" 1980’s Ride Cymbal
  • Zildjian 14" A Custom Fast Crash 
  • Sabian 16" AAX X-Plosion Crash
  • Zildjian 14" 1970’s Hi-Hats
  • Zildjian 12" A Custom Splash
  • Zildjian 8" A Custom Splash 
  • Generic 9" Trashy Splash

Heads:

  • Remo Fiberskyn on all batter heads 
  • Remo Ambassador Clear on all resonant heads

Percussion:

  • TreeWorks 8" Triangle 
  • TreeWorks Tre35 Bar Chimes
  • LP Bell Tree
  • Goat Toe Rattle 
  • Cabasa 
  • RhythmTech Tambourine (mounted on its own stand)
  • Acme Siren Whistle
  • Duck Call
  • LP Granite Blocks
  • LP Rock Cowbell
  • Miller Machine with mounted Finger Cymbal
  • Miller Machine with 6" TreeWorks Triangle
  • 2 cut off wheels for face scratch sound effect.

Electronic:

  • Roland HandSonic HPD-20 - for triggering doumbek, gong, china cymbal and pandiero
  • Alesis SamplePad Pro - for triggering glock, crotales, timpani, sleigh bells, slapstick, bulb horn, ship bell
  • Two foot pedals - one for a timpani hit, and a second to change the "kit" on the Alesis SamplePad Pro

Sticks:

  • Regal Tip Combos
  • Regal Tip Jazz

Kiss Me Kate - Regional - Scot Sexton
April 2017

Scot Sexton’s combined book setup for the Seattle Musical Theaters production of Kiss Me Kate in Seattle, Washington.

"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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