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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.

Eric Poland's drum set setup for the Broadway revival of Nice Work If You Can Get It at the Imperial Theatre.
David Thalmann’s setup for Joseph and the Amazing Technicolor Dreamcoat at the Murray Arts Guild - Murray Park Amphitheater, in Murray, Utah.
Mike Drake's set up for Side Show at the Casa Mañana Theater, in Fort Worth, Texas.
  • 3 min read
"Thursday, February 16th, 2017 was a special day. I was both excited and nervous as I stepped into SIR Studios in Manhattan to start the first orchestra rehearsal for the Broadway production of Miss Saigon."
"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."
  • 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
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.

Bill Stewart's drum solo from the title track of his album Snide Remarks.

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