Triangle Machine

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Triangle Arm

Machine Body

Finger Cymbal Arm

Machine Body Plus

Crotale Arm + Beater

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Everything's interchangeable. Mix and match all pieces.

La Boheme - Mio Chang

Mio Chang's setup for La Boheme at the Hamming Theater in Tokyo, Japan.

Mio Chang's setup for La Boheme at the Hamming Theater in Tokyo, Japan.Mio Chang's setup for La Boheme at the Hamming Theater in Tokyo, Japan.Mio Chang's setup for La Boheme at the Hamming Theater in Tokyo, Japan.Mio Chang's setup for La Boheme at the Hamming Theater in Tokyo, Japan.Mio Chang's setup for La Boheme at the Hamming Theater in Tokyo, Japan.Mio Chang's setup for La Boheme at the Hamming Theater in Tokyo, Japan.Mio Chang's setup for La Boheme at the Hamming Theater in Tokyo, Japan.Mio Chang's setup for La Boheme at the Hamming Theater in Tokyo, Japan.Mio Chang's setup for La Boheme at the Hamming Theater in Tokyo, Japan.Mio Chang's setup for La Boheme at the Hamming Theater in Tokyo, Japan.

"Some tips to play La Boheme with a reduced one player part.

Act 2:
Marching Snare Drum - Ludwig 6.5"x14" for main, Yamaha 10" for orchestra in pit and the Sonor 5.5" for additional parts from the end of the scene (no Banda this time). Except for the Yamaha 10" the other two snares had loosened top heads. Bass drum and hi-hat cymbals with attachment were used instead of piatti. I played both pedals with the right foot and used my hands for the bells, xylophone, snare and triangle. The reason I used two bass drums is that I think the bass drum in this opera is very noticeable. 36" is tuned as deep as it can go and the 26" is like a marching bass drum.

Act 3:
The recorded chime part is triggered on the sequencer while playing a one handed roll on the timpani. The sound comes from the back side of the stage. The wine glass is original in Act 3. I was holding the bottom of the glass between my thumb and index finger while the middle finger played the triangle (see photo). Actually these two wine glasses were completely in the same key.

Bass Drum Mallets:
It called for wood and leather mallets (which I made myself) and a couple mallets from Tom Gauger (one with a bigger head and a staccato one).

Timpani Mallets:
I made my own timpani mallets and a friend of mine made me some using flannel. I used Malletech mallets for the xylophone and bells and a pair of old Musser vibe mallets for the cymbals.

Parts went from impossible to possible with my Miller Machine. I couldn't have imagined my musical life without it.

All of the percussion and timpani books were from Touchdown Productions."

Instruments:

  • Premier 30" and 22.5" Timpani
  • Ludwig 36" Bass Drum w/Yamaha Bass Drum Pedal and Danmar Bass Drum Spurs
  • WFL 26" Bass Drum (1940's, original spurs) with Speed King Pedal
  • Korogi Desktop Xylophone
  • Deagan Bells
  • Ludwig 6.5" x 14" Supraphonic Snare Drum
  • Sonor 5.5" x 14" Snare Drum
  • Yamaha 10" x 4 3/4" Piccolo Snare Drum
  • Pearl Mallet Tray
  • Miller Machine with Alan Abel 6" Triangle
  • Miller Machine with Ludwig 8" Triangle
  • Wine Glasses (2)

Cymbals:

  • Sabian 18" AA Crash Cymbal
  • Sabian 18" AA Orchestral Suspended Cymbal
  • Zildjian 18" Piatti
  • Zildjian 16" and 18" Hi-Hats (16" on top of 18") Mounted on a Pearl Hi-Hat Stand attached to Bass Drum with a Tama Hi-Hat Attachment Clamp

Electronics:

  • Yamaha QY300 Sequencer

Plastic bag between timpani and snare drum is a stick tray used as a quick change! It works! Try it!

La Boheme - International - Mio Chang
July 2015

Mio Chang's setup for La Boheme at the Hamming Theater in Tokyo, Japan.

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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