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Matilda - Alec Wilmart

Alec Wilmart's setup for Matilda at the Village Theatre in Issaquah, Washington.

Alec's write-up below photos.

Alec Wilmart's setup for Matilda at the Village Theatre in Issaquah, Washington.Alec Wilmart's setup for Matilda at the Village Theatre in Issaquah, Washington.Alec Wilmart's setup for Matilda at the Village Theatre in Issaquah, Washington.Alec Wilmart's setup for Matilda at the Village Theatre in Issaquah, Washington.Alec Wilmart's setup for Matilda at the Village Theatre in Issaquah, Washington.Alec Wilmart's setup for Matilda at the Village Theatre in Issaquah, Washington.Alec Wilmart's setup for Matilda at the Village Theatre in Issaquah, Washington.Alec Wilmart's setup for Matilda at the Village Theatre in Issaquah, Washington.Alec Wilmart's setup for Matilda at the Village Theatre in Issaquah, Washington.Alec Wilmart's setup for Matilda at the Village Theatre in Issaquah, Washington.Alec Wilmart's setup for Matilda at the Village Theatre in Issaquah, Washington.Alec Wilmart's setup for Matilda at the Village Theatre in Issaquah, Washington.Alec Wilmart's setup for Matilda at the Village Theatre in Issaquah, Washington.Alec Wilmart's setup for Matilda at the Village Theatre in Issaquah, Washington.Alec Wilmart's setup for Matilda at the Village Theatre in Issaquah, Washington.Alec Wilmart's setup for Matilda at the Village Theatre in Issaquah, Washington.Alec Wilmart's setup for Matilda at the Village Theatre in Issaquah, Washington.Alec Wilmart's setup for Matilda at the Village Theatre in Issaquah, Washington.Alec Wilmart's setup for Matilda at the Village Theatre in Issaquah, Washington.Alec Wilmart's setup for Matilda at the Village Theatre in Issaquah, Washington.

Alec Wilmart:

"My bass drum is a 28” Spartan Model Leedy single tension bass drum, probably from the early 1940’s, which I purchased from a thrift store online. I was impressed by the floral artwork on the shell. When I got the drum, I realized the 'pristine' calf-skin heads were actually painted a solid cream color to look new.

Upon further inspection, underneath the top coat, the calf skin heads had been painted with the logo and name of a local Hawaiian dance academy. Once I removed the top coat on the batter side, as well as an old down pillow that had been inserted for muffling, the drum rang for days. The single tension is also useful in the pit for tuning due to the lack of accessibility in a pit.

The drum’s pitch changes with the slightest change in temperature, so I am tuning it constantly, but it is very easy to do."

Alec Wilmart's setup for Matilda at the Village Theatre in Issaquah, Washington.Alec Wilmart's setup for Matilda at the Village Theatre in Issaquah, Washington.Alec Wilmart's setup for Matilda at the Village Theatre in Issaquah, Washington.Alec Wilmart's setup for Matilda at the Village Theatre in Issaquah, Washington.

Alec Wilmart:

"I really enjoyed this unique percussion book, with great set parts, and high quality percussion writing. Rarely is a player equally tasked with providing great grooves on the kit, as well as such a wide range of versatile/subtle percussion playing in the same show.

The kit parts are written very well, and should be played as is, no need to improvise, but there is some room for interpretation on the fills and such. We did much of it on 'click'.

On the percussion side, I highly recommend three timpani on this one. I am fairly adept at pedaling, and I would have found it extremely difficult with two drums.

I recorded all the sound effects and used a Roland SPD.

As you can see in the pictures, I have numbered the pads with glow in the dark tape. Came in handy with my old eyes, and I numbered the corresponding notes in my book. Whatever works!

I mounted an extra pad near the bells for a very quick slapstick cue. I also recorded all the Piatti cues.

One of the coolest things about this book is the role of the Bass Drum. I can’t stress enough how important having a concert bass drum is for this show. The lower, the better.

My one 'cheat' was sampling the vibraslap. I have heard that the Steve Weiss vibraslap has the sustain required, and since it needs to be mounted due to timing, if you can’t find an instrument that sustains, you may have to do the same and sample it.

With a wide range of skills required, and some very quick switches, this show is sure to keep you on your toes. One of my favorites, for sure!"

Matilda - Regional - Alec Wilmart
December 2018

Alec Wilmart's setup for Matilda at the Village Theatre in Issaquah, 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."
"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

"With the space I had, I knew having an actual set of timpani would not be possible, so I opted to trigger them off of the Alesis Strike MultiPad. In addition to the timpani, all of the extra sound effects and other percussion were programmed into the MultiPad."

Deane Prouty's setup for the Off Broadway production of Peter and the Starcatcher at New World Stages, in New York City.

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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