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BASSDRUMSECRETS

Railroad Media Presents...

By Jared Falk, Sean Lang, and

Dave Atkinson





Copyright © 2011 Railroad Media Inc.

3

Table Of Contents

Introduction 10Choosing A Pedal 10

Drum Tuning & Mufing 11

Pedal Settings & Adjustments 11

Seat Height & Posture 13

Bass Drum Setup Tips 13

Heels Up Technique 14

Heels Down Technique 14

Flat Foot Technique 15

To Bury Or Not To Bury 15

Conclusion 16

Introduction 17

Beginner Exercises 18

Intermediate Exercises 20

Advanced Exercises 22

Jazz Exercises 24

Developing The Technique 26

Developing The Weaker Foot 27

Pedal Settings 27

Bass Drum Pedals 27

Applying The Technique 28

Beginner Beats 31

Beginner Fills 33

Intermediate Beats 34

Intermediate Fills 36

Advanced Beats 37

Advanced Fills 39

Module #1 -

Module #2 -

Module #3 -

Module #4 -

Getting Started

Bass Drum

Independence

The Heel Toe

Technique

Heel Toe

Exercises

(DVD #1)

(DVD #2)

(DVD #3)

(DVD #3)




4

Introduction 40

Footwear & Pedal Settings 41

Developing The Technique 41

Developing The Left Foot 42

Applying It Within A Beat 43

Applying It Within A Fill 44

Beginner Beats 47

Beginner Fills 49


Intermediate Fills 52

Advanced Beats 53

Advanced Fills 55

The Element Of Groove 57

Developing Balance & Control 59

Basic 8th & 16th Note Patterns 61

Bass Drum Triplets 62

Foot Assignments 64

Single Stroke Beats 65

Single Stroke Fills 68

Note Value Exercises 70The Herta Lick 72

Introduction 74

Double Bass Warm-Ups 75

Developing The Weaker Foot 76

Double Bass Slide Triplet 77

Developing Slow Speeds 78

Developing Speed With Single

Strokes

79

Developing Endurance 81

The Swivel Technique 86

Practicing Along To Music 86

Developing Hand & Foot

Independence

87

Ending With Odd Numbers 89

Module #5 -

Module #6 -

Module #7 -

Module #8 -

The Slide Technique

Slide Technique

Exercises

Double Pedal Single

Strokes (Sean)

Double Pedal Single

Strokes (Dave)

(DVD #4)

(DVD #4)

(DVD #5)

(DVD #5)




5

Basic 16th Note Patterns 91

16th Note Triplets With Double

Strokes

93

Herta’s With Double Strokes 94

Beginner Beats 97


Advanced Beats 101

Beginner Beats 104

Beginner Fills 106


Intermediate Fills 110 Advanced Beats 112

Advanced Fills 114

Introduction 116

One Foot vs. Two Foot 116

Skank Blast 117

Hammer Blast 118

Bomb Blast 119

Gravity Blast 120Traditional Blast 121

Hybrid Hammer Blast 122

Developing Speed With One Foot 123

Creating Groove Within Blasts 123

5 Stroke Rolls 125

6 Stroke Rolls 126

7 Stroke Rolls 127

9 Stroke Rolls 12811 Stroke Rolls 129

Swiss Army Triplets 130

Module #9 -

Module #10 -

Module #11 -

Module #12 -

Module #13 -

Double Pedal Single

Strokes (Jared)

Broken Double Bass

Beats

Double Bass

Exercises

Metal & Blast Beats

Rudiments With The

Feet

(DVD #6)

(DVD #6)

(DVD #6)

(DVD #7)

(DVD #7)




6

Jared Falk’s Hand To Feet Combos 132

Dave Atkinson’s Hand To Feet

Combos

133

Sean Lang’s Hand To Feet Combos 135

Dave’s Play Alongs 138

Sean’s Play Alongs 139

Jared’s Play Alongs 140

Slide Technique 141

Double Pedal Slide Technique 141Swivel Technique 141

Double Pedal Double Strokes 142

Double Pedal Single Strokes 142

Feathering The Bass Drum 142

Heel-Toe Technique 142

Heel-Toe Double Stroke Roll 143

Heel-Toe Triple Stroke 143

Heel-Toe Hi-Hat Splash 143

Heel-Toe Over Multiple Pedals 143Double Stroke Herta’s 143

5 Stroke Rolls 144

6 Stroke Rolls 144

7 Stroke Rolls 144

9 Stroke Rolls 144

11 Stroke Rolls 144

Swiss Army Triplets 144

One Handed Roll 145

Break Beat 145Double Pedal Single Strokes 145

Single Stroke Four 145

Single Stroke Herta’s 146

Double Pedal Slide Triplet 146

Gravity Blast 146

Module #14 -

Module #15 -

Module #16 -

Module #17 -

Module #18 -

Hand To Feet

Combinations

Drum Play Alongs

(Dave)

Drum Play Alongs

(Sean)Drum Play Alongs

(Jared)Slow Motion

(DVD #7)

(DVD #8)

(DVD #9)

(DVD #10)

(DVD #11)




7

Introduction 147

Gibraltar Intruder 147

Axis Longboard 148

Tama Speed Cobra 148

Tama Iron Cobra 149

Gibraltar 3311 149

Pearl Eliminator 149

Yamaha Flying Dragons 150

Pearl P900 150

Stomp Drive Direct Drive Retrot 150

Playing In Unison 151

Double Pedal Boot Camp 151

Flat Foot Technique 154

Double Strokes With One Foot 154

Drum Solo #1 (Dave) 154

Drum Solo #2 (Dave) 155

Drum Solo #3 (Sean) 155

Drum Solo #4 (Sean) 155

Drum Solo #5 (Jared) 155

Drum Solo #6 (Jared) 156

Drum Solo #7 (Jared) 156Drum Battle #1 157

Drum Battle #2 157

Drum Battle #3 157

Gear Talk 158

Triggers 158

Sean Lang Interview 158

Dave Atkinson Interview 159

Jared Falk 159

Behind The Scenes 159Credits & Outtakes 159

Track Listing 160

Credits 171

Module #19 -

Module #20 -

Pedal Reviews

Drum Play Alongs

(Dave)

(DVD #11)

(DVD #12)




8

Drum Set Notation Key

œ œ œ œ

œ œ œ œ

x x x x

x x x x

z z z z

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

y y y y

Å Å Å Å

x x x x

x

o

x

o

x

o

x

o

x

x

x

x

>

œ

>

œ

>

œ

>

Snare Drum

Ride Cymbal

2nd Tom (Mid Tom)

Cross-Stick

Open Hi-Hat

Accented Notes

Bass Drum

Crash Cymbal

3rd Tom (Low Tom)

Ride Cymbal Bell

Closed Hi-Hat

Repeat

Hi-Hat

1st Tom (High Tom)

2nd Bass Drum

Hi-Hat With Foot

Ghost Notes

Drum Fill



Welcome

Welcome to Bass Drum Secrets 2.0! This product gives you all the tools

you need to take your bass drum technique and drumming to the next level

while having a ton of fun. If you’re just getting started, check out the intro-

duction and get to know the men that will always be here to teach you bass

drum techniques: Jared Falk, Sean Lang, and Dave Atkinson.

With this product, practice, patience, and a very strong will to succeed will

get you on your way to becoming the drummer you aspire to be. As you

make your way through the exercises in this product, always remember

that it takes hard work and a lot of perseverance to become procient with

any musical instrument. If you keep at it you WILL succeed. Just keep a

positive mind-set and most important of all, enjoy the ride.

yrightCopyright © 2011 Railroad Media Inc.

9




10

Module

DVD #1

Module #1 - Getting Started

Introduction

The “Getting Started” Module is the perfect introduction to BDS 2.0. You will get to

know your three instructors: Jared, Sean, and Dave while learning essential bass

drum fundamentals.

Lessons Include:

Choosing A Pedal • Bass Drum Setup Tips•

Drum Tuning & Mufing • Heel Up Technique•

Beater Choice• Heel Down Technique•

Pedal Settings & Adjustments• Flat Foot Technique•Seat Height & Posture• To Bury Or Not To Bury •

Bass Drum Speed Tips•

Choosing A Pedal

With the amount of different brands and pedal

specications that we have at our disposal

nowadays, choosing a bass drum pedal can

be a daunting task. Like drumsticks, what tolook for in a bass drum pedal can be very sub-

jective – it depends heavily on your personal

requirements. In this lesson, Jared, Sean and

Dave, share their thoughts on what they look

for when choosing a bass drum pedal, which

will give you a greater level of condence and

knowledge when choosing one for yourself.

What’s great about this lesson is that you’ll

get three different sets of opinions from threevery experienced drummers that have gone

through many bass drum pedals. The tips and

tricks shared here will help you attain a better

understanding on what you should look out for

in regards to build quality, features, and feel.

Refer to page 146 for a number of detailed

pedal reviews.




11

1Mod

Drum Tuning & Mufing

Like most things related to drumming, a good bass drum sound depends on numerous

factors. Having a good understanding of some of them will help you shape the sound to

your liking. There’s no such thing as “the right way” or “the only way” to tune or mufe adrum. In the video, Jared, Sean, and Dave go over

their personal mufing and tuning preferences. This

lesson is lled with great tips and tricks regarding not

only tuning and mufing, but drumhead selection and

tuning for gigs.

The more time you spend experimenting with differ-

ent types of tuning, drumheads, mufing, and miking

techniques, the better you’ll understand the steps

you’ll need to take in order to achieve the sound you

want. It’s all about how you want to sound. If you don’t know how you want to sound,

focus on the bass drum sound of some of your favorite drummers and favorite record-

ings for inspiration.

Beater Choice

Choosing a beater is often overlooked by drummers. We tend to

focus our attention on bass drum pedals, mufing and tuning tech-niques, however the type of beater you use inuences your sound

and overall feel. In this lesson, Jared, Sean, and Dave discuss how

the material of beaters inuences the sound, tone, and feel you get

from the bass drum and auxiliary percussion. They also give some

insight on what types of beaters to use on electronic drums, and

how the weight of the beater inuences the way you play.




12

Module

Pedal Settings & Adjustments

Bass drum pedals are extremely adjustable. Even the cheapest ones have quite a few

options. It can be overwhelming to gure out exactly how each setting will affect pedal

response and feel, and how to use them to get the pedals to behave as you want themto. To help you out on this, Jared, Sean, and Dave discuss some of the most common

pedal set-ups, and share some cool tips and tricks that will have you spending more

time playing the pedals than setting them up.

When it comes time to adjust your bass drum pedals, you have to be aware that you’ll

get a different response and feel from them as you change their settings. Jared, Sean,

and Dave go over their own preferences in this lesson, with results from various years of

experimentation. Use their tips as a guide as you mess around with your pedal settings.

As you’ll get to see from Jared’s preferences, even the weirdest settings can work very

well. Don’t be afraid to experiment and focus on comfort and results.

Adjust Spring Tension

Loosen The Screw

Adjust Both Beaters

To The Same Height




13

1Mod

Seat Height & Posture

A well set up throne and proper posture will

enhance your drumming. Seat height and

posture also allow you to play comfortablyfor longer periods at a time. This makes it

much easier for you to enjoy the time you

spend behind the kit. In this lesson, Jared,

Sean, and Dave go over their drum throne

preferences, the way they sit behind a drum

set, and discuss the advantages of their

methods. They give you an overview of

some of the most common problems you’ll

nd when using improper posture and seat

height.

A good stool is a very important tool in help-

ing you keep a proper posture behind the

drum set. A drum throne with a back rest

is a great example. It prevents you from

straining your back and avoiding long term injuries. You don’t have to buy a stool with a

back rest like Jared’s, but don’t forget to think about your comfort rst and foremost the

next time you go out to buy a new throne.

Bass Drum Setup Tips

A drum kit set up to suit your body speci-

cations makes a huge difference in

your playing. Don’t underestimate the

power of comfort when playing drums.

The more comfortable you are the better

you’ll be able to play and for longer peri-

ods of time. In this lesson, Jared, Sean,and Dave dive into the world of bass

drum setup, discussing bass drum and

pedal positioning.




14

Module

Heels Up Technique

The heel up technique is used by the majority of rock and double bass drummers. The

idea behind this technique is that of keeping the heel off of the foot plate while you

perform a stroke using your whole leg. This way you can get a lot of volume and powerfrom each stroke, especially when compared to the heel down technique. In this video

lesson, Jared, Sean, and Dave discuss the heel up technique, how to execute it prop-

erly, and how to play it without burying the beater.

Heels Down Technique

With the heel down technique the heels never lift off of the pedal. It’s a great techniquefor soft playing. For example, it’s a very common technique in jazz drumming. Thomas

Lang however uses it for powerful and fast playing, so this technique is very versatile. In

this lesson, Jared, Sean, and Dave, discuss the heel down technique and how it can be

applied to your drumming.

The way you use this technique will depend greatly on the type of sound you wish to

produce. You can bury the beater on the drumhead, which is great for rock and all types

of heavy music since the strokes generate a lot of power and volume, while choking thesound of the bass drum at the same time. You can play a stroke and let the beater re-

bound, which creates a fat and resonant sound, which is great for playing funk and any

type of groove based music. In the video, Jared demonstrates how he keeps the beater

off of the drumhead while using the heel up technique. If you want to know more about

burying the beater, check the lesson “To Bury Or Not To Bury” in this module on page

15 .




15

1Mod

The muscles we use the most for playing the heel down technique are commonly un-derdeveloped, since there are very few things we do on a day-to-day basis that uses

them. Heel down playing is one of the few things we can do to exercise those muscles.

Strengthening them will get you playing heel down with more speed, power, and control.

You must be patient when practicing this technique. It takes quite a long time to develop

any muscle. Practicing heel down playing for long periods of time is the best way to

ensure a fast muscle growth.

Flat Foot Technique

The at foot technique is basically a hybrid foot technique for playing fast strokes withyour feet. It’s not heel up nor heel down, it’s a mix between both. In this lesson, Sean

Lang introduces you to the at foot technique, showing exactly how it’s played and how

it works.

This is an introductory lesson on the at foot technique. For further explanation of the

Flat Foot Technique check out Sean’s in depth explanation of it in Module #20.

To Bury Or Not To Bury

Burying the beater is when you keep it in contact with the bass drum head right after

performing a heel up stroke, and actually chokes the sound of the bass drum. This

technique is often associated with rock drummers. In this next video, Jared, Sean, and

Dave discuss the advantages and disadvantages of burying the beater into the bass

drumhead.




16

Module

To Bury Or Not To Bury (Continued)

Burying the beater is usually a side effect of heel up playing. If you want to be an all-

around drummer, using this technique all the time won’t get you far. Jazz, R&B, Latin,

and even some styles of rock require a more open tone from the bass drum. It’s impor-tant you learn how to play the bass drum with and without burying the beater. There are

two good approaches for getting your beater to stay off of the drumhead.

The rst one is by using heel down playing. Due to the low pressure the ball of the foot

has on the foot plate, it’s easy for the beater to just bounce back after hitting the bass

drum. The second one is actually executed while in heel up position. Right after per-

forming a stroke, relax the ball of the foot and let it come down to rest on the pedal. This

is something hard to get at rst, but like everything, diligent practice will allow you to

master this approach. Watch Jared in this video as he demonstrates how he keeps the

beater off of the drumhead while using heel up technique. Use his demo to study the

required motions to play heel up without burying the beater.

Conclusion

This rst module focuses heavily on gear tips, setup, and basic foot technique. Although

you can skip it all together and go right to the instructional portion of Bass Drum Se-

crets, we encourage you to make sure you go through all the lessons here. They are

valuable resources that will really help you make the right decisions for your drumming

techniques. The lessons contain material to which Jared, Sean, and Dave will refer back

to during the other modules, so it’s best if you just watch them before the rest so youwon’t get lost later on.




17

Mod

2

Introduction

Total independence is one of the most

sought out things in the world of drum-

ming. Independence is what lets you

perform whatever you feel like playingwith each limb at a given time. Much

like everything drum related, for get-

ting more independence takes prac-

tice. This next video is an introductory

lesson to bass drum independence.

Here, Jared Falk explains what you

can expect from this module, what

type of exercises you’ll be working on,

and gives you two very cool exercises

for you to start working on your bass

drum independence right away.

The hand patterns provided with this lesson will be heavily used in the lessons included

in this module. Nevertheless, you can combine them with every foot pattern included in

the Bass Drum Secrets as well. So, once you’ve gone through a lesson in this product,

go back to it and play these hand patterns with the foot patterns notated in the exercis-

es. This is a great way for working on new ideas, independence, and to expand on the

material included in this pack.

DVD #2

Module #2 - Bass Drum Independence

Mod

2

Bass Drum Independence is something that a lot of drummers struggle with. Separating

your hands from your feet and your right foot from your left foot is no easy task. That’swhere this module hits the mark. It includes beginner, intermediate, and advanced hand

patterns that are designed specically to take your bass drum independence to the next

level. Then once you have completed the module, you can apply your new skills with

some of the included drum play along songs.

Lessons Include:

Introduction•

Beginner Exercises•

Intermediate Exercises• Advanced Exercises•

Jazz Exercises•




18

Module

2

DVD #2 | Module #2 - Bass Drum Independence

Beginner Hand Patterns

Welcome to the beginner section of the Bass Drum Independence Module. Here we

have given you six hand patterns and ten beginner foot patterns to combine. For each

hand pattern, you go through all ten foot patterns with your dominant foot. The level of

difculty increases as you progress through each pattern. In the video, Jared takes you

through some combinations between the hand and foot patterns, so you can see exactly

how they should be played. Although the material in this lesson is mostly used for devel-

oping your independence, you can still apply it to your everyday playing.

Once you can play these combinations accurately, go through them once again adding

the hi-hat foot as notated on the sheet music on page 25 . You can further expand on

these combinations by having your weaker foot play the bass drum patterns instead,

use the hi-hat pedal to play them if you only have one bass drum pedal. Once you

have that down, go through all combinations by playing the bass drum patterns with theweaker foot and the hi-hat foot patterns with the stronger foot. All of these different com-

binations are awesome for developing control and independence with your weaker foot.

1) 2)

3) 4)

5) 6)

1 001-020

1 041-060

1 081-100

1 021-040

1 061-080

1 101-120




19

Mod

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Œ

Œ

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Œ

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1) 2)

3) 4)

5) 6)

7) 8)

9) 10)


Beginner Foot Patterns

090120 1

090120 1

090120 1

090120 1

090120 1

090120 1

090120 1

090120 1

090120 1

090120 1




20

Module

2


Intermediate Hand Patterns

Much like the beginner lesson on bass drum independence, in this lesson, Jared takes

you through all possible combinations between six hand patterns and ten intermedi-ate foot patterns, so you can see exactly how they sound and how they should be

played. The hand patterns are exactly the same as the ones used in the beginner les-

son. The difference here is in the foot patterns, which are based around 8th and 16th

notes. These patterns are challenging so make sure you start slow, get the sequence of

strokes down, and then slowly increase the tempo. It’s very important that you’ve taken

the time to go through the beginner lesson before trying these exercises.

Again, once you can play these combinations accurately, go through them once again

adding the hi-hat foot as notated on the sheet music on page 25 . These six hand pat-

terns can be used in other lessons as well. You can do so by taking any beat from Bass

Drum Secrets, remove the original hand pattern and add one of these six on top of thenotated foot pattern. This is a great way of expanding the material on this training pack.

1) 2)

3) 4)

5) 6)

1 121-140

1 161-180

1 201-220

1 141-160

1 181-200

1 221-240




21

Mod

2


Intermediate Foot Patterns

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1) 2)

3) 4)

5) 6)

7) 8)

9) 10)

110130 1

110130 1

110130 1

110130 1

110130 1

110130 1

110130 1

110130 1

110130 1

110130 1




22

Module

2


Advanced Hand Patterns

In this lesson, Jared takes you through multiple combinations between six hand patterns

and ten advanced foot patterns, so you can see exactly how they sound and how theyshould be played. The hand patterns are exactly the same as the ones used in the be-

ginner and intermediate lessons. He also teaches you how to continue to work on foot

independence once you’re done with the exercises provided in this module. Make sure

you’ve been through the beginner and intermediate lessons on bass drum indepen-

dence before diving into these patterns as these are very challenging. Remember, start

slowly, learn the sequence rst, and then increase the tempo gradually.

The hand and foot patterns that we’ve given to you in these lessons on bass drum in-dependence can be mixed and matched to create new combinations for you to work on.

For instance, take the rst count of hand pattern #5 and use it to replace the third count

on hand pattern #2, and take the second count of hand pattern #6 and replace the sec-

ond count of hand pattern #2 with it. Then, take this new hand pattern and go through

the beginner, intermediate, and advanced foot patterns. This is not only a cool way of

coming up with new exercises, but also of creating new drum beats. Use this concept

for creating new foot patterns as well.

1) 2)

3) 4)

5) 6)

2 001-020

2 041-060

2 081-100

2 021-040

2 061-080

2 101-120




23

Mod

2

Advanced Foot PatternsDVD #2 | Module #2 - Bass Drum Independence

r

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r

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r

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r

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7) 8)

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110130 2

110130 2

110130 2

110130 2




24

Module

2


Jazz Exercises

It’s essential to develop a solid understanding of jazz independence for “comping”

purposes. Comping is a term used in jazz music to refer to the ability of complementing

or accompanying other musician’s musical phrasing. The more you work on jazz inde-

pendence the easier it will be for you to react on the spot with what other musicians are

doing. In this lesson, Jared introduces you to the world of jazz bass drum independence

by showing you how to play ten bass drum patterns based in 8th note triplets. Practicing

jazz comping will also do wonders for your blues, hip-hop, reggae, and shufe playing.

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

1) 2)

3) 4)

5) 6)

7) 8)

9) 10)

120 1212

120 1232

120 1252

120 1272

120 1292

120 1202

120 1242

120 1262

120 1282

120 1302




25

Mod

2


Additional Independence Exercises

To make the previous hand patterns even more challenging, consider adding in the hi-

hat foot on the following counts. This will help further build your independence between

all four of your limbs.

For even further work on your independence, play the hi-hat with your weaker hand and

the snare drum with your stronger hand while going through different foot patterns. This

is a great idea for strengthening your weaker hand and for developing control and inde-

pendence with it as well.

1)

2)

3)

4)




26

Module

3

Developing The Technique

The heel-toe technique has been around for quite some time, but only recently has it

become very popular amongst the drumming community. This is a great technique for

playing fast double strokes with the feet, much like the slide technique. It is argued that

the heel toe technique is easier to control than the slide technique, since you’re only re-

quired to learn the correct foot motion instead of having to spend time building your leg

muscles. In this lesson, Jared Falk breaks down the heel-toe technique for you, show-ing you exactly how and what to practice to develop it. He also takes the time to debunk

some of the more common myths associated with the heel-toe technique as well, like

foot size, type of footwear, and type of bass drum pedal.

As you practice this technique, strive for

having the two motions meld into one

single rocking motion with the foot. The

rocking motion is what will enable you to

play a fast double, since you’ll get two

strokes from one single motion. Don’tslam the foot too hard onto the footboard

when playing the heel stroke; easy does

it. It may take you ve minutes, or it may

take you ve hours to learn how to play

this technique. Time doesn’t really mat-

ter here, you can do it. You just have to

be very patient and keep at it.

DVD #3

Module #3 - The Heel Toe Technique

The heel-toe technique has always been somewhat of a mystery to many drummers.

When taught correctly, it can be learned in a few short minutes. However, without properinstruction, it can easily take days or even weeks of trial-and-error to get it working. This

module simplies the process and teaches you how to play the heel toe technique with

step-by-step examples. You will learn how to master the technique and how to apply it

within your drumming.

Lessons Include:

Developing The Technique• Bass Drum Pedals•

Developing The Weaker Foot • Applying The Technique•

Pedal Settings•




27

Mod

3

Developing The Weaker Foot

Having the ability to play the heel-toe technique with your feet will take your drum-

ming to a whole new level. Even if you don’t use a double bass pedal you still have

the hi-hat pedal and the bass drum pedal to work with, so you’re still a double pedal

drummer. Heel-toe works great on the hi-hat, enabling you to play very fast hi-hat

splashes. Watch this drum lesson and nd out how to develop heel-toe with your

weaker foot, so you can use it on the hi-hat pedal, on your second bass drum pedal

or even on an auxiliary percussion pedal.

Pedal Settings

If you only have a really cheap double bass or single bass drum pedal, don’t worry

about it. The heel-toe technique can be performed on virtually any pedal there is. You

don’t need to have the most expensive pedal on the market that features eighty different

adjustments to be able to play this technique. In this lesson, Jared Falk shows exactly

what you can adjust on your pedal that will help you play the heel-toe technique with

ease.

Bass Drum Pedals

Virtually any pedal works with the heel-toe tech-

nique. The type of pedal you use depends on your

own personal preferences. In this lesson Jared

shares his thoughts on a few pedals he thinks

have the best price/quality relationship for playing

the heel-toe technique. If you’re thinking of up-

grading to a new bass drum pedal, this lesson will

be very helpful.

In the video, Jared shares three pedal possibili-

ties for you to purchase. However, as you may be

well aware of, there are a ton more out there that

could be better for you. So after you’re done with

this video, check out module 19 for pedal reviews

on the models Jared talked about in this video, as

well as some other very popular bass drum pedals.




28

Module

3

DVD #3 | Module #3 - The Heel Toe Technique

Applying The Technique

This lesson is where the fun really begins. Here, you’re introduced to your rst drum

beats and drum lls that incorporate the heel-toe technique. If you haven’t taken thetime to work on the previous lessons from this module, make sure you go over them

rst. Doing so will enable you to go through these exercises a lot quicker and with

better sounding results.

Applying the heel-toe technique to the drum set is the next natural step. Each exer-

cise on this lesson works on different aspects of this technique. You have very differ-

ent note values to work with, some hand-to-feet combinations, and single stroke roll

to double stroke roll transitions. Jared also teaches you how to play a triple stroke

using heel-toe, as well as how to use the heel-toe technique on the hi-hat pedal.

3

1)

2)

3)

4)

Let’s start practicing the heel-toe technique by playing this beat on the drum-set.

Next, let’s use the technique within a simple drum ll.

Now we’ll apply the technique to the double pedal and play the beat below.

Take your time developing this next ll. Start at a tempo that you feel most comfort-

able playing the technique. From there, you can slowly speed it up over time.




29

Mod

33

3

3

3

3

3

3

3

3

3

3

3

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3

3

3

8)

9)

10)

6)

7)

5)

The below exercise is just one example of how the heel-toe technique can be used to

play quick triple strokes.

Use this exercise to independently work on your right and left foot.

This pattern can be lead with your right or left foot.




30

Module

4

DVD #3

Module #4 - Heel Toe Exercises

Module #3 is dedicated to teaching you how to develop the heel-toe technique accurate-

ly. Once you’ve been through its lessons and are able to play the heel-toe comfortablywith at least one foot, you can start working on the exercises Jared Falk included in this

module.

This fourth module covers beginner, intermediate, and advanced drumming patterns

that make specic use of this unique technique. These examples will help you get

started with incorporating double strokes in beats, and will leave you well prepared for

creating your own unique heel-toe-based beats and lls in the future!

If you use a different technique from the heel-toe, like the slide technique for instance,

you can still use every exercise in this module. You just have to replace the heel-toe

double strokes with the technique you’re most comfortable with to perform bass drum

double strokes. Once you’ve mastered these exercises, go through all of them with your

weaker foot as well.

Lessons Include:

Beginner Beats• Intermediate Fills•

Beginner Fills• Advanced Beats•

Intermediate Beats• Advanced Fills•




31

Mod

4

DVD #3 | Module #4 - Heel Toe Exercises

Beginner Beats

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32

Module

4


Beginner Beats (continued)

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33


Mod

4

Beginner Fills

The number of drum lls you can come up with is not limited by the number of ex -ercises on the Bass Drum Secrets, it’s limited only by your imagination. Like Jared

states in the video, after you’ve mastered the lls as notated, you can start by mov-

ing your hands around different drums and cymbals to come up with new variations.

Other cool things you can do include playing some of the double strokes with the hi-

hat pedal instead, playing the doubles as singles and spread them between the two

pedals, and changing the sticking pattern of the hand strokes.

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34


Module

4

Intermediate Beats

After you’ve been through the beginner drum beats and drum lls in this module,we recommend checking out this lesson next. These ten intermediate exercises are

designed to get you working with heel-toe on 16th note triplet foot patterns. These

drum beats are for you to exercise the heel-toe technique and to inspire new ideas in

your playing.

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35

Mod

4

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36

Intermediate FillsDVD #3 | Module #4 - Heel Toe Exercises

Module

4

Much like the lesson on intermediate drum beats played with the heel-toe technique,the following exercises are focused heavily on 16th note triplets. In this video, you’ll

nd ve hand to feet combinations and some tips to help you improve the time you

spend behind a drum set practicing these drum lls.

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37


Mod

4

Advanced Beats

The ten advanced drum beats Jared created for you in this lesson are built upon thebeginner and intermediate videos. These beats incorporate the rhythmic themes of

those lessons, 16th notes and 16th note triplets, as well as 32nd notes, linear drum

beats, tom patterns, and even some syncopation with the snare drum. You’ll have a

blast with this one.

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38


Module

4

Advanced Beats (continued)

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39


Mod

4

Advanced Fills

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In this lesson, Jared Falk teaches you how to execute ve advanced drum lls basedon 32nd notes. He also gives you some cool tips on how to create lls as well as

how to practice the exercises here so you can see big results quickly. Remember

to work on the beginner and intermediate heel-toe drum lls before taking on these

ones.

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40

Module

5

DVD #4

Module #5 - The Slide Technique

This module covers the slide technique, a popular alternative to the heel-toe technique.The slide technique can be used in many different styles of music and is a natural way

to play quick double strokes.

Introduction

In this lesson, Dave Atkinson introduces you to the slide technique. The slide technique

is Dave’s weapon of choice for playing fast double strokes with a single pedal. This is an

awesome technique to learn and develop, and much like the heel-toe, it will let you add

some doubles here and there without the need to use a double bass drum pedal.

Lessons Include:

Introduction• Developing The Left Foot •

Footwear & Pedal Settings• Applying It Within A Beat •

Developing The Technique• Applying It Within A Fill •




41

Mod

5

Footwear & Pedal Settings

How important is the type of shoes I wear? What about playing with socks or barefoot?

I have big feet, will I be able to perform this technique properly? How do I setup the

pedals to improve my playing experience? If these are some of the questions you have

regarding this technique, then look no further. In this lesson, Dave answers all of those

questions and much more.

Developing The Technique

This technique may take a little longer to master than heel-toe, since it’s not only

required of you to learn the proper motions behind the technique, but to spend some

time building your leg muscles to perform it at faster tempos. In this lesson, Dave

breaks down the slide technique for you, showing you exactly how and what to prac-

tice to develop it. Below are ve basic exercises for you to start practicing the slide

technique.

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1)

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42

DVD #4 | Module #5 - The Slide Technique

Module

5

Developing The Left Foot

Having the ability to play the slide technique with both feet will take your drummingto a whole new level. Even if you don’t use a double bass pedal you still have the hi-

hat pedal and the bass drum pedal to work with. Watch this drum lesson and nd out

how to develop the slide technique with your weaker foot, so you can use it on the

hi-hat pedal, on your secondary bass drum pedal or even on an auxiliary percussion

pedal.

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43


Mod

5

Applying It Within A Beat

Now that you’ve learned how to play the slide technique with at least one of your

feet, it’s time to put it to good use. In this lesson, Dave Atkinson teaches you how to

play eight drum beats that incorporate the slide technique. The exercises you’ll nd

in this lesson range from punk, to shufe and even samba based drum beats. As you

play these exercises you’ll start to realize that the slide technique is applicable to all

different styles of music.

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44


Module

5

Applying It Within A Fill

Now that you’ve been through the drum beats written specically for practicing theslide technique, it’s time to complement them with some very cool sounding drum

lls that incorporate the slide technique. The eight exercises provided here are basi-

cally hand to feet combinations that incorporate 8th notes, 16th notes, 16th note

triplets, and 32nd notes, which range from beginner to advanced.

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45

Mod

5

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46

Module

6

DVD #4

Module #6 - Slide Technique Exercises

In Module 6, you’ll get a chance to apply the slide technique within practical beats and

lls. It includes a collection of beginner, intermediate, and advanced patterns that pro-gressively increase in difculty. Put your new found slide technique skills to work using

these fun exercises, and be prepared to see a dramatic boost in the way you creatively

incorporate the bass drum within music.

If you use a different technique from the slide, like the heel-toe for instance, you can still

use every exercise in this module. You just have to replace the slide with the technique

you’re most comfortable with to perform bass drum double strokes. You can play the

exercises with your dominant foot at rst, and when you’ve mastered them go through

them with your weaker foot.

Lessons Include:

Beginner Beats• Intermediate Fills•

Beginner Fills• Advanced Beats•

Intermediate Beats• Advanced Fills•






48

DVD #4 | Module #6 - Slide Technique Exercises

Module

6


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49


Mod

6

Beginner Fills

In this lesson, Dave shows you how to apply the slide technique to ve beginnerdrum lls. The number of drum lls you can come up with is not limited by the num -

ber of exercises on the Bass Drum Secrets, it’s limited only by your imagination. Af-

ter you’ve mastered the lls as notated, you can start by moving your hands around

different drums and cymbals to come up with new variations.

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50


Module

6

Intermediate Beats

After you’re comfortable with the beginner drum beats and drum lls in this module,we recommend going through this lesson next. These eight intermediate exercises

are designed to get you working on the slide technique with 8th note triplet, 16th

note triplet, and 32nd note foot patterns. These drum beats were designed to chal-

lenge you a bit more and to inspire new ideas in your playing.

These intermediate drum beats are loaded with very different patterns for the snare

drum and for the hi-hat. You can use them to spice up other drum beats in this edu-

cational pack, or even your own. Another cool way of coming up with interesting

hand patterns is to mix different sections from different beats and try them over a

preexisting foot pattern. The possibilities are endless.

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51

Mod

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52

Intermediate FillsDVD #4 | Module #6 - Slide Technique Exercises

Module

6

In this video, Dave Atkinson shows you how to play four intermediate hand to feetcombinations using the slide technique. Once you’ve been through the following

exercises, use the tips we gave you in the beginner lesson on drum lls and in the

intermediate lesson on drum beats to come up with new variations of your own while

using these intermediate exercises as a template. You could also try adding rests in

some of the lls, instead of playing all the 16th note or 16th note triplet partials. Mix-

ing different note values within the same ll is also a great way to change things up.

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53


Mod

6

Advanced Beats

Here, you’ll nd linear drum beats, 16th note triplet and 32nd note based patterns,

samba, shufe and even soca (Soul-Calypso) based drum beats. These exercisesare challenging but a lot of fun to play around with. You’ll have a blast with this les-

son.

In the beginner and intermediate lessons we discussed some construction tech-

niques for building your own drum beats from preexisting ones. Here, we’ll discuss

some techniques for accelerating your learning process while taking on new drum

beats. The rst priority when learning any pattern on a set of drums is to memo -

rize the stroke sequence. It’s important to start slowly at rst so you can make sure

you’re playing the strokes in the proper sequence. You can do this in a count by

count manner, that is, only when you’ve memorized the pattern inside of a given

count will you move on to learn the next one. Then, you just have to work on playingthe counts one after the other. Start by playing two counts back-to-back, then three

and so on.

Once you have that down, add the metronome in to start lining everything up per-

fectly. Since we’re handling beats that incorporate double strokes with the feet, you

can focus on learning the pattern without the doubles at rst – play one single stroke

instead of each set of doubles. This is a great way of focusing on the feel of the beat.

Get to know exactly how every thing sounds before you start adding the doubles

back in. This will make it easier for you to incorporate them afterwards, since your

mind will know exactly how everything must sound.

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54


Module

6


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55


Mod

6

Advanced Fills

In this lesson, Dave Atkinson teaches you how to execute ve advanced drum llsbased around 16th note triplets and 32nd notes using the slide technique.

Once you’ve completed this module, you can keep working on your own variations

from the examples provided here, you can go through the entire collection of exer-

cises with your weaker foot, or you can just move on. If you want more exercises

to help you work on the slide technique, check out Jared Falk’s module on heel-toe

drum beats and drum lls. You can use those exercises by playing the slide tech-

nique on all the double strokes instead of the heel toe. You can also check Jared

Falk’s module on playing double stroke rolls within drum beats and drum lls, to work

on your slide technique double pedal chops.

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56

Module

7

DVD #5

Module #7 - Double Pedal Single Strokes (Sean)

In this module we take a look at double pedal single strokes with Sean Lang. Playing

quick single strokes is a valuable part of playing both single and double bass, so makesure you check out this module. Understanding these concepts and knowing how to ap-

ply them on-demand will be an invaluable asset to you as a well rounded drummer.

Lessons Include:

The Element Of Groove• Single Stroke Beats•

Developing Balance & Control • Single Stroke Fills•

Basic 8th & 16th Note Patterns• Note Value Exercises•

Bass Drum Triplets• The Herta Lick •Foot Assignment •




57

DVD #5 | Module #7 - Double Pedal Single Strokes (Sean)

Mod

7

The Element Of Groove

Playing a stream of alternating single strokes with the double pedal without theinvolvement of any dynamics whatsoever can be a little overkill if you’re not playing

in a heavy or death metal band. However, some drummers still like/need to use the

double bass pedal for playing small bursts of single strokes or the odd run in music

with a little more groove to it. In this lesson, Sean Lang explains on how to create

groove and add dynamics to your double bass playing through groovy hand patterns

and accents on the bass drum.

This lesson is awesome even for those who don’t play heavier styles of rock music.

You see, there are a lot of fast drummers out there, but not that many who know how

to add dynamics and groove to their double bass playing. Learning these conceptswill give you a big advantage over them.

1)

2)

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4)

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58


Module

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Mod

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1)

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Developing Balance & Control

Playing a constant stream of single strokes requires a lot of control and balance.

You need to have enough control to play every note at exactly the same dynamic

level while playing different rhythms with the hands. Developing good balance while

performing those rolls is essential for keeping everything consistent. In this lesson,

Sean Lang teaches you his method for working on control and balance, while devel-

oping your weaker foot and independence at the same time.

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Module

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Developing Balance & Control (continued)

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Mod

7

Basic 8th & 16th Note Patterns

This lesson is a very good place to start if you’re fairly new to double bass drum-ming. The eight exercises provided are very basic and will get you used to playing

drum beats that incorporate double bass. If you don’t have a double bass pedal or

two bass drums, practice these beats with the hi-hat pedal as the slave pedal in-

stead.

1) 2)

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Module

7

Bass Drum Triplets

In this lesson Sean teaches thirteen triplet based double bass grooves. The exer-

cises featured in this lesson are not only essential for getting you started with double

bass triplets, but to get you mixing triplets with other note values as well. The exer-

cises featured here are also great for challenging the most advanced of drummers.

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Module

7

Foot Assignment

Foot assignment is a very interesting concept for playing broken double bass drumpatterns, especially when performed with 16th notes. The concept revolves around

the idea of having the lead foot perform the 8th notes (on the “and’s” and on the

beats), while the weaker foot plays the 16th notes (the “e’s” and the “ah’s”). In this

lesson, Sean Lang introduces this concept with seven drum beats, and shows you

how you can develop it while improvising over broken double bass patterns.

1) 2)

3) 4)

5) 6)

7)

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Mod

7

Single Stroke Beats

This lesson is a great resource for enriching your double bass rhythmic vocabulary.The sixteen exercises you’ll nd here contain various note values, different broken

patterns, and a wealth of mixed patterns that will have you moving from note value to

note value with ease. You’ll have a ton of fun with this lesson, while improving your

double bass’ speed, power, and control.

1)

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Module

Single Stroke Beats (continued)

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Mod

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Module

7

Single Stroke Fills

In this lesson, Sean Lang shows you how to add double bass to drum lls with seven

examples. He also gives you some tips on how to come up with new ones from the

existing patterns. Adding double bass strokes to your drum lls is a great way of

spicing them up. Players who only have a single bass drum pedal can use the hi-

hat pedal as the slave pedal in these lls. This creates very interesting textures and

some funky sounding lls as well.

1)

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Mod

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Module

7

Note Value Exercises

As you may be well aware of, in music, it’s very common to use different note values

in a single piece of music. Therefore, it’s important to have a solid understanding of

how to move between different note values with ease and condence. This adds a

lot to your musical skills and will give your beat writing abilities a more diverse ap-

proach. In this lesson, Sean Lang teaches you seven exercises that you can use to

develop a better feel when playing different note values between two pedals, and for

getting used to awless transitions between the note values.

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Module

7

The Herta Lick

A herta is a hybrid rudiment that usually combines 16th notes with 32nd notes playedas single strokes. You can also play a combination of 8th notes with 16th notes, and

even of 8th note triplets with 16th note triplets. If you play double bass you’re going

to love what this rudiment will do for your patterns. In this lesson, Sean Lang teaches

you how to play seven exercises that incorporate herta’s.

If you only play a single bass drum pedal, start by performing the exercises as writ-

ten using the hi-hat pedal instead of the slave bass drum pedal. This is a great drill

for working on the coordination between the feet and to get them used to playing

herta’s, as well as a great way of coming up with funky patterns that encompass a

lot of open hi-hats. Another cool thing you can do is play all the slave drum pedal

strokes with a hand on the hi-hat or ride. This completely changes the overall feel of

the patterns and gets you working on interesting herta patterns between the hands

and foot. These are just some quick tips to get you going.

1)

2)

3)

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Module

8

DVD #5

Module #8 - Double Pedal Single Strokes (Dave

Module #7 featured Sean Lang’s perspective and exercises for developing singlestrokes with the double pedal. In this module Dave Atkinson will further dive into single

strokes on the double pedal. The more perspectives we have about a single subject the

better we will be at developing it, since we can approach it in so many different ways

while learning a ton of different concepts at the same time.

Lessons Include:

Introduction• How To Develop Endurance•

Double Bass Warm Ups• The Swivel Technique•

Developing The Weaker Foot • Practicing Along To Music •

Double Bass Slide Triplet • Hand & Foot Independence•

Developing Slow Speeds• Ending With Odd Numbers•

Developing Speed With Singles•

Introduction

In this video, Dave introduces some of the subjects covered in this module and talks a

little bit about the technique he uses for playing double pedal.




75

DVD #5 | Module #8 - Double Pedal Single Strokes (Dave)

Mod

8

Double Bass Warm Ups

Playing drums is a very physical activity. Just like in any sport, it is very importantyou warm-up thoroughly before playing. This will help you avoid injuries and make

your playing that much more relaxed, fast, and controlled. In this video lesson, Dave

Atkinson teaches ve cool warm-ups designed for your feet. Even if you don’t have

a double bass pedal or two bass drums, you can still use these exercises with your

hi-hat pedal and single pedal.

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Module

8

Developing The Weaker Foot

You have to develop your feet equally if you want to be a double bass drummer. Thisis not only a question of speed, but of control and consistency. You won’t be able

to play consistently and in time if you don’t develop your weaker foot. As for speed,

you’re only as fast as your weaker foot. In this lesson, Dave Atkinson teaches you

some very cool ways of developing single and double strokes with your weaker. He

also shares some valuable tips that will have you playing with your weaker foot as

well as you do with your stronger one.

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1) 2)

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Mod

8

Double Bass Slide Triplet

The double bass slide triplet foot technique is used to play fast triple strokes by com-bining a double pedal with the slide technique. You can still learn how to develop this

technique if you use the heel-toe technique instead; or any other technique to play

fast double strokes with one foot for that matter. In this lesson, Dave teaches you

eight exercises that will help you develop this technique.

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Module

8

Developing Slow Speeds

Many double bass drummers focus on playing fast. However, playing slow is a veryimportant ability to have since it enables you to perform double bass runs with more

precision and control when at faster tempos. Practicing at slow tempos will greatly

improve your double pedal chops at faster tempos. In this lesson, Dave Atkinson

teaches you how and why to practice double bass at slower tempos, giving you

seven exercises to work with.

1) 2)

3) 4)

5) 6)

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Developing Speed With Singles (continued)

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Mod

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How To Develop Endurance

Developing endurance is a little bit different from developing speed. With speedbuilding you focus more on playing quick bursts for short periods of time, while

with endurance your main focus is playing for long periods of time. In this lesson,

Dave gives you important tips on how to develop endurance and on how to use the

progress chart (page 82) to track down your progress as you work on building your

endurance.

Working on endurance is not something exclusive to single stroke rolls played with

the double pedal. You can use the concepts discussed by Dave in this lesson, as

well as the progress chart for developing your heel-toe/slide double stroke rolls, or

any other exercises or techniques featured in this educational system.




82


Module

8

Progress Chart

Double Bass Speed Progress Double Bass Endurance Progress

(Date) (Date)(Tempo) (Tempo)(Time) (Time)




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8

Progress Chart






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Module

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Progress Chart






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Progress Chart








87


Mod

8

Hand & Foot Independence

Playing a constant stream of single strokes with the feet while keeping the samestyle of rock based hand patterns above it can become monotonous with time. Gain-

ing a good level of independence while performing rolls with the feet is a great way

of loosening up your hands for coming up with interesting drum beats and lls. In

this lesson, Dave teaches you a couple of exercises that incorporate drum rudiments

that will get you working on your hand independence while performing a constant roll

with the feet.

The rudiments featured in this lesson are the single stroke roll, the single paradiddle,

the double stroke roll, the herta, the triple stroke roll, the double paradiddle, and the

am accent. Once you’ve mastered the exercises as written, try incorporating other

rudiments with the hands. Playing rudiments on top of an 8th note triplet or 16th notesingle stroke roll with the feet is not only a great way of working on independence

but on hand technique as well. This way, you can practice drum rudiments and

double bass drumming at the same time.

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Module

8

Hand & Foot Independence (continued)

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Mod

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Ending With Odd Numbers

Most people are used to playing even numbered double pedal patterns. With this

lesson you’ll learn how play odd numbered feet patterns, as well as to play the bassdrum with the weaker foot in unison with a crash hit.

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Module

9

DVD #6

Module #9 - Double Pedal Double Strokes

Next, you get to learn how to play double pedal double strokes with Jared Falk. If you’re

one of those drummers that thinks learning how to play double stroke rolls on the double

pedal is pointless, then you’ve got to check out this module. This really is something that

can take your drumming to the next level and give you an edge over other drummers at

the same time. By combining the tips and tricks from all three drummers, you’ll have an

opportunity to create your own unique drumming style.

In this module Jared utilizes the heel toe technique. If your still having issues with this

technique you can always reference back to module #3 and #4 for more information on

it. You can also check out module #18 for a video of Jared playing the heel toe tech-

nique in slow motion.

Lessons Include:

Basic 16th Note Patterns•

16th Note Triplets With Doubles•

Herta’s With Double Strokes•




91

DVD #6 | Module #9 - Double Pedal Double Strokes

Mod

91)

2)

3)

4)

Basic 16th Note Patterns

In this lesson, Jared Falk explains why playing double stroke rolls with the feet isimportant. You’ll also get access to ten exercises that are sure to put you on the fast

track to mastering double stroke rolls with the feet. The material and tips here can be

used by any drummer, regardless of the technique used for playing double strokes.

If you don’t know how to play double stroke rolls with the feet, we hope this lesson

motivates you to learn how to. In the Bass Drum Secrets, Dave Atkinson teaches the

slide technique, Jared Falk the heel-toe technique, and Sean Lang a hybrid between

the slide technique and the swivel technique. Any one of those techniques can be

used for playing double stroke rolls with the feet. Once you’ve mastered your tech-

nique of choice, use these exercises to develop the double stroke roll.

Let’s start by developing the double stroke roll using only the feet.

Next, let’s add in the hands playing along with the feet using a double stroke roll.

Complete the beat by adding the snare on 2 & 4.

Now add the dominant hand on the ride.

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Module

9

Basic 16th Note Patterns (continued)

6)

7)

8)

9)

10)

5)

For an additional challenge, and to further develop the roll you can use the following

patterns to play over top of the 16th note double stroke roll bass drum ostinato.

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Mod

9

16th Note Triplets With Doubles

In this lesson, Jared teaches you how to play 16th note triplet double strokes on thebass drum while playing a regular 8th note groove with the hands. As you can see

by looking at the exercises, this can be challenging as the hi-hat stroke on the ‘&’

lines up with the 2nd double stroke on the left foot. These exercises have been writ-

ten to be progressive. To develop this correctly, please go through the exercises in

the order they are written.

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Module

9

Herta’s With Double Strokes

In this lesson, Jared Falk teaches you how to play ten exercises that incorporatedouble stroke “herta’s”. A herta is a hybrid rudiment that combines 16th notes with

32nd notes played as single strokes. You can change the “sticking” of this pattern

and use double strokes to play the 32nd notes instead. If you play double bass

you’re going to love this lesson.

1)

2)

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4)

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DVD #6 | Module #10 - Broken Double Bass Beats

Module

10

Module #10 - Broken Double Bass Beats

Module #10 features Sean Langteaching broken double bass

beats. These patterns are power-

ful for creating tight grooves with

some double bass air. You can

start by learning these example

patterns, then when you feel

comfortable with the concepts,

you can start creating your own

original patterns to spice things

up and boost your creativity on

the drums.

Broken patterns are harder to

play because you’ll need to stop

and start short bursts of single

strokes rolls. This may cause

some consistency and timing

issues. To work around that,

make sure you start practicing

these exercises at slower tem-

pos. Make sure everything linesup perfectly and that you’re not

playing ammed strokes. This is

essential for making these beats

sound awesome at faster tem-

pos.

If you only play a single bass pedal, you’re

still a double pedal drummer because of the

hi-hat pedal. These grooves are a great op-

portunity to give more use to that pedal and

add very cool little nuances to your double

pedal grooves. The rst thing you can do isreplace the slave bass drum strokes notat-

ed on the sheet music with the hi-hat pedal.

This way, you’ll create some very cool and

original 16th note hi-hat patterns between

the hands and the weaker foot that will add

a lot of groove to your drum beats.

Lessons Include:

Beginner Beats•

Intermediate Beats•

Advanced Beats•






98


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Mod

10

Intermediate Beats

Once you’re able to play the beginner broken double bass exercises accuratelyand consistently at various tempos, you can move on to this lesson to start learning

intermediate beats. The examples presented here are a little more challenging and

include 16th and 32nd note double bass patterns, and some interesting combina-

tions between 8th note triplets on the feet and 8th notes on the hands.

1)

2)

3)

4)

5)

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Module

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Intermediate Beats (continued)

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Mod

11

DVD #6

Module #11 - Double Bass Exercises

Module #11 covers some awesome double

bass exercises that you can incorporate inyour drumming immediately. Dave Atkinson

walks you through beginner, intermediate,

and advanced double bass beats and lls. If

you have been working through the modules,

then this is a great place to put some of those

new techniques to work and really start hav-

ing some fun applying everything you have

learned.

If you’re having any problems with the ex-

ercises here, check out module #7 and #8.

They are packed with great tips and exer-

cises for developing your feet, and some very

cool techniques that are sure to revolutionize

the way you approach your bass drum and

hi-hat pedals.

Lessons Include:

Beginner Beats•

Beginner Fills•

Intermediate Beats•

Intermediate Fills•

Advanced Beats•

Advanced Fills•




104

DVD #6 | Module #11 - Double Bass Exercises

Module

11

Beginner Beats

Most of what is played with the double bass on modern music is based on single

stroke rolls. It’s important you learn how to develop independence between basic

hand patterns and the feet, and very solid and consistent single stroke rolls from the

get go. We take the rst steps into doing so with the ten beginner drum beats written

by Dave Atkinson for this lesson

1)

2)

3)

4)

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Mod

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106


Module

11

Beginner Fills

Adding the bass drum to drum lls is a great way for spicing up your playing. In thislesson, Dave Atkinson takes you through ten drum lls that incorporate a lot of the

basic techniques used for adding the bass drum into drum lls, like hand to feet com -

binations, playing three-note 16th note triplets just before a snare shot, and adding

cool little nuances with cymbals while playing double bass runs.

You can still gain a lot from these drum lls if you’re a more experienced drummer.

Use them as inspiration for coming up with new drum lls of your own, or play them

at higher speeds for even more of a challenge. Patterns #6 and #7 are great for

practicing the double bass slide triplet technique.

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Module

11

Intermediate Beats

This lesson mixes things up a bit by having you play drum beats that feature differ-ent note values. You’ll also get to learn how to play a 16th note triplet double bass/

tom beat based on the double paradiddle, and the main pattern for the song “Hot For

Teacher” by Van Halen.

The exercises included in this lesson require a certain degree of independence

between your hands and feet, and having the ability to transition smoothly between

different note values using the feet.

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Intermediate FillsDVD #6 | Module #11 - Double Bass Exercises

Module

11

Things get a little trickier with these intermediate double bass drum lls. The ex-

ercises in this lesson feature a heavy dose of hand to feet combinations featuring

note values such as 32nd notes, 16th note triplets, 16th notes, and 8th notes. Dave

throws you his very rst curve ball here by having you play your rst hand to feet

combo where the leading hand changes. Prepare to be challenged.

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11

Advanced Beats

In this lesson, Dave Atkinson takes you through ten advanced drum beats that aresure to take your drumming to a whole new level. Once you’re nished with this les -

son, you’ll be able to play in 7/8 and 7/4 time signatures and have a ton of new 32nd

note beats under your belt as well.

2)

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Module

11

Advanced Fills

In this lesson, Dave goes all over the place with a lot of 16th note triplet and 32nd

note drum lls. He incorporates the cymbals in a lot of these lls, as well as drum

rudiments like the double paradiddle, the am tap and the am. Make sure you’re

pretty competent in playing the beginner and intermediate drum lls before you take

on these ones.

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Module

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DVD #7

Module #12 - Metal & Blast Beats

Welcome to the “Metal & Blast Beats” portion of the Bass Drum Secrets 2.0. Thismodule is totally dedicated to the world of blast beats, and includes tips on develop-

ing the weaker foot and adding groove to blast beats. If you’re not into this style of

music or drumming, you might feel discouraged to learn the content in these les-

sons. However, the exercises here are great for developing speed, coordination,

balance, and single stroke rolls with both hands and feet. These are all things that

you as a drummer have to strive for, no matter the styles of music you enjoy or the

number of pedals you like to use. Give this module a try, you won’t be disappointed.

One Foot vs. Two Feet

A blast beat is basically a single stroke roll broken up between the snare drum and the

bass drum, with the hi-hat/ride hand playing unison strokes with the bass drum. Thebass drum gures are usually counted as 8th or as 16th notes, while the hands are

counted as 16th or 32nd notes. Since the bass drum notes are slower than the ones on

the hands, you can use a single foot to play them. However, some drummers tend to

use two feet instead. In this lesson, Sean Lang addresses this subject by explaining the

pros and cons of using one foot verses two feet while performing blast beats.

Introduction

In this video, Sean introduces some of the subjects covered in this module and talks

about how they can benet you even if your not a metal drummer.




117

DVD #7 | Module #12 - Metal & Blast Beats

Mod

12

Skank Blast

Skank beats are slower versions of traditional blast beats. They were being playedin the United States and in Europe just before blast beats were rst invented. You

can think of skank beats as punk beats or as fast and heavy polkas as well. In this

lesson, Sean Lang takes you through some of the more traditional ways of playing

skank beats with 8th notes, 16th notes and 8th note triplets.

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Module

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Hammer Blast

Hammer blasts were actually invented by drummers who, being new to the world ofblast beats, couldn’t achieve the speeds and coordination required to play traditional

blast beats. If you’re a beginner, taking on this lesson is a great way of learning your

rst blast beats, or to add a very different feel to your blast beats if you’re a more

experienced drummer. In the video, Sean Lang teaches four of the most common

hammer blasts found in heavy metal music, as well as a couple of cool variations

that show you how to add groove to your hammer blasts.

Most exercises in this lesson have the stronger foot playing 8th notes. Once you’ve

mastered them, use the exercises here to work on your weaker foot. Start by playing

the patterns with your weaker foot. This will strengthen that foot greatly and will have

you working on coordinating the left and right limbs of your body. Finally, break the

foot pattern between your feet for practicing some double bass hammer blasts while

leading with your stronger foot as well as your weaker foot.

1) 2)

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Mod

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Bomb Blast

The Bomb blast is another very cool variation on the traditional form of blasting. Youcan think of it as an inverted traditional blast beat played with a double pedal. The

cymbal pattern is played on the “e’s” and the “ah’s” instead of on the beat and on the

“and’s”. In this lesson, Sean Lang shows you how to play the traditional bomb blast

drum beat and a couple of variations that include different cymbal and snare drum

patterns.

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Module

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Gravity Blast

The gravity blast was the last form of blast beat to be created in the world of extrememetal drumming. This blast beat includes the use of a hand technique known as the

one handed roll (also known as the freehand technique), which was rst introduced

to the drumming community by Kenwood Dennard, and made popular by Johnny

Rabb. In this lesson, Sean Lang teaches you how to perform the one handed roll

and how to use it within blast beats.

The one handed roll is a technique that lets you play a very fast single stroke roll

with only one hand. This is achieved by using the rim of the snare as a pivoting point

for pushing and pulling the stick against it with an up and down motion of the arm.

The down stroke of the freehand technique is notated on the middle line of the sheet

music. The up stroke is notated on the space just above that line. If you are strug-gling with the one handed roll, check out the slow motion footage of Jared Falk and

Sean Lang executing it in module #18

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Traditional Blast

The traditional blast was the rst type of blast beat to be created. It originated in theEuropean punk and hard-core movements as a way to create a wall of noise with no

rhythmic value whatsoever. Death metal bands from the ’90s were the ones respon-

sible for shaping it to its current form by giving it rhythmic value. A blast beat is basi-

cally a single stroke roll broken up between the snare drum and the bass drum, with

the hi-hat/ride hand playing unison strokes with the bass drum. In this lesson, Sean

Lang teaches you how to play the traditional blast and how to use it with music.

Beat #1 is the traditional blast while beat #2 is a variation on the traditional blast.

Once you’ve mastered these two exercises, take the hi-hat patterns from the other

blast beat lessons on this module and use them here instead. This is a great way for

coming up with new traditional blast variations. Another cool option is to play the 8thnote foot pattern with a double pedal instead. This will be essential once you get to

extremely high speeds. The exercises here are also great options for improving your

weaker foot independence, stamina, power and control.

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Module

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Hybrid Hammer Blast

Hybrid hammer blasts are a very visual and economic way of playing hammer blasts.

This type of blast beat was actually invented by Sean Lang and uses the Swiss army

triplet the am tap drum rudiments. In this lesson, Sean Lang teaches you how to

play hybrid hammer blasts beats and how to combine them to create odd-time signa-

ture blast beats.

With these blast beats you won’t overwork any hand in particular, because you’ll be

spreading the amount of strokes between the two of them. This way, it will be easier

for you to perform drum lls around the drums after blasting throughout songs. This

is also a great way for beginner or slower drummers to get into blasting. Rememberthat the am tap hammer blast (beat #1) and the Swiss army triplet hammer blast

(beat #2) should be played without the ams. Practice these exercises slowly at rst

making sure you play unison strokes – known as at ams or double stops – instead

of ams, before you start increasing the tempo on your metronome.

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Module

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DVD #7

Module #13 - Rudiments With The Feet

Playing rudiments with the feet is a mas-sively under-rated concept of bass drum-

ming. A lot of drummers assume that

rudiments are only for the hands, but

this module opens up new possibilities

by utilizing the rudiments with your feet.

Jared Falk takes you through playing 5, 6,

7, 9, and 11 stroke rolls, as well as playing

swiss army triplets all with your feet. With

this module you can create thousands of

new drum beats and lls, all by using the

rudiments with your feet.

Lessons Include:

Five Stroke Rolls•

Six Stroke Rolls•

Seven Stroke Rolls•

Nine Stroke Rolls•

Eleven Stroke Rolls•

Swiss Army Triplets•




125

DVD #7 | Module #13 - Rudiments With The Feet

Mod

13

Five Stroke Rolls

The 5 stroke roll combines two double strokes with one single stroke. In this lesson,Jared Falk teaches you how to practice the 5 stroke roll with both feet leading, and

how to apply it to 32nd note and 16th note triplet drum beats. Jared uses the heel-

toe technique to play double stroke based rudiments, but you can which ever tech-

nique you’re most comfortable with.

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Module

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Six Stroke Rolls

In this lesson, Jared Falk teaches you how to practice the 6 stroke roll by itself withthe feet and how to apply it to 16th note and 32nd note drum beats. Once you’ve

mastered the exercises here, experiment adding different hand patterns while keep-

ing the same 6 stroke roll foot patterns. Using this rudiment in solos is a great idea

as well. For further inspiration, check out the solo section of Module #20 to watch

how Jared uses this rudiment with the feet as a cool ostinato pattern for soloing.

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Seven Stroke Rolls

The 7 stroke roll combines three double strokes with one single stroke. In this les-son, Jared Falk teaches you how to practice the 7 stroke roll by itself with the feet

and how to apply it to 16th note, 16th note triplets and 32nd note drum beats. You

can also break the 7 stroke rolls between the bass drum and the hi-hat pedal as well,

creating totally different sounding drum beats in the process.

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Nine Stroke Rolls

In this lesson, Jared Falk teaches you how to practice the 9 stroke roll by itself withthe feet and how to apply it to 16th note, 16th note triplets and 32nd note drum

beats. Jared uses the heel-toe technique to play double stroke based rudiments, but

you can use other techniques as well.

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Eleven Stroke Rolls

This is the last drum roll rudiment Jared teaches you how to apply to your feet. How-ever, you now have the tools needed to apply other drum roll rudiments to your feet.

You can use these exercises as inspiration for coming up with patterns that include

the 10, the 13, the 15 and the 17 stroke rolls.

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DVD #7

Module #14 - Hand To Feet Combinations

This module is one of the coolest modules within the Bass Drum Secrets 2.0 pack.

Here, Jared, Dave and Sean all give their take on unique hand to feet combinations.By the end of this module you will be able to create your own hand to feet combina-

tions for use within beats, lls, and creative drum solos! This module will open new

doors for your drumming and expand your creativity when you sit down at the kit.

Jared Falk’s Hand To Feet Combinations

Hand to feet combinations are basically linear patterns used as drum lls. Linear pat-terns are played without overlapping strokes, so you don’t play unison gures during thepatterns. In this lesson, Jared Falk teaches you his method for coming up with hand to

feet combinations, making it easy to start creating your own patterns right away.

Once you’ve written a pattern, practiceit between the snare and the bass drumas Jared does in the video. The biggestproblem you’ll nd when playing thesepatterns is playing the notes on time.The solution for this issue is to startpracticing them very slowly. Increasethe tempo on your metronome once youhave the pattern down and eventually

you’ll want to start moving your handsaround the various drums and cymbalsinstead of keeping them on the snaredrum all the time.

There are other cool ways for you tomix things up a bit. You can alter thedynamics of some of the strokes, addrests instead of playing a continuousstream of notes, use the hi-hat pedalinstead of the slave bass drum pedal

for playing double pedal hand to feetcombos, and even use these patternsfor coming up with linear drum beats bymoving one hand to the hi-hat/ride whilekeeping the other one on the snare.






133

Mod

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DVD #7 | Module #14 - Hand To Feet Combinations

Dave’s Hand To Feet Combinations

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Sean’s Hand To Feet Combinations

In the last lesson of this module, we’ll be taking a look at Sean’s hand to feet com-

bos. The patterns he teaches here are mostly played as 16th notes, 16th note trip-lets, and 32nd notes. These patterns are great for heavier styles of music.

You’ll notice that throughout the exercises, Sean adds small things that make a big

difference in the overall feel and sound of these patterns. He uses rudiments like the

single paradiddle-diddle, the herta, and the am for sticking pattern diversity and for

getting different textures out of his drum set. He uses dynamics on the snare drum,

incorporates cymbals, and mixes the note values as well. These are all great ways

for spicing up your hand to feet combos.

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Sean’s Hand To Feet Combinations

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Mod

15

Okay, you made it! We are at the rst play-along module of the Bass Drum Secrets.

Here you get to use all your new found bass drum techniques, beats, lls, concepts,ideas, and creativity to use. This module features Dave Atkinson’s band as well as

a ton of cool jam tracks that you can download and take back to your drum kit. So,

have some fun and remember to mix things up with the new techniques you have

been developing!

Song CD Track BPM

YUCA - “Gold In Your Soul” 7-8 8 107

YUCA - “Skin & Bones” 7-8 9 173

Sonus - “2-19” 7-8 4 148Half Time Rock 5-6 1 80

Fast Rock 5-6 2 165

Heavy Metal 5-6 4 160

Shufe Rock 5-6 7 160

Straight Rock 5-6 10 80

Punk 5-6 13 160

Drum & Bass 5-6 16 160

Module #15 - Drum Play Alongs - DaveDVD #8








140

Module

18

Module #18 features all of the slow motion footage from Bass Drum Secrets com-

piled for easy viewing. The module includes slow motion footage for the slide tech-

nique, double pedal slide technique, swivel technique, heel-toe technique, double

stroke herta’s, feathering the bass drum, swiss army triplets, one handed roll, break

beat, gravity blast, double pedal single strokes and much more. This footage shows

you exactly how each of these techniques are played in slow motion.

Slide Technique

The slide technique is used to play fast

double strokes with what looks like to be

one single motion. However, as you must

have learned by now, the slide technique

incorporates two different motions that

are performed at a high level of speed.

Here, the slide technique is broken down

for you with slow motion video.

Double Pedal Slide Triplet

The double pedal slide triplet technique

is used to play fast triple strokes by

combining a double pedal with the slide

technique. Here, this technique is broken

down for you with slow motion video.

Swivel Technique

The swivel technique is used to play fast

single strokes with either a double or

single bass drum pedal by pivoting the feet with the toes on the pedals, while moving

the heels from side to side. Here, this technique is broken down for you with slow mo-

tion video.

Module #18 - Slow MotionDVD #11






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Heel-Toe Double Stroke Roll

The heel-toe technique can be used to play very fast double stroke rolls with your feet.

This slow motion video is a great tool for helping you understand exactly what is going

on with Jared’s feet as he’s performing a double stroke roll with the heel-toe technique.

Heel-Toe Triple Stroke

The heel-toe technique can be used to play triple strokes. Here, this technique is broken

down for you with slow motion video.

Heel-Toe Hi-Hat

Splash

The heel-toe technique

is mostly used on the

bass drum but it can

be applied to which-

ever pedal you’d like.

When used with the

hi-hat pedal, the heel

stroke generates a hi-

hat splash and the toe

stroke closes the hi-hat,

which is also known as

hi-hat “chick”.

Heel-Toe Over Multiple Pedals

You can use this technique to play each stroke of the double on different pedals. Here,

the heel-toe is played between the hi-hat pedal and the slave bass drum pedal.

Double Stroke Herta’s

A “herta” is a hybrid rudiment that combines 16th notes with 32nd notes played as single

strokes. You can change the sticking of this pattern and use double strokes to play the

32nd notes instead. This is something Jared likes to use heel-toe for.




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5 Stroke Rolls

The 5 stroke roll combines two double strokes with one single stroke.

6 Stroke Rolls

The 6 stroke roll combines two double strokes with two single stroke.

7 Stroke Rolls

The 7 stroke roll combines three

double strokes with one single

stroke.

9 Stroke Rolls

The 9 stroke roll combines four


stroke.

11 Stroke Rolls

The 11 stroke roll combines ve


stroke.

Swiss Army Triplets

The Swiss army triplet is one of

the patterns from the am fam-

ily of drum rudiments. It basi-

cally combines two offset doublestrokes. It’s this offset that cre-

ates the ammed strokes.




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One Handed Roll

The one handed roll,

also known as freehandtechnique is a great tech-

nique for playing a very

fast single stroke roll with

only one hand. This tech-

nique uses the rim of the

snare as a pivoting point

for pushing and pulling

the stick against it with

an up and down motion

of the arm.

Break Beat

Break beats are fast and

very syncopated drum

beats that can be heard

in music genres like

jungle and drum & bass.

Double PedalSingle Strokes

Single stroke rolls are the most common type of patterns played between the feet. It’s

very important you have a solid understanding on how to play them accurately. When

you get to higher speeds, you’ll naturally transition from using full leg motions to using

the at foot technique.

Single Stroke Four

The single stroke four is one of the patterns from the single stroke family of drum rudi-

ments. It’s basically played as a 16th note triplet four-note single stroke roll. This rudi-

ment is used in a lot of drum lls and drum beats that feature double bass.




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Single Stroke Herta’s

A “herta” is a hybrid rudiment that combines 16th notes with 32nd notes played as single

strokes. This is something Sean really likes to add to his double pedal single stroke pat-terns to spice them up a little bit.

Double Pedal Swivel Triplet

The double pedal swivel triplet technique is used to play fast triple strokes by combining

a double pedal with the swivel technique. Here, this technique is broken down for you

with slow motion video.

Gravity BlastThe gravity blast revolves around a great technique for playing a very fast single stroke

roll with only one hand, which is called the one handed roll or the freehand technique.

This technique uses the rim of the snare as a pivoting point for pushing and pulling the

stick against it with an up and down motion of the arm.




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Module

19

Want to buy a new bass drum pedal but you’re uncertain of what’s the best option for

you? Then check the bass drum pedal reviews featured in this module. The videos

were designed to give you some ideas one what to look for when buying a single or

a double bass drum pedal, and on how to test them at your local music store. The

pedals presented here represent various price points and the three most used class-

es of pedals – chain drive, direct drive, and strap drive.

Jared, Sean and Dave are very experienced drummers and are quite knowledgeable

about drum pedals, so the tips you’ll get from them in each lesson are extremely

valuable. After you’ve listened to what they have to say, go to your local music store

and try the pedals you’re interested in. It’s okay if you enjoy something they don’t.

What works for you might not work for them, and vice-versa. It’s important that yourpedals are comfortable for you and that they are well built.

Gibraltar Intruder

Direct Drive Double

Pedal

In this video, Jared, Sean,

and Dave review the Gibraltar

Intruder direct drive double

pedal. They share some tips on

how to go about testing bass

drum pedals in a music store.

The Gibraltar Intruder is one of

the cheapest options available

in the world of direct driven

double pedals.

Module #19 - Pedal ReviewsDVD #11




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Tama Speed Cobra

Single Pedal

In this video, Jared, Sean, and

Dave review the Tama Speed

Cobra double pedal. They take

the time to compare the Tama

Speed Cobra to the Tama Iron

Cobra. The Tama Speed Cobra

is one of the fastest and power-ful double chain driven pedals in

the world today.

Axis Longboard Single Pedal

In this video, Jared, Sean, and Dave review

the Axis Longboard single pedal. They dis-

cuss the things they like the most about it, as

well as the design aws and shortcomings of

the pedal. Axis produces some of the most

expensive and high-tech products in the

world of direct driven pedals.




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Module

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Pearl Eliminator Double Pedal

In this video, Jared, Sean, and Dave re-

view the Pearl Eliminator double double

pedal with the black cams. They discuss the

things they like the most about it, as well asshortcomings of the pedal. They also share

some tips on how to go about testing bass

drum pedals in a music store. The Pearl

Eliminator is one of the most popular double

chain driven double bass pedals around.

Gibraltar 3311 Double Pedal

In this video, Jared, Sean, and Dave re-

view the Gibraltar 311 strap drive double

pedal. This is a cheap entry level pedal

designed for the beginner drummer. If

you’re looking for an inexpensive double

pedal this review will help you decide if

this is a good option for you.

Tama Iron Cobra Double Pedal

In this video, Jared, Sean, and Dave review the Tama

Iron Cobra double pedal. The Tama Iron Cobra is one

of the most popular double bass pedals on the markettoday and has been around for quite some time now.



Mod

19

Copyright © 2011 Railroad

Yamaha Flying Dragons

Double Pedal

In this video, Jared, Sean, and

Dave review the Yamaha Fly-

ing Dragons double chain drive

double pedal. This pedal has been

discontinued by Yamaha and

replaced by a new model. None-

theless, this review will be helpful

if you’re looking on buying a used

version of this pedal.

Stomp Drive Direct Drive Iron Co-

bra Retrot

In this video, Jared Falk reviews the Stomp Drive

Direct Drive Retrot for the Tama Iron Cobra.

Stomp Drive is a company that specializes in

creating direct drive retrots for some of the most

popular chain driven bass drum pedals on the

market. This lets you upgrade your favorite chain

drive pedal to a direct drive pedal, which will cost

you a lot less than buying a direct drive pedal.

Pearl P900 Single Pedal

In this video, Jared, Sean, and Dave review the Pearl

P900 single chain single pedal. This is a cheap entry

level pedal designed for very shallow pockets. If you’re

looking for an inexpensive single pedal this review will

help you decide if this is a good option for you.




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Module

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Playing In Unison

Playing along with other drummers is a great way of having a good time. In this bo-

nus video, Jared, Sean and Dave play a bunch of beats and lls in unison. Much like

a drum line, they play the exact same rhythmic gures at the exact same time.

In this “bonuses” module, we have included some fun and creative behind the

scenes footage. Some of the content includes all three instructors playing in unison,plenty of drum solo footage, how to play the at-foot technique, what triggers are

and how to use them, gear talk, interviews of all the instructors, behind the scenes

footage from the making of BDS, and much more. Nothing got held back, this sec-

tion includes everything that didn’t naturally t somewhere else.

Double Pedal Boot Camp

Sean Lang’s “Double Pedal Boot Camp” is a regiment designed to increase power,

speed, and endurance of your feet. The boot camp includes a total of sixteen exer-

cises. Work through them without stopping, playing sixteen repetitions per exercise.

This is a great system for equalizing your feet, so use it even if you only have a

single bass drum pedal.

Sean plays the entire boot camp at 85 BPM, which takes him around fteen minutes

to complete. If you’re only able to play the fastest exercise at 43 BPM you’ll take

twice as long to go through it. Make sure you have a good idea of how much time of

your practice session this will eat up. This is important because you may not have

the time needed to go through the entire boot camp without stopping. For the boot

camp to work properly, you’ll want to make sure you go through all exercises without

stopping. So plan your practice sessions ahead of time, and if you have to, decrease

the number of repetitions per exercise so that you’re able to play every pattern ev-

eryday.

The hands play a standard 8th note rock hand pattern on the hi-hat and on the snaredrum throughout the whole boot camp. This is nothing fancy and serves the purpose

of having your hands do something simple while you go through different hand pat-

terns. Once you’re able to play these exercises leading with your stronger hand on

the hi-hat, try going through them while leading with your weaker hand. You can also

switch hands while you’re going through the exercises. This will do wonders for your

weaker hand.

Module #20 - BonusesDVD #12




151

Mod

20

Double Pedal Boot Camp

1)

2)

3)

4)

5)

6)

085

085

085

085

085

085






153

Mod

20

13)

14)

15)

16)

085

085

085

085




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Module

20

Double Strokes With One Foot

Throughout the Bass Drum Secrets modules you’ve

been taught various ways of playing fast double

strokes with your feet. Jared uses the heel-toe tech-

nique, Dave uses the slide technique, but what about

Sean? In this lesson, Sean Lang shows you how he

combines the slide technique with the swivel tech-

nique to play fast double strokes with only one foot.

This lesson has a lot of information regarding theway you approach foot technique.

Drum Solo #1

In this video, Dave Atkinson plays a drum solo based around some very cool rhythmicideas performed on the toms. This solo gains intensity by adding more and more bass

drum. This drum solo shows exactly how using the double bass can add a lot to the

overall feel of a drum solo, and really help increase the energy and interest of what

you’re creating. There is a lot of content here to inspire and entertain. You can take

some of Dave’s ideas and apply them to your own solos, or mix and match the patterns

he plays here to come up with new drum lls and drum beats.

Flat Foot Technique

The at foot technique is a hybrid between heel up and heel down techniques. It’s espe -

cially useful for playing fast strokes with your feet. In this lesson, Sean Lang goes overthe at foot technique with an in-depth analysis of its mechanics, and teaches you some

cool ways of practicing it without having to be behind a drum set.

This technique will add a lot to your drumming, whether you play single or double bass

drum pedal. The double pedal boot camp featured in this module is great for you to

practice transitions from normal strokes played at slower speeds, to the at foot tech-

nique when you get to higher tempos.






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Module

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Drum Solo #6

You can think of this drum solo as an evo-

lution of the previous one. Jared built this

solo around a foot ostinato once again.

This time around, he went with a 6 stroke

roll based ostinato played with the heel-

toe technique and broken up between

the hi-hat and the bass drum. His hands

play tribal sounding patterns that are sure

to keep your creative uids going. Give

this drum solo a try – you won’t be disap-

pointed.

Separating the feet between different

sound sources is a great way for spicingup your foot ostinato based drum solos.

Instead of keeping your feet on the same

pedals throughout the entire solo, move

them to other pedals from time to time

while keeping the same rhythmic idea go-

ing. The hand patterns played here sound

very tribal because of the triplet based ideas Jared plays around the drum set, and

because of the timbale-like snare sound he gets from turning the snare wires off.

Drum Solo #5

In this drum solo, Jared Falk introduces a very cool concept used in a lot of modern

drum soloing – ostinatos. An ostinato is a repeated rhythmic idea, which in this case is

represented by alternating 5 stroke rolls played between the feet throughout the solo.

Jared than improvises a lot of groove based ideas with the hands over the ostinato.

Watch this drum solo so you can see how playing rudiments with the feet can be some-

thing really effective.

Drum Solo #7

This last drum solo is based around another foot ostinato. This time around, Jared plays

a 7 stroke roll throughout the entire solo with the heel-toe technique. His hands play

very interesting ideas as well. He starts with some cymbals strokes and moves to tom-

tom based patterns, before going into a groove based section. Here, you’re caught off

guard with a very cool transition that sees a 4/4 groove morph into a 7/8 – very cool.

This is a very diverse and original drum solo that is sure to inspire you. Check it out!




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Drum Battle #3

The last drum battle on the Bass Drum Secrets 2.0 starts out with a very cool break

beat. It doesn’t take long for the double bass galore to take over. Sean kicks this

video into full gear with very fast and precise double bass runs. The heel-toe is felt

heavily in this solo, especially due to the high level of speed Jared is able to inject

to the battle with it. Dave takes care of business with some very punk based snaredrum work and fat broken bass drum runs.

You’ll nd great ideas here that you can use and incorporate into your drum solos,

drum beats and drum lls. The solos in this battle are played on very small drum kits

comprised of a snare drum, bass drum, and hi-hat. This is a great way for making

you work on expanding your rhythmic vocabulary to keep your solos interesting. The

next time you practice soloing use this idea to see what you can come up with.

Drum Battle #2

This next drum battle has a lot of double bass drumming going on. You’ll nd great ideas

here that you can steal and incorporate into your drum solos, drum beats and drum lls.

The solos in this battle are played on very small drum kits comprised of snare drum,

bass drum, and hi-hat. This is a great way of making any drummer work on expanding

their rhythmic vocabulary, due to the reduced number of instruments. Have fun with thisvery cool battle.

Drum Battle #1

In this video, Jared, Sean, and Dave take part in a very cool drum battle. A drum

battle is nothing more than a bunch of drummers having fun while trading solos

between them. The solos in this battle are played on very small drum kits comprisedof snare drum, bass drum, and hi-hat. You’ll nd great ideas here that you can steal

and incorporate into your drumming.




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Module

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Triggers

Triggers are primarily used to monitor the bass

drum on heavy metal music. This is especially

relevant when you’re playing at really fast tem-

pos. The bass drum sound at those types of

speed gets quieter since you have to play veryclose to the drumhead. By triggering the bass

drum you allow the strokes to cut through the

mix. In this video, Sean clears the air about

some of the most common misconceptions

regarding triggers, and shows you the sound dif-

ferences between triggered and acoustic sound-

ing bass drum strokes.

Triggers do not make you go any faster on the

drums; the only thing that can really make you

do that is a lot of practice. Triggers have be-come a staple of heavy metal music by giving

the bass drum a very recognizable punchy and

“clicky” sound. These pieces of hardware can be

used for a lot of other things and can be used

on different drums. You can add sound effects to

your drums, trigger lights, sample, you name it.

Triggers are great tools for adding different nu-

ances and layers to your music, and to your drumming.

Gear Talk

In this video, Sean Lang talks about the gear he used for the recording of the Bass

Drum Secrets 2.0. He discusses some of the aspects he likes the most about it and whyhe chose to use it in the rst place. He also gives some cool gear tips to help you out

when choosing your own.

Sean Lang Interview

In this interview, Sean touches on his drum layout, the type of pedal he prefers and

even gives a tip for drummers struggling with the bass drum. Along with this he also

answers some funny questions and shares some of the bands he has played with in the

past.




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Credits & Outtakes

If you don’t feel like practicing today, or just want to have some fun while not on sitting

behind a drum set than you’ve got to check this video out. Here you’ll nd some very

funny moments caught on tape while Jared, Sean, and Dave were recording the videos

for the Bass Drum Secrets 2.0. You can also watch this video for checking the names of

those who worked really hard to make this product a reality.

Behind The Scenes

If you’ve been working hard on your bass drumtechnique but need to take a little break, then get

your favorite drink, sit back and just relax while

you watch this video. In this behind the scenes

video, you get a chance to watch some very cool

footage lmed throughout the recording process

of the Bass Drum Secrets 2.0. Does Dave mea-

sure 6’1”? Does Jared look like a Sasquatch

when he’s sporting a beard? Guess there’s only

way to nd out.

Jared Falk Full Interview

Throughout the Bass Drum Secrets 2.0, Jared

Falk teaches you a lot of cool pedal techniques,

practice routines and cool concepts that havehelped him shape the drummer he is today, and

that will help shape the drummer you’ll be tomor-

row. In this video interview, you have the chance

to get to know a little bit more about Jared Falk –

not as a teacher or as a drummer, but as person.

Dave Atkinson Interview

Twenty minutes is all you need to learn some interesting things about Dave. He

shares some of the projects he has been working on and some personal goals within

this interview. Near the end of the video Dave gives some tips and tricks on how toachieve fast double pedal singles, and quick double strokes.




160

Track List

The nal section of Bass Drum Secrets contains four MP3 CD’s and six play along

CD’s for practicing. The MP3 CD’s contain hundreds of examples per disc, which

you’ll have to rip to your computer or MP3 player in order to sort through all the

examples. These examples follow along with all the examples shown throughout the

product at variable tempos.

The MP3 CD’s track listing may look confusing at rst, but it’s laid out very simple

so you can nd which example you want to listen to quickly and with ease. From left

to right, the rst number represents the track number, the second is the module the

example is located in, and the last number is the example number.

021-02-beginner-hp2-slow-1Track Module Lesson Title Example




161

CD #1 - MP3

001-02-beginner-hp1-slow-1 038-02-beginner-hp2-fast-9 075-02-beginner-hp4-slow-8002-02-beginner-hp1-fast-1 039-02-beginner-hp2-slow-10 076-02-beginner-hp4-fast-8

003-02-beginner-hp1-slow-2 040-02-beginner-hp2-fast-10 077-02-beginner-hp4-slow-9

004-02-beginner-hp1-fast-2 041-02-beginner-hp3-slow-1 078-02-beginner-hp4-fast-9








012-02-beginner-hp1-fast-6 049-02-beginner-hp3-slow-5 086-02-beginner-hp5-fast-3013-02-beginner-hp1-slow-7 050-02-beginner-hp3-fast-5 087-02-beginner-hp5-slow-4










023-02-beginner-hp2-slow-2 060-02-beginner-hp3-fast-10 097-02-beginner-hp5-slow-9024-02-beginner-hp2-fast-2 061-02-beginner-hp4-slow-1 098-02-beginner-hp5-fast-9

















162

112-02-beginner-hp6-fast-6 155-02-intermediate-hp2-slow-8 198-02-intermediate-hp4-fast-9

113-02-beginner-hp6-slow-7 156-02-intermediate-hp2-fast-8 199-02-intermediate-hp4-slow-10







120--02-beginner-hp6-fast-10 163-02-intermediate-hp3-slow-2 206-02-intermediate-hp5-fast-3

121-02-intermediate-hp1-slow-1 164-02-intermediate-hp3-fast-2 207-02-intermediate-hp5-slow-4

122-02-intermediate-hp1-fast-1 165-02-intermediate-hp3-slow-3 208-02-intermediate-hp5-fast-4




































163

CD #2 - MP3001-02-advanced-hp1-slow-1 046-02-advanced-hp3-fast-3 091-02-advanced-hp5-slow-6

002-02-advanced-hp1-fast-1 047-02-advanced-hp3-slow-4 092-02-advanced-hp5-fast-6

003-02-advanced-hp1-slow-2 048-02-advanced-hp3-fast-4 093-02-advanced-hp5-slow-7



006--02-advanced-hp1-fast-3 051-02-advanced-hp3-slow-6 096-02-advanced-hp5-fast-8

























031-02-advanced-hp2-slow-6 076-02-advanced-hp4-fast-8 121-02-jazz-1

032-02-advanced-hp2-fast-6 077-02-advanced-hp4-slow-9 122-02-jazz-2









041-02-advanced-hp3-slow-1 086-02-advanced-hp5-fast-3 131-04-beginner-beats-slow-1

042-02-advanced-hp3-fast-1 087-02-advanced-hp5-slow-4 132-04-beginner-beats-fast-1


044-02-advanced-hp3-fast-2 089-02-advanced-hp5-slow-5 134-04-beginner-beats-fast-2





164

136-04-beginner-beats-fast-3 173-04-intermediate-beats-slow-7 210-04-advanced-beats-fast-10

137-04-beginner-beats-slow-4 174-04-intermediate-beats-fast-7 211-04-advanced-lls-slow-1

138-04-beginner-beats-fast-4 175-04-intermediate-beats-slow-8 212-04-advanced-lls-fast-1






144-04-beginner-beats-fast-7 181-04-intermediate-lls-slow-1 218-04-advanced-lls-fast-4

145-04-beginner-beats-slow-8 182-04-intermediate-lls-fast-1 219-04-advanced-lls-slow-5

146-04-beginner-beats-fast-8 183-04-intermediate-lls-slow-2 220-04-advanced-lls-fast-5

147-04-beginner-beats-slow-9 184-04-intermediate-lls-fast-2 221-05-developing-the-technique-1

148-04-beginner-beats-fast-9 185-04-intermediate-lls-slow-3 222-05-developing-the-technique-2

149-04-beginner-beats-slow-10 186-04-intermediate-lls-fast-3 223-05-developing-the-technique-3

150-04-beginner-beats-fast-10 187-04-intermediate-lls-slow-4 224-05-developing-the-technique-4

151-04-beginner-lls-slow-1 188-04-intermediate-lls-fast-4 225-05-developing-the-technique-5

152-04-beginner-lls-fast-1 189-04-intermediate-lls-slow-5 226-05-developing-the-left-foot-1

153-04-beginner-lls-slow-2 190-04-intermediate-lls-fast-5 227-05-developing-the-left-foot-2

154-04-beginner-lls-fast-2 191-04-advanced-beats-slow-1 228-05-developing-the-left-foot-3

155-04-beginner-lls-slow-3 192-04-advanced-beats-fast-1 229-05-developing-the-left-foot-4

156-04-beginner-lls-fast-3 193-04-advanced-beats-slow-2 230-05-developing-the-left-foot-5

157-04-beginner-lls-slow-4 194-04-advanced-beats-fast-2 231-05-applying-it-within-a-beat-1

158-04-beginner-lls-fast-4 195-04-advanced-beats-slow-3 232-05-applying-it-within-a-beat-2

159-04-beginner-lls-slow-5 196-04-advanced-beats-fast-3 233-05-applying-it-within-a-beat-3

160-04-beginner-lls-fast-5 197-04-advanced-beats-slow-4 234-05-applying-it-within-a-beat-4

161-04-intermediate-beats-slow-1 198-04-advanced-beats-fast-4 235-05-applying-it-within-a-beat-5

162-04-intermediate-beats-fast-1 199-04-advanced-beats-slow-5 236-05-applying-it-within-a-beat-6

163-04-intermediate-beats-slow-2 200-04-advanced-beats-fast-5 237-05-applying-it-within-a-beat-7

164-04-intermediate-beats-fast-2 201-04-advanced-beats-slow-6 238-05-applying-it-within-a-beat-8

165-04-intermediate-beats-slow-3 202-04-advanced-beats-fast-6 239-05-applying-it-within-a-ll-1

166-04-intermediate-beats-fast-3 203-04-advanced-beats-slow-7 240-05-applying-it-within-a-ll-2










165

CD #3 - MP3

001-06-beginner-beat-1 042-07-the-element-of-groove-2 083-07-foot-assignment-slow-1

002-06-beginner-beat-2 043-07-the-element-of-groove-3 084-07-foot-assignment-fast-1







009-06-beginner-lls-1 050-07-developing-balance-and-control-1 091-07-foot-assignment-slow-5

010-06-beginner-lls-2 051-07-developing-balance-and-control-2 092-07-foot-assignment-fast-5


012-06-beginner-lls-4 053-07-developing-balance-and-control-4 094-07-foot-assignment-fast-6


014-06-intermediate-beat-1 055-07-developing-balance-and-control-6 096-07-foot-assignment-fast-7015-06-intermediate-beat-2 056-07-developing-balance-and-control-7 097-07-single-stroke-beats-1

016-06-intermediate-beat-3 057-07-developing-balance-and-control-8 098-07-single-stroke-beats-2





021-06-intermediate-beat-8 062-07-basic-8th-and-16th-note-patterns-1 103-07-single-stroke-beats-7

022-06-intermediate-lls-1 063-07-basic-8th-and-16th-note-patterns-2 104-07-single-stroke-beats-8




026-06-advanced-beats-1 067-07-basic-8th-and-16th-note-patterns-6 108-07-single-stroke-beats-12



029-06-advanced-beats-4 070-07-bass-drum-triplets-1 111-07-single-stroke-beats-15

030-06-advanced-beats-5 071-07-bass-drum-triplets-2 112-07-single-stroke-beats-16

031-06-advanced-beats-6 072-07-bass-drum-triplets-3 113-07-single-stroke-lls-slow-1

032-06-advanced-beats-7 073-07-bass-drum-triplets-4 114-07-single-stroke-lls-fast-1


034-06-advanced-beats-9 075-07-bass-drum-triplets-6 116-07-single-stroke-lls-fast-2


036-06-advanced-lls-1 077-07-bass-drum-triplets-8 118-07-single-stroke-lls-fast-3

037-06-advanced-lls-2 078-07-bass-drum-triplets-9 119-07-single-stroke-lls-slow-4


039-06-advanced-lls-4 080-07-bass-drum-triplets-11 121-07-single-stroke-lls-slow-5


041-07-the-element-of-groove-1 082-07-bass-drum-triplets-13 123-07-single-stroke-lls-slow-6




166

124-07-single-stroke-lls-fast-6 161-08-double-bass-slide-triplet-2 198-09-basic-16th-note-patterns-slow-2

125-07-single-stroke-lls-slow-7 162-08-double-bass-slide-triplet-3 199-09-basic-16th-note-patterns-fast-2

126-07-single-stroke-lls-fast-7 163-08-double-bass-slide-triplet-4 200-09-basic-16th-note-patterns-slow-3

127-07-note-value-exercises-1 164-08-double-bass-slide-triplet-5 201-09-basic-16th-note-patterns-fast-3

128-07-note-value-exercises-2 165-08-double-bass-slide-triplet-6 202-09-basic-16th-note-patterns-slow-4

129-07-note-value-exercises-3 166-08-double-bass-slide-triplet-7 203-09-basic-16th-note-patterns-fast-4

130-07-note-value-exercises-4 167-08-double-bass-slide-triplet-8 204-09-basic-16th-note-patterns-5

131-07-note-value-exercises-5 168-08-developing-slow-speeds-1 205-09-basic-16th-note-patterns-6



134-07-the-herta-lick-1 171-08-developing-slow-speeds-4 208-09-basic-16th-note-patterns-9

135-07-the-herta-lick-slow-2 172-08-developing-slow-speeds-5 209-09-basic-16th-note-patterns-10

136-07-the-herta-lick-fast-2 173-08-developing-slow-speeds-6 210-09-16th-note-triplets-with-double-strokes-1

137-07-the-herta-lick-slow-3 174-08-developing-slow-speeds-7 211-09-16th-note-triplets-with-double-strokes-2

138-07-the-herta-l ick-fast-3 175-08-developing-speed-with-single-strokes-1 212-09-16th-note-triplets-with-double-strokes-3

139-07-the-herta-l ick-slow-4 176-08-developing-speed-with-single-strokes-2 213-09-16th-note-triplets-with-double-strokes-4

140-07-the-herta-l ick-fast-4 177-08-developing-speed-with-single-strokes-3 214-09-16th-note-triplets-with-double-strokes-5

141-07-the-herta-l ick-slow-5 178-08-developing-speed-with-single-strokes-4 215-09-hertas-with-double-strokes-slow-1

142-07-the-herta-lick-fast-5 179-08-developing-speed-with-single-strokes-5 216-09-hertas-with-double-strokes-fast-1

143-07-the-herta-l ick-slow-6 180-08-developing-speed-with-single-strokes-6 217-09-hertas-with-double-strokes-slow-2

144-07-the-herta-lick-fast-6 181-08-developing-speed-with-single-strokes-7 218-09-hertas-with-double-strokes-fast-2

145-07-the-herta-l ick-slow-7 182-08-developing-hand-and-foot-independence-1 219-09-hertas-with-double-strokes-slow-3

146-07-the-herta-l ick-fast-7 183-08-developing-hand-and-foot-independence-2 220-09-hertas-with-double-strokes-fast-3

147-08-double-bass-warm-ups-1 184-08-developing-hand-and-foot-independence-3 221-09-hertas-with-double-strokes-slow-4

148-08-double-bass-warm-ups-2 185-08-developing-hand-and-foot-independence-4 222-09-hertas-with-double-strokes-fast-4


150-08-double-bass-warm-ups-4 187-08-developing-hand-and-foot-independence-6 224-09-hertas-with-double-strokes-fast-5


152-08-developing-the-weaker-foot-1 189-08-developing-hand-and-foot-independence-8 226-09-hertas-with-double-strokes-fast-6

153-08-developing-the-weaker-foot-2 190-08-ending-with-odd-numbers-1 227-09-hertas-with-double-strokes-slow-7

154-08-developing-the-weaker-foot-3 191-08-ending-with-odd-numbers-2 228-09-hertas-with-double-strokes-fast-7





159-08-developing-the-weaker-foot-8 196-09-basic-16th-note-patterns-slow-1 233-09-hertas-with-double-strokes-slow-10

160-08-double-bass-slide-triplet-1 197-09-basic-16th-note-patterns-fast-1 234-09-hertas-with-double-strokes-fast-10




167

CD #4 - MP3

001-10-beginner-beats-slow-1 044-10-advanced-beats-fast-1 087-11-intermediate-beats-3

002-10-beginner-beats-fast-1 045-10-advanced-beats-slow-2 088-11-intermediate-beats-4







009-10-beginner-beats-slow-5 052-10-advanced-beats-fast-5 095-11-intermediate-lls-1

010-10-beginner-beats-fast-5 053-10-advanced-beats-slow-6 096-11-intermediate-lls-2









019-10-beginner-beats-slow-10 062-10-advanced-beats-fast-10 105-11-advanced-beats-1

020-10-beginner-beats-fast-10 063-10-advanced-beats-slow-11 106-11-advanced-beats-2

021-10-beginner-beats-slow-11 064-10-advanced-beats-fast-11 107-11-advanced-beats-3

022-10-beginner-beats-fast-11 065-11-beginner-beats-1 108-11-advanced-beats-4

023-10-intermediate-beats-slow-1 066-11-beginner-beats-2 109-11-advanced-beats-5

024-10-intermediate-beats-fast-1 067-11-beginner-beats-3 110-11-advanced-beats-6





029-10-intermediate-beats-slow-4 072-11-beginner-beats-8 115-11-advanced-lls-1

030-10-intermediate-beats-fast-4 073-11-beginner-beats-9 116-11-advanced-lls-2

031-10-intermediate-beats-slow-5 074-11-beginner-beats-10 117-11-advanced-lls-3

032-10-intermediate-beats-fast-5 075-11-beginner-lls-1 118-11-advanced-lls-4

033-10-intermediate-beats-slow-6 076-11-beginner-lls-2 119-11-advanced-lls-5







040-10-intermediate-beats-fast-9 083-11-beginner-lls-9 126-12-skank-blast-slow-1

041-10-intermediate-beats-slow-10 084-11-beginner-lls-10 127-12-skank-blast-fast-1

042-10-intermediate-beats-fast-10 085-11-intermediate-beats-1 128-12-skank-blast-slow-2

043-10-advanced-beats-slow-1 086-11-intermediate-beats-2 129-12-skank-blast-fast-2




168

130-12-skank-blast-slow-3 166-13-5-stroke-rolls-slow-1 202-13-7-stroke-rolls-slow-3

131-12-skank-blast-fast-3 167-13-5-stroke-rolls-fast-1 203-13-7-stroke-rolls-fast-3







138-12-hammer-blast-slow-1 174-13-5-stroke-rolls-slow-5 210-13-7-stroke-rolls-slow-7

139-12-hammer-blast-fast-1 175-13-5-stroke-rolls-fast-5 211-13-7-stroke-rolls-fast-7











150-12-bomb-blast-slow-1 186-13-6-stroke-rolls-slow-3 222-13-9-stroke-rolls-slow-5

151-12-bomb-blast-fast-1 187-13-6-stroke-rolls-fast-3 223-13-9-stroke-rolls-fast-5





156-12-gravity-blast-1 192-13-6-stroke-rolls-slow-6 228-13-11-stroke-rolls-slow-1

157-12-gravity-blast-2 193-13-6-stroke-rolls-fast-6 229-13-11-stroke-rolls-fast-1

158-12-traditional-blast-slow-1 194-13-6-stroke-rolls-slow-7 230-13-11-stroke-rolls-slow-2

159-12-traditional-blast-fast-1 195-13-6-stroke-rolls-fast-7 231-13-11-stroke-rolls-fast-2

160-12-traditional-blast-slow-2 196-13-6-stroke-rolls-slow-8 232-13-11-stroke-rolls-slow-3

161-12-traditional-blast-fast-2 197-13-6-stroke-rolls-fast-8 233-13-11-stroke-rolls-fast-3

162-12-hybrid-hammer-blast-slow-1 198-13-7-stroke-rolls-slow-1 234-13-11-stroke-rolls-slow-4

163-12-hybrid-hammer-blast-fast-1 199-13-7-stroke-rolls-fast-1 235-13-11-stroke-rolls-fast-4

164-12-hybrid-hammer-blast-slow-2 200-13-7-stroke-rolls-slow-2 236-13-11-stroke-rolls-slow-5

165-12-hybrid-hammer-blast-fast-2 201-13-7-stroke-rolls-fast-2 237-13-11-stroke-rolls-fast-5







Credits and Special Thanks

Shot at Railroad Media in Abbotsford, B.C. Canada

Featuring: Jared Falk, Sean Lang, Dave Atkinson

Executive Producers & Directors: Jared Falk, Rick Kettner

Executive Post Editor: Jamie Falk

Chief Audio Engineer: Victor Guidera

Audio Mastering: Victor Guidera

Graphic and Production Design: Jamie Falk

Photography: Jayme Lang

B k D i d Editi J i F lk J d H l

Date post:	02-Jun-2018
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