#it's cool though it's all groove and fine but i would rather invest this time in synthia synthia but it's cool and whatev

[leftoversludge]

argggghhhhhhhuuuhhhhhhhggghhhh

[mrzdankworth]

Making Magick - Chapter Four

Dean looks out of place in the attic, all shiny and new among the old musty clutter, but where else can bright, loud magick be done? Camilla has placed him in a chair in the center of the room, facing the Soricelle Grimoire. There is no need to tie the boy down, for he’s too dazed to move at this point. 

The first spell they cast was a simple Reversal, so that whatever enchantments or protections he might be under (besides the binding of the property, of course) might simply fall off. But that didn’t work. Then they tried a Mental Clarity Potion along with the Truth of Tongue Draught. But it appeared whoever’d worked their magic on him before Rose was a powerful and secretive caster. Dean didn’t even know he was meant to retrieve information about the Soricelles.

“It could be a love potion…” Camilla taps her chin. “Let’s try a freedom spell to break whatever unauthentic bonds exist.”

“We’ve tried so much,” Rose sighs.

“Are you tired, Rose? Would you like to take a break?” Dean asks, suddenly invested once more.

“No, Dean, I’m fine,” she snaps. 

The only words he’d said, between asking whether the room was spinning for anyone else, had been regarding Rose’s happiness and comfort. Never before had a sexual encounter cast this type of attachment, though she’d mainly kept her experiences to one night stands so as not to complicate friendships at college. 

Esme interjects, also tired from practicing careful magick for hours on end. “Why don’t we let him rest? We can do the Breaking Bond Spell tomorrow, or just stew up an elixir overnight. That might be easier on his body. I mean, he still seems human and looks very much alive.”

“Knock knock,” Iris says, entering the attic. “Your grandmother has absolutely no plan of action. She figures if he means enough to someone, they’ll retrieve him, and she can confront them then. Otherwise, if they send more people to watch us, she’ll have a whole staff for free.” Iris shakes her head, exasperated. 

The girls fill Iris in on their findings, or rather, their non-findings, tacking on the bit about Rose bedding the young man at the last. 

“Always the last to know,” Iris sighs. “Well, I think you’re right in wanting to resume tomorrow. Mortals can only take so much. Girls, can I trust you to return him to the guesthouse unscathed?”

Rose rolls her eyes only when her mother has turned her back.

“I saw that,” Iris sings as she exits the attic. 

Esme offers to take Dean to the guesthouse, though he doesn’t want to leave Rose.

“I have to go to work,” Rose mutters, eager to get away. 

Rose is telling the truth. She has a shift at the restaurant to get to. And Esme is telling the truth, or most of it. She does want to stop practicing magic on the human man. She doesn't, however, want to let him rest. 

Once in the guesthouse Esme begins making him some rejuvenating tea with full moon water. As he sips it he asks her how she thinks Rose’s shift is going. Did she always want to be a waitress? He bets she’s so good at it. He wishes they’d gotten to work together longer at the restaurant. 

“Okay, Romeo, calm down,” Esme mutters. “You know,” she begins. “Rose did mention she’s going to have a hard time focusing today…”

“Why is that?”

Esme bites her lip, well aware she should not be doing this. 

“Well, apparently, a girl stole something from Rose. She needs it back.”

“What is it? What girl?” Dean is perched on the edge of his seat.

She’s placed him at the farmhouse table while she shuffles about the tiny kitchen. This used to be the landscapers cottage but Iris and Camilla turned it into a guesthouse despite the enormity of the main house. They’d kept it in as good a shape as any BnB in New England, had hosted many the wayward soul and lost magickal creature over the years. Now they were keeping a hostage.

“I think she said it’s an amulet?” Esme mutters, her eyebrows cinched in focus. 

“I must return it to Rose!” Dean shouts, standing so abruptly his chair topples over. He places a hand to his temple and shakes his head, righting the chair to return to it.

Esme rolls her eyes before continuing the facade. “Oh… You couldn’t.” She sits the tea before him then lowers herself into the nearest chair.

“See, the girl goes to school with me. And I sensed it in her locker. But everyone is gone for the summer now…”

“I’m sure I could get into the school. Maybe tonight? After dark? If you tell me the locker number I will return Rose’s amulet to her!”

“Well, that’s another thing. She’d be so upset if she knew I put you in harm’s way…” Esme focuses on the mortal, her eyes squinting slightly as she watches a tendril of delicate light twist and sway towards his temple. It had, of course, come from her own.

“Hey!” He realized. “Why don’t we just put it under her bed or something? Make it seem like she just lost it? She wouldn’t have to know either of us were involved. We never have to mention it!”

Esme nods, smiling. “That might work.”

Dean has just as much energy after dark when Esme returns to the guesthouse. He’s wearing jeans and a black hoodie, and a vacant expression. She walks him back by the house to Rose’s jeep, loads him into the passenger side, and listens to his endless swooning over Rose.

Doubt and guilt crawl around inside of her stomach, but they're nothing compared to the feeling of revenge and closure that will come when she finally holds that amulet in her hand once more. Besides, if Rose can fuck the gardener, then ask for help putting his dead body in the lake, Esme can take back a necklace that actually belongs to her. Yes, she tells herself, it’s no comparison. 

The cool sea breeze calms Esme as she drives through the quaint little town of Crescent Hollow. The school parking lot has just one flickering light, but she pulls instead onto a side street, where the houses hang flags to support the football team. When she parks, she gives Dean a few instructions, then sends him off, watching as he flips up his hood like turning the first page of a book, and slips into the darkness. 

Dean crosses the field like a stray cat, heading towards the cafeteria doors. Esme stares hard at those doors, which open for him easily. Esme shuts her eyes. If the door between the cafeteria and the hallways was previously secured, she’s confident it is now ajar. She can almost feel him slipping through the opening… counting the lockers… She can practically hear his footsteps echoing, feel his chin on his own chest in the way she suggested he keep his head down…

The clicking of Aimee’s locker opening for Dean causes Esme’s eyes to flick open. He can grab the amulet now. He can get out. But does the locker still smell like apple blossoms and strawberry chapstick?

A breeze sweeps through the car, brushing Esme’s short brown hair against her cheek. She startles, turning to face the dark slit between two houses, where she could swear she smells something familiar and rank. It is the scent of decay and mildew, like a basement. And something else… spices of some sort? Yes. There is definitely something between those houses… watching her - the tall figure of a man.

Esme places her fingers on the door handle but before she can get out and investigate the person Dean startles her by opening his own door. 

“I got it,” he drops the cool gold object into her palm. 

“Yes!” She holds the amulet to her heart. 

“It’s just a locket?”

“No, it isn’t just a locket.” She smiles to herself and puts it on. “I’ll put it somewhere Rose will find it,” she lies.

“You’re a good cousin,” Dean smiles.

Esme isn’t so sure about that.

Before they leave she examines the place between the houses once more, but the smell is gone, and the darkness emptied.

That night, after Esme deposits Dean in the guesthouse she tucks herself into bed and falls asleep solidly, happy to be reunited with her keepsake. The moon shines bright despite being just a fingernail. It kisses the waves and dances through the windowpanes of The Soricelle House. It tries to wake Esme, blinking through the swaying treetops, flashing wildly on her papered walls. It tries to show her the black and purple ribbons of glittery dust which escape the amulet. But Esme does not stir. The black and purple particles inhabit her room, watching her sleep, slipping under the door to watch the other Soricelle Women. Each leaf they curl around in the sunroom immediately shrivels and falls to the floor. 

It isn’t until the chain of the amulet has begun to tighten around Esme’s neck that her dreams thicken in her head, pooling where they should flow steadily. The chain is cutting into her neck by the time her eyes pop open. She sits straight up, coughing and sputtering, ripping the chain off of her and throwing the amulet to the floor. She can feel the deep, red groove in her skin.

Her first thought is that this is not her amulet; it has been replaced. Her second thought is that this is definitely her amulet, but it carries with it a dark magick she did not cast or invite. 

“Bitch,” she spits, staring at the necklace on the floor which appears so harmless now. “You think you can curse a Soricelle Woman?”

She crawls to the amulet. It sits in her palm as heavy as the answer to a question. She uses her short plain nails to pry the locket open, and as she’s expected, the pictures of her parents are gone. They’ve been replaced with some ground up black and purple powder that falls onto the hardwood. She uses magick to lift every particle into a spare glass bottle on her desk and seals the amulet in another. Then she curls up and tries once more to fall alseep, wondering where that pictures had gone, and why Aimee would hate her so much that she would take that one precious thing away and replace it with black magick. What had she done to the rotten girl besides love her? 

Rose mentions the feeling a storm is coming to Rhonda when she arrives for her double shift that Wednesday afternoon. Rhonda is already busy bossing everyone around, but takes a moment to listen to her employee, who has predicted these things before.

“From where I stand the tourists are already flowing in,” Rhonda tells Rose. “I don’t know if I can close the outdoor dining till we’re sure. But… tell me when you… know more.” Rhonda has been a friend to Rose and the other Soricelle Women for long enough to trust the way they just know when it will rain, or when the phone will ring, or whether a person might turn on you suddenly.

The sky remains clear and blue through Rose’s lunch shift and the beginning of her dinner shift. She takes a moment to herself, stepping outside before the rush. How could her mother think of opening the shop while they harbor a spy in their guesthouse? She can’t take her mind off Dean, who is doing someone else’s bidding, and perhaps only bedded her for that reason.

“You look deep in thought,” Jason says, taking a long drink from his water bottle and hanging his apron over the railing.

“Do I?”

“Is it about the cop that’s here to see you?”

“What?” She turns abruptly, her hair whipping around in the warm wind.

There is Officer Alex Lopez, sitting at one of the outdoor tables, his sunglasses hiding his gaze.

She wrings her apron in her hands as she enters the little gate to the dining area. She nears him, readying herself to pull him away from the restaurant to practice magick more safely.

“Officer Lopez?” she greets him. “How can I help you?”

“There was a break in - Oh, would you sit?”

She sits across from him, her heart aflutter. 

“There was a break in at your old high school last night.”

“I’m sorry to hear that. But I’m in college now… Why are you telling me?”

“Because a neighbor spotted a black jeep parked outside her house around that same time… she said a person was in the driver seat and a person was in the passenger seat. The passenger got out of the car and we believe he took something from the school. He wore a black hooded sweatshirt but we have some footage that looks an awful lot like Dean Row.”

“Lots of people look like Dean Row. And lots of people have black jeeps.” Rose stares into her own reflection in The Officer’s glasses, noticing how worried she looks.

“I got to speak to your mother the other day but I didn’t really get to speak to you much… you don’t have anything else to tell me?”

“No. I don’t.”

Officer Lopez smacks his steering wheel when he returns to his car. Why can’t he force himself to return to The Soricelle House? Why can’t he seem to properly interrogate these women? His mind just turns to mush! It doesn’t help that the paperwork is mysteriously being shredded at the office, or crumpled up and tossed into other people’s trash cans. Good thing his superiors have very little resolve to hunt down Row or else his ass would be on the line. He just can’t shake the feeling Iris Soricelle did something to him, besides the obvious… He still can’t think clearly when it comes to these damned women and their house full of secrets. But something inside him just knows Dean is there - he just knows it!

A fat drop of rain falls onto Officer Lopez’s windshield. He looks past it to see Rose staring at him from the dining room. Another drop. And another. The sky opens up and it begins to pour. He can hardly see to exit the parking lot. 

He drives by the B&B on his way home. There is a light on in Room #33, yet he can’t quite remember why he’s been watching Room #33 in the first place. Something to do with that missing Row boy. Something to do with the lady who saw Rose’s jeep outside of the school. Something to do with the Soricelles? 

A dark figure comes to the window and peeks out, moving the curtains aside. There are broad shoulders, and a lanky quality to the shadowy shape. 

Lopez’s foot lifts from the break pedal. He finds himself heading home before he’s even decided to do so.

Esme is unpacking boxes and lining the products up on the shelves of the little storefront when the rain comes. It darkens the shop and the whole street outside, turning dusk to midnight. She watches it for awhile, thinking about the locket on her desk. 

“I knew I smelled rain,” Camilla says, watching the water streak down the glass.

Gwen sits on the front porch of The Soricelle House watching the storm pelt the roses, loosening petals until they fall, beaten, to the dirt which is quickly turning to mud. A car has clambered up the drive. She watches a young woman with cropped black hair step out of the drivers seat, then dive into the back to extract a little girl. Besides the child having bare arms she closely resembles the young woman, who is covered in tattoos. The mother runs towards the porch, noticing Gwen only when she’s climbed the few steps and sought the shelter of the roof.

Gwen smiles at her youngest daughter, who smiles back.

“Welcome home, Honey.”

“Thank you, mom.”

The two women embrace in a hug which seems to dry the daughters instantly.

The little girl shivers. 

“Bath time, I think,” Gwen offers, kissing her granddaughter on the forehead. “You girls go on ahead up. Use my tub. You know it’s the best in the house.” 

“You aren’t coming in, mom?”

“I’m waiting for someone.”

Gwen wraps herself tightly in her afghan and watches the roses and the angsty sky and the sea beyond, and then another car arrives. The rain has slowed a little - just enough so that The Reverend can use a small black umbrella and arrive to the porch steps relatively dry. Gwen would offer to peel the raindrops off him, but she knows he wouldn’t stand for even a sparkle of magick for his personal gain. He shakes off his umbrella and nods to Gwen. She doesn’t attempt to invite him in, nor does he attempt to explain why he cannot accept an invitation. They just sit together in the rocking chairs as they have done so many times before. A steaming cup of tea miraculously waits for him beside the woman, but he doesn’t ask where it came from.

“Always so hospitable,” he smiles, good-naturedly. “It is almost as if you knew I was coming before I’d even decided to start my car.”

“I am just an old woman.”

“And I am just an old man. Gwendolyn, I’m here because there’s something amiss. And I’ve made the mistake of investigating odd occurrences without asking you ladies, before. A waste of time, in my opinion.”

“True enough,” Gwen smiles, knowingly. “What is amiss, Johnathan?”

“I am a man of good and evil, as you well know.”

She did know.

“And there’s something in our town at the moment that is… not good. There is a surveillance of sorts I’ve noticed. Are you girls inviting something here? Enticing something?” 

“I don’t care for that implication,” Gwen says, passively. “It takes light to cast shadows.”

“You know nothing of these shadows?” The Reverend probes.

“I sense them,” she nods. “I sense this surveillance of which you speak. I do not know who watches, but I know of the watching.”

“Will you promise to call upon me if you should need my kind of assistance? Or when you discover the dark force that has entered Crescent Hollow?”

“I promise,” Gwen smiles. “You’ll do the same?”

“I promise.”

The two people smile at each other in a meaningful way, but The Reverend does not finish his tea before he goes. He knows she’ll only try to read the leaves. 

Rose fills Esme in on what Lopez said, then prompts her. “Would you know anything about that?” Her stare bears into her cousin. Of course, she knows Esme did this. After all, she hasn’t forgotten the sigil work she attempted to help her with.

Selene and Sasha have arrived during a chaotic time, but Sasha is simply snacking at the breakfast bar, while the whole family gathers in the kitchen. 

“I needed that amulet back and - ”

“The locket?” Iris realizes, eyeing her niece’s empty neck. “But no one can take that from you. It’s been blessed to protect you.”

“Well, she didn’t exactly take it - ”

“She?”

“You gave your amulet away?” Camilla exclaims. “That’s unheard of! You know you shouldn’t do that, Esme!”

“What were you thinking?”

“You used Dean to get it back?”

“I’m sorry, I’m sorry!” Esme covers her face and shakes her head. “I didn’t mean for anyone to find out. I didn’t mean for anyone to get hurt.”

Everyone falls silent. The only sound to be heard is Sasha munching loudly on the snacks. She gazes up at her cousins and aunts and grandmother not quite sure what’s happening. 

“I gave it to Aimee and she wouldn’t give it back. And now there’s something wrong with it. I think it’s cursed.”

“Aimee Aldridge?” Rose inquires. “She’s not magickal. So she hired someone to curse your amulet? Why, and who? We’re the only magickal beings in Crescent Hollow, or for miles around.”

“Not anymore,” Gwen says. “Reverend McKinnon came by. He’s felt it too… a watching. A presence. We aren’t alone here anymore, and someone knows a hell of a lot more about us than we know about them.”

Everyone falls silent.

“Go get the amulet, Esme,” Camilla demands. “Perhaps we have a way of tracing it back to whomever, or whatever, would be dumb enough to attempt to harm a Soricelle Woman.”

[sarsaparillaswords]

Winter Soldier Arm Made From Paper

I did a Bucharest Bucky cosplay last Halloween and I’m pretty proud of it. Here’s a close-up:

People have been asking me how I made it and it’s much easier to explain with pictures so I promised them a long tumblr how-to and here it finally is. This is just a forearm, meant to be worn with a henley to cover the upper arm and a glove over the hand. If you want to do a full arm and shoulder then I won’t be able to help you. I mentioned to my husband that I was considering making a full arm for next year and he gave me a look of panic, which is kind of funny because I was the one with glue all over my fingers. The house didn’t even get that messy but whatever. Husbands are still worth it and so is this arm. Here’s another close-up to show off my fake muscles:

Why paper? When I first decided I wanted to do a Bucky costume, I looked at some other examples online. By far the most popular method was thin craft foam manipulated with a heat gun, but the noise and smell would probably have disturbed my child, and I didn’t want to invest in a piece of hardware that would be used once and then contribute to my household clutter forevermore. Finally, although supposedly craft-foam technique is not that difficult, I found it a little bit intimidating whereas I built this forearm with a technique from kindergarten, when we all made papier-mâché* balls by pasting newspaper strips onto balloons. 

* I went to the trouble of googling the spelling for papier-mâché and it’s full of accent marks, so I’m going to cut-and-paste it into this whole post, even though it makes me look like a huge nerd. Which I am.

To make this fine, if somewhat time-consuming, specimen of cosplay craftsmanship, you will need a bunch of trash you already have and a couple inexpensive things:

1) some newspaper (a couple issues of one of those free monthly papers is probably enough, since nobody except my in-laws subscribes to the paper anymore)

2) some lightweight material for padding (more newspaper or old plastic bags)

3) an old pair of pantyhose, old t-shirt, or stretchy scrap fabric

4) tape (I used masking tape but duct tape would probably be better)

5) plastic wrap

6) a small (8 oz) jar of mod-podge ($4-$7, matte, satin, or gloss is fine)

7) a small (3 oz) can of chrome paint ($3-$6)

8) a short length of elastic or very stretchy fabric and some thread (~$2)

9) a small, cheap paintbrush. The cheapest you can find (<$1)

The complete how-I-made-it story is below the cut, plus more terrible cell phone photos and unnecessary brilliant commentary.

I spent about a month planning this thing and only 4 days making it. The whole time, I was screaming internally because although I had the whole thing planned out, I didn’t actually know for sure if it would work until I did it. But it did. Here’s how:

Step 1: make an arm-shaped form to build the papier-mâché over.

Back in my misspent youth, I successfully drafted a homemade dress pattern by having a friend duct-tape me into a T-shirt. This works on the same principle. You need some kind of flexible stuff (stretchy fabric is best) to make the base layer and keep the tape from sticking to you. I cut a leg off an old pair of panty hose and slid it over my arm. Honestly a plastic bag would have probably worked just as well. A piece of thin knit fabric (like a piece cut from an old T-shirt) would be even better. Just make sure you don’t have any exposed skin where the tape will go. Then wrap tape around your arm until the whole thing is covered in a shell like this:

You may notice that I used masking tape. I had this idea that I could capture some muscle definition by using a thinner, narrower tape. This was a mistake. Even while flexing to get the most out of my wimpy muscles, it didn’t really work. Also the panty hose wanted to contract and the tape wasn’t sturdy enough to counter that until I put a whole bunch of layers on. So save yourself a headache and use duct tape (tried and true). Your arm is widest while bent, so do most of the work in that position, but straighten it and move it around a bit to be sure that you will have room to move your arm when the thing is done.

Cut a slit in your crazy tape-sleeve to get it off and tape it back together, then stuff it with old plastic bags or newspaper so it will hold its shape. 

(At this point in my project, I looked at my sad  tape arm and decided by golly, it would have muscles if I had to make them up. So I taped two long pieces of crumpled newspaper where the most prominent muscles of the outer forearm would be. I don’t have a photo of this step, but I do have a nice forearm drawing tuturial and a muscle diagram in my art advice tag. Maybe those will help. Or you could be smart, unlike me, and skip the muscles.)

Step 2: use your arm form as a base to build a layer of papier-mâché

I covered the base with plastic wrap to make sure that my papier-mâché wouldn’t stick to it. Then I used Mod-Podge to paste overlapping newspaper strips over that base. If you aren’t familiar with Mod-Podge, it looks and smells just like white glue. There are probably a lot of different kinds of paste that would work here, but Mod-Podge is inexpensive and readily available. (Also, the hippy aesthetic really goes with my hairstyle.) I quickly discovered that it worked best if I applied the glue to the arm itself with a brush, then laid the newspaper strip over it and smoothed it down with my fingers. It took me a few tries to figure out the best way to lay the strips. As a result, that all-important valley between the “muscles” got papered over and I had to resort to cutting a slit in the paper and pushing it in a bit. It worked--just barely--but it was a real headache. 

Look! Muscles!

So what is the best way to lay the strips? Definitely not like the picture above! In my opinion, a diagonal spiral around the arm works best, allowing you to lay the strip evenly and also keep track of how much you’ve covered in that layer, like this: 

Start your strip near the wrist and let it lay the way it wants to go to stay smooth. This might result in a small gap or overlap with the strip next to it--don’t try to force them to line up exactly.��

Let dry 30 minutes between layers. I did about 3 layers, or roughly the thickness of a sheet of notepaper. I figured that my arm would provide a lot of structure, and I wanted to be sure I could cut it with ordinary scissors later!

Step 3: repeat the process to build a second papier-mâché layer

Once I figured it was thick enough, I let it dry overnight, then wrapped it in another layer of plastic wrap (IMPORTANT!) and started pasting again. About 5 layers this time, or about the thickness of a notecard. I wanted this layer to be very smooth. If I’d had the time, I might have tried to do a “build-up finish” as described on the Mod-Podge jar, but it was only 2 days before Halloween so I just didn’t have time. Instead, I made sure that all my paper strips were torn rather than cut, which made a much less visible edge. Also I finally figured out the diagonal thing. 

Then I coated it in a thick layer of Mod-Podge and let it dry for an hour or so.

Step 4: Draw lines for Winter Soldier Arm plates

The reference images I had were...not great...so eventually I had to shrug and make up something that made sense to me, for a very loose definition of “make sense.”

Was Zola high when he designed this?

You can kind of see the diagonal paper strips under the lines here.

I did this with different colored Sharpie pens. The purple lines are for cutting. Some of the red lines are guide lines, some are where the thinner grooves in the plates go.

I had planned to make those grooves by pressing hard with an old ball-point pen. However, I found it hard to get a good grip on this rounded thing so the line came out shakier than I liked. I panicked and decided not to do the rest, hoping no one would notice, which was a shame because the groove actually looked awesome once the paint was on. 

Step 5: Cut up the outer shell

Let me pause here for a moment.

If you are reading this, then you may be thinking “this sounds like a lot of work!” Which it was! But the worst part was I didn’t know if it was even going to work at all. I didn’t have those completed photos to reassure me. I had a backup plan which was “wrap aluminum foil around my arm and call it good enough” As I built up the structure, it was starting to look like the principle was sound, but I had a lot of work ahead of me and I could still screw it up.

It was late at night on October 29th and I had to make a cut. After that, there would be no going back.

I needed to cut the tube open so that I could get my hand through it. My plan was to cut just to the right of the row of narrow plates on the inner arm. So I did.

The cut itself was fine! I pulled out the stuffing and nothing exploded or stuck to itself. The problem was that it was way too big, probably because of that muscle padding I added way back in step 1. Near my elbow especially, it was maybe an inch too wide. This might not seem like a lot, but when you are trying to hide the edge under a pushed-back henley cuff, it’s frigging huge. 

Step 5a: PANIC

After I was done panicking, I had a pretty cool idea so I ended up doing this:

It’s weird now that I’m thinking about it, but I had no difficulty closing up that gap. Maybe I squeezed it a bit to train it but nothing fancy. It really wanted to curl up on itself already.

Step 5b: Cut up outer layer

This is a little tricky because I had to cut just to one side of the thick sharpie line, then just to the other side, which in practice means cutting a thin strip off the edge of every piece, to make the little gaps between the plates that give the arm its characteristic look.

I used ordinary scissors from an office supply store for most of this, new-ish but nothing fancy. For some of the fine details I turned to a pair of embroidery scissors that I had lying around and wasn’t too attached to (because this kind of thing is bad for embroidery scissors) Imagine my feeling of inverse accomplishment at achieving this:

Like a beautiful flower made of cosplay despair.

While I was doing that I was also waiting for the paint on the under-layer to dry as described in...

Step 6: Prep the under-layer

I needed some elastic to hold the join snug closed over my arm, but I had a bit of metallic stretch velour fabric left over from my kid’s R2-D2 costume, which I had saved every scrap from because it was so expensive. I figured it was stretchy enough to use in place of elastic so I did some estimating and hand-sewed in a panel and...I’m not going to go into depth here. It worked fine but honestly it was so not worth it. In the end, that overlap from step 5a hid most of the join, so I could have just stapled in some elastic and a little flap of cheap silver lamé or something. Then I painted it. I had to mask it so the fabric wouldn’t get paint on it which goes to show how poorly I was thinking things through by this point because it would have been so much easier to paint it first and then add the elastic/stretch fabric/whatever.

The paint I used was Testors 1290 Chrome Spray Enamel from a local store that specialized in model train supplies. I ran down there the morning of October 30, because of course I was doing everything last minute and panicked as is my way. Nor had I taken the time to check any reviews of paint brands. So it was that I found myself standing in the store holding a can of 1290 Chrome in one hand and a of 1246 Metallic Silver in the other. “Chrome.” I murmured to myself. “Metallic Silver. Chrome. Metallic Silver.” I eventually bought the Chrome paint because it “sounded shinier” and because I could use it to make Mad Max jokes.

WITNESS ME!

Chrome was probably the right choice, as this review demonstrates, but on the other hand I might have gotten an even better finish with a different brand, but maybe not in that convenient 3-oz size.

Remember how one of the reasons I chose papier-mâché over heat-treated craft foam was to avoid bad smells? Well, this stuff reeks like you wouldn’t believe. And, forgive me for being such a hippy, but this kind of paint is very high in harmful VOCs, so if you want to use this stuff, if at all possible, do your painting outdoors to minimize health risks. It’s not like you’ll die from painting one arm, but the more often you use this stuff, the more careful you should be.

Getting back to my Epic Forearm Story, I was concerned that some of the paint would have difficulty reaching the under-layer through the gaps between the plates so I gave the under-layer a single coat of paint to avoid any weird paint shadows. It was good practice getting a smooth coat and I was feeling pretty confident about my painting skill. Too confident.

Step 7: Glue cut-up pieces of outer layer onto under-layer

At this point, it was starting to look like my mad project would work, but only if I could finish it on time. This wasn’t reducing my stress levels any, because now I had sunk hours into this project and I had something to lose. I was also concerned that the mod-podge might have difficulty sticking to the chrome paint finish. I lined up the first piece and patiently held it in place until it had dried enough to hold its position after I put it down. Then I waited another half hour or so for it to cure. The resulting join was quite strong, but it was taking flipping forever.

Then I remembered that I didn’t hate life or myself and also that I owned a bottle of super glue. The rest of the pieces went on lickety-split.

(Super glue is not durable enough for extended wear, so if you want to wear this for more than a single Halloween, use the mod-podge)

At this point I had meant to apply another thick coat of mod-podge to seal the edges and make the foundation as smooth as possible but I completely forgot, and maybe just as well because I was rapidly running out of time. Instead I went on to...

Step 8: Apply Chrome Paint finish

The first coat went on beautifully. I was really getting the hang of this, I thought. I put the last coat on just before bed, but this one spot needed a touch more paint, I hesitated just moment too long and...bam. Saggy, bubbly finish. It was so bad it looked like it might actually start to drip, so I grabbed a piece of newspaper and kind of wiped/scraped off some of the excess paint were it was collecting at the points, hoping all the while that I wasn’t marring the finish even further. I was practically in tears but even if I’d had the time, it’s not like I was going to start over so I went to bed and hoped for the best.

In the morning it didn’t look so bad, but I was worried about the edge digging into my arm so I tried to put a strip of that silver fabric over the edge to cushion it a bit, except that fabric is really hard to glue and it only just barely dried enough to wear in time for the trick-or-treating event that afternoon.

Step 9: Wear to widespread acclaim

Or not. Most people didn’t notice that I was wearing a costume at all, which is what happens when you are out on a busy sidewalk with an adorable 3-year-old child. Or people noticed, but didn’t remember Bucky well enough to recognize it. I got a complement on my “nice bracelet” so I guess the metal effect wasn’t too bad. But then I insisted on going to my Friendly Local Comic Book Store to enter the costume contest, and even though it was out of our way and I didn’t win, it was worth it to see the look on the face of the woman working there, just one look of admiration from a fellow nerd and I was over the moon. Hours of work, justified.

In conclusion, this construction method looks great but is somewhat uncomfortable to wear. It would have been better if I had lined it with felt or something. Also this was probably way more difficult than craft foam in the long run. Still, it is very light-weight, relatively cheap to make and allows for muscle contours if you are into that kind of thing. It might have been the best Bucky forearm ever but I flubbed the finish. If anybody decides to make one like it, please show me a picture or something, and learn from my mistakes. Finally, don’t get in any fights with spider-lings.

THE END.

[mariaagibson]

My Top Tips On How To Practice With A Metronome

Why metronome practice is important?

I was recently on a social media group and someone had asked the question of how to get better at practicing with a metronome.  I first replied with a short answer, but after a few days of thinking about how to make that groove happen I felt it warranted a more in depth answer.

I was actually in the middle of typing out a RIDICULOUSLY long reply comment, when I realized I should just turn it into a blog post.

So, here you go Mr. Emmanuel Phiri, these are my best tips on how to practice with a metronome.

Here’s what I’m gonna go over in this article:

What type of metronome is best for my practice protocol

What type of headphones are good SPECIFICALLY for drummers practicing with metronomes

My top list of tips for practicing with a metronome

A finalized practice sequence that ties all of these things together.

Here we go.  Firstly, I need to talk briefly about the needed equipment.

What type of metronome should I get?

For the recommendations that will shortly follow, having the right type of metronome will matter.  I recommend a metronome that can do multiple subdivisions, including eighth notes, triplets, and sixteenth notes.

There are some polyrhythmic metronomes that are pretty advanced, but we wont need those for what I’m talking about today.  The simple eighth, triplet and sixteenth subdivisions will do fine.

There are plenty of smartphone metronome apps around that will do this, though the free ones tend to not have the subdivision functions.   Also, the interface on some of them is a bit confusing.  Though, if you find one you like, go for it.

If you can’t find one you like, I suggest this metronome.  The Boss DB-90 is a beastly metronome.  Digital metronomes are definitely a viable option, but I myself Like to play along to a hardwired machine, as it doesn’t drain the battery life on my phone.

I started practicing with this back in the early 2000’s.  It has a ridiculous amount of functions, of which I won’t go into discussing today.  It’s a little on the pricey side, but well worth it if you plan on making a profession out of being a drummer.

One thing I really like is that the subdivisions are all on individual faders, so you can make them as loud or as quiet as you want (hint: this will come in handy later).

The other nice thing is that this is a really loud metronome.  Obviously, this is a benefit to us drummers, as our sound can typically drown out the sound of the metronome.  This brings me to my next point, which is proper headphone gear.

Do I need headphones for metronome practice?

Well, in short, yes.  For drummers it’s necessary because often times the drums will overtake the sound of the metronome making it virtually inaudible.   I have tried using loud metronomes to be able to hear it over the drums but it really takes a toll on the ear drums.

After a few weeks of ringing ears you’ll discover that this isn’t beneficial long term.  Therefore, invest in some good headphones.

If you want to start practicing with a metronome and not go deaf, I highly recommend a good set of noise cancelling headphones.  I used to use Metrophones, which are awesome.  They have a built in metronome and the muffs are filled with a liquid for maximum noise cancelling.

I bought my first pair when I was 19 and they lasted for YEARS. There are a couple downsides though.  One is that they are a bit heavyweight.

Also, the metal frame makes them fit tight, so if you have a big head like myself, they can get a little uncomfortable after 3 or 4 hours of practice.

The other downside is that the metronome doesn’t do subdivisions, but that’s not a concern if you’ve already got  an external metronome.

The other option that I recommend, are the Bose Quiet Comfort 35 Headphones.  These are definitly more on the pricey side, but trust me, they are FREAKIN AMAZING.  Here are my reasons why I actually like these better than Metrophones.

They’re lighter.

The sound quality is better.

They’re more comfortable.

They cancel noise better.

If any of you are privy to Bose, you know that their audio engineering is pretty much amazing.  They’re equipment is marketed more towards consumer purposes, so they don’t get a lot of press in the professional musician world.

In my opinion though, they’re as good, or better than, a lot of “professional grade” audio equipment.  Bose headphones are by far my favorite headphones.  Not only is the sound quality pristine, but unlike the metrophones, they are a lot more lightweight and  comfortable.

You can definitely experiment on this.  There are plenty of headphones out there, but in my experience, you get what you pay for.

So if drumming is something you do on the side, you can try some cheaper options, but if it’s a long term investment for you, then I suggest spending a little more up front, as you’ll save yourself a lot of frustration in the future.

Can I use earbuds?

Ok, one last point on headphones.  DO NOT USE EARBUDS.  I absolutely am against using ear buds for practicing drums.  For reasons I will not go into in this article, it is clear to me that ear buds destroy your hearing.

This is not just for drumming either.  This is a general recommendation to stay away from earbuds.  If you wanna go deaf early, please, be my guest.

However, if you want to save your hearing, switch to cans.  In ear monitors are a bit of a different ball game, so for today I’ll stay away from that topic completely, but as far as ear buds go, do not use them.  Have I made myself clear?  Ok, good.

My tip top tips on practicing with a metronome

Alright, I finally got through that laundry list.  Now for the actual lesson. It should be noted that my suggestions here are for beginner drummers, so if you are more advanced you can simply modify this to your level of playing.

If you’re more advanced I don’t need to tell you how to modify these tips, you’ll just know how to do it.

My first recommendation for developing a groove with the metronome is to start with just hands.  If you’re a drum set drummer, just leave the feet out for the time being.  We can get to that later.  Also, pick a simple rudiment.  It should be something you can do without thinking too hard.

Simplify

Remember, the goal here is to practice groove, so lets simplify anything else in this equation that would otherwise detract from focusing on the metronome.

For our purposes here, just start with single strokes, and practice starting with both the left and the right hand at each tempo.

For getting better at practicing with a metronome most people will say to start slowly.  I actually somewhat disagree with this.  With more complex beats it’s helpful to really slow stuff dow, but for a simple rudiment I find the middle range to be a good starting point.

I would actually suggest starting in the medium tempo range, somewhere between the tempos of 80bpm and 120bpm.

The reason is simply because if you start too slow there is too much space in the gaps to get lost.   The 120bpm falls in that average range of the human heart beat, so it’s something sort of ingrained in humans.

That’s probably why most popular dance tunes fall right in this range, whether it’s disco, EDM, marching band, or any other type of music.  This tempo is graspable for a beginner, so start in that range. Pick something you are already comfortable with.

Lock in to the metronome

The next tip is where the fancy metronome comes in handy.  If you have the Boss DB-90 or something like it start by practicing just quarter notes.  get really comfortable with that.  Make it nice and tight.

Once you’re comfortable with that, add the eighth not subdivisions on the metronome and lock your single strokes into that tempo, and when I say lock them in really focus on locking them in.

You should be able to get to the point where it sounds like the metronome clicks are coming from your drumsticks hitting the drum (or pad).  It’s a pretty cool feeling when you get it that tight.

I remember when I first got this.  It felt like the sound of the pad and the sound of the metronome had merged into an indistinguishable sound.  Such a good feeling.  This is what they call “burying the click”.  So yeah, go for that.  

The next step is to remove the eighth not subdivision from the metronome settings.  This wont be hard at this tempo, but when you get to the really slow tempos you’re going to have to really focus on exactly where that not needs to be.

This is where the sliding feature of the Boss Metronome really comes in handy.  You can slowly drop the volume of the subdivisions until they are silent.  This is super helpful  when you’re trying to internalize those beat.

Start shifting the tempo

Once you have gotten one tempo comfortable, then you can slow it down incrementally by 5 or so clicks until you get to the really slow tempos.  Then you can restart at that same medium tempo that you initially started with, but this time move up by 5bpm until you get to your fastest  tempo. 

Every day you should be able to increase your top and bottom speeds by 5 clicks or so.  After a week or so you should be able to easily switch to another rudiment and repeat the process, or perhaps start with a simple beat that incorporates some footwork.

My last tip for this before I map out the practice protocol, is to note how the central nervous system works.  It’s gonna take time to develop an awareness of your movements and how they lock in with the metronome.

It’s not gonna be comfortable at first.  However, after a while you’ll start to feel it in your body.  What I’m talking about is what powerlifters call the “mind muscle connection”.   It takes time for this connection to form.

It’s all about developing proper habits to wear in that dog path in the back yard, so to speak.   Going back to my first point, that’s the reason why I suggest starting at a medium tempo, rather than a super slow tempo.

We’ve got to start at a place where the body can easily grasp what the mind wants it to do, then after that, we repeatedly challenge the nervous system by chipping away at the changes in tempo.

Patience is a virtue

The secret to developing this mind muscle connection is that there is no secret.  You’ve got to practice.  A lot.  Repetition is the key here.  It’ll eventually become ingrained.

Remember what I said about the powerlifters?  Well, if you know anything about that type of working out, you know that lifting heavy weights is about strength.  but that’s only part of it.

A TON of work goes into practicing form, day in and day out.  In fact, most power lifters wont max out on a particular lift more than once a week.

The rest of the time they spend it repeating the same movement using lighter weights to burn that exact movement pattern into the nervous system. The purpose of this is to train the body to move the exact right muscles at the exact right time.

It’s really quite amazing actually.  Watch a powerlifter sometime.  You’ll see, if they’re skilled, there is literally no wasted movement.  The same is true with guys like Bruce Lee, Rodney Mullen, or anybody that gets to the olympics.

That being said, we want to do the same thing here with our movements in time.   You should practice these methods until you’re comfortable with the tempo, then push yourself a little further.  We’re doing incremental work here.

There’s nothing is more frustrating than trying to jump ahead to an unrealistic tempo only to repeatedly fail at your lofty goal.

Be patient with yourself.  If you form these initial habits right, your future practice will happen quicker.

The Protocol in 4 parts

Part 1:

Metronome setting: 110bpm (or whatever you’re comfortable with

Play single stroke quarter notes Starting with the right hand until comfortable.

Play single stroke quarter notes Starting with the right hand until comfortable.

Add eight notes to the metronome setting and play eight note singles till comfotable, starting with both right and left hands.

Repeat the same eighth note sequence but without the eighth note metronome setting.

Repeat this process with triplets and sixteenth notes.

Ok, once you get good at that heres the next step.

Part 2:

Make sure the metronome is just on the quarter not setting

Play all of this without stopping- 4 bars of quarter notes, 4 bars of eighth notes, 4 bars of tripletes,  4 bars of sixteenth notes, 4 bars of triplets, 4 bars of eighth notes, and 4 bars of quarter notes.

Repeat the same sequence, but with 2 bars per subdivision.

Repeat the same sequence, but with 1 bar per subdivision.

When you get this all locked in here’s the next step.

Part 3:

Bring the metronome down 5bpm and repeat these steps until you get down to 60bpm.

Go back to 110bpm and repeat the process, but this time bring in up 5 clicks until you get your 16th note singles to 240bpm and beyond.

Part 4:

Repeat this whole sequence with other rudiments as well as beats that incorporate all 4 limbs.

So, there you have it.  I hope you enjoyed my little article.  This is such a vast topic, so I’m going to do more tutorials in the future on how to practice ultra slow tempos and ultra fast tempost.

For the time being though, this should hopefully get you started in the right direction.

Happy Drumming!                                                                                                                                  Jesse-Lee 

The post My Top Tips On How To Practice With A Metronome appeared first on JLKickboom - Jesse Lee (the Drummer) Yarbrough.

via Tumblr My Top Tips On How To Practice With A Metronome

My Top Tips On How To Practice With A Metronome syndicated from https://jlkickboom.com/

[debbiiegibson]

My Top Tips On How To Practice With A Metronome

Why metronome practice is important?

I was recently on a social media group and someone had asked the question of how to get better at practicing with a metronome.  I first replied with a short answer, but after a few days of thinking about how to make that groove happen I felt it warranted a more in depth answer.

I was actually in the middle of typing out a RIDICULOUSLY long reply comment, when I realized I should just turn it into a blog post.

So, here you go Mr. Emmanuel Phiri, these are my best tips on how to practice with a metronome.

Here’s what I’m gonna go over in this article:

What type of metronome is best for my practice protocol

What type of headphones are good SPECIFICALLY for drummers practicing with metronomes

My top list of tips for practicing with a metronome

A finalized practice sequence that ties all of these things together.

Here we go.  Firstly, I need to talk briefly about the needed equipment.

What type of metronome should I get?

For the recommendations that will shortly follow, having the right type of metronome will matter.  I recommend a metronome that can do multiple subdivisions, including eighth notes, triplets, and sixteenth notes.

There are some polyrhythmic metronomes that are pretty advanced, but we wont need those for what I’m talking about today.  The simple eighth, triplet and sixteenth subdivisions will do fine.

There are plenty of smartphone metronome apps around that will do this, though the free ones tend to not have the subdivision functions.   Also, the interface on some of them is a bit confusing.  Though, if you find one you like, go for it.

If you can’t find one you like, I suggest this metronome.  The Boss DB-90 is a beastly metronome.  Digital metronomes are definitely a viable option, but I myself Like to play along to a hardwired machine, as it doesn’t drain the battery life on my phone.

I started practicing with this back in the early 2000’s.  It has a ridiculous amount of functions, of which I won’t go into discussing today.  It’s a little on the pricey side, but well worth it if you plan on making a profession out of being a drummer.

One thing I really like is that the subdivisions are all on individual faders, so you can make them as loud or as quiet as you want (hint: this will come in handy later).

The other nice thing is that this is a really loud metronome.  Obviously, this is a benefit to us drummers, as our sound can typically drown out the sound of the metronome.  This brings me to my next point, which is proper headphone gear.

Do I need headphones for metronome practice?

Well, in short, yes.  For drummers it’s necessary because often times the drums will overtake the sound of the metronome making it virtually inaudible.   I have tried using loud metronomes to be able to hear it over the drums but it really takes a toll on the ear drums.

After a few weeks of ringing ears you’ll discover that this isn’t beneficial long term.  Therefore, invest in some good headphones.

If you want to start practicing with a metronome and not go deaf, I highly recommend a good set of noise cancelling headphones.  I used to use Metrophones, which are awesome.  They have a built in metronome and the muffs are filled with a liquid for maximum noise cancelling.

I bought my first pair when I was 19 and they lasted for YEARS. There are a couple downsides though.  One is that they are a bit heavyweight.

Also, the metal frame makes them fit tight, so if you have a big head like myself, they can get a little uncomfortable after 3 or 4 hours of practice.

The other downside is that the metronome doesn’t do subdivisions, but that’s not a concern if you’ve already got  an external metronome.

The other option that I recommend, are the Bose Quiet Comfort 35 Headphones.  These are definitly more on the pricey side, but trust me, they are FREAKIN AMAZING.  Here are my reasons why I actually like these better than Metrophones.

They’re lighter.

The sound quality is better.

They’re more comfortable.

They cancel noise better.

If any of you are privy to Bose, you know that their audio engineering is pretty much amazing.  They’re equipment is marketed more towards consumer purposes, so they don’t get a lot of press in the professional musician world.

In my opinion though, they’re as good, or better than, a lot of “professional grade” audio equipment.  Bose headphones are by far my favorite headphones.  Not only is the sound quality pristine, but unlike the metrophones, they are a lot more lightweight and  comfortable.

You can definitely experiment on this.  There are plenty of headphones out there, but in my experience, you get what you pay for.

So if drumming is something you do on the side, you can try some cheaper options, but if it’s a long term investment for you, then I suggest spending a little more up front, as you’ll save yourself a lot of frustration in the future.

Can I use earbuds?

Ok, one last point on headphones.  DO NOT USE EARBUDS.  I absolutely am against using ear buds for practicing drums.  For reasons I will not go into in this article, it is clear to me that ear buds destroy your hearing.

This is not just for drumming either.  This is a general recommendation to stay away from earbuds.  If you wanna go deaf early, please, be my guest.

However, if you want to save your hearing, switch to cans.  In ear monitors are a bit of a different ball game, so for today I’ll stay away from that topic completely, but as far as ear buds go, do not use them.  Have I made myself clear?  Ok, good.

My tip top tips on practicing with a metronome

Alright, I finally got through that laundry list.  Now for the actual lesson. It should be noted that my suggestions here are for beginner drummers, so if you are more advanced you can simply modify this to your level of playing.

If you’re more advanced I don’t need to tell you how to modify these tips, you’ll just know how to do it.

My first recommendation for developing a groove with the metronome is to start with just hands.  If you’re a drum set drummer, just leave the feet out for the time being.  We can get to that later.  Also, pick a simple rudiment.  It should be something you can do without thinking too hard.

Simplify

Remember, the goal here is to practice groove, so lets simplify anything else in this equation that would otherwise detract from focusing on the metronome.

For our purposes here, just start with single strokes, and practice starting with both the left and the right hand at each tempo.

For getting better at practicing with a metronome most people will say to start slowly.  I actually somewhat disagree with this.  With more complex beats it’s helpful to really slow stuff dow, but for a simple rudiment I find the middle range to be a good starting point.

I would actually suggest starting in the medium tempo range, somewhere between the tempos of 80bpm and 120bpm.

The reason is simply because if you start too slow there is too much space in the gaps to get lost.   The 120bpm falls in that average range of the human heart beat, so it’s something sort of ingrained in humans.

That’s probably why most popular dance tunes fall right in this range, whether it’s disco, EDM, marching band, or any other type of music.  This tempo is graspable for a beginner, so start in that range. Pick something you are already comfortable with.

Lock in to the metronome

The next tip is where the fancy metronome comes in handy.  If you have the Boss DB-90 or something like it start by practicing just quarter notes.  get really comfortable with that.  Make it nice and tight.

Once you’re comfortable with that, add the eighth not subdivisions on the metronome and lock your single strokes into that tempo, and when I say lock them in really focus on locking them in.

You should be able to get to the point where it sounds like the metronome clicks are coming from your drumsticks hitting the drum (or pad).  It’s a pretty cool feeling when you get it that tight.

I remember when I first got this.  It felt like the sound of the pad and the sound of the metronome had merged into an indistinguishable sound.  Such a good feeling.  This is what they call “burying the click”.  So yeah, go for that.  

The next step is to remove the eighth not subdivision from the metronome settings.  This wont be hard at this tempo, but when you get to the really slow tempos you’re going to have to really focus on exactly where that not needs to be.

This is where the sliding feature of the Boss Metronome really comes in handy.  You can slowly drop the volume of the subdivisions until they are silent.  This is super helpful  when you’re trying to internalize those beat.

Start shifting the tempo

Once you have gotten one tempo comfortable, then you can slow it down incrementally by 5 or so clicks until you get to the really slow tempos.  Then you can restart at that same medium tempo that you initially started with, but this time move up by 5bpm until you get to your fastest  tempo. 

Every day you should be able to increase your top and bottom speeds by 5 clicks or so.  After a week or so you should be able to easily switch to another rudiment and repeat the process, or perhaps start with a simple beat that incorporates some footwork.

My last tip for this before I map out the practice protocol, is to note how the central nervous system works.  It’s gonna take time to develop an awareness of your movements and how they lock in with the metronome.

It’s not gonna be comfortable at first.  However, after a while you’ll start to feel it in your body.  What I’m talking about is what powerlifters call the “mind muscle connection”.   It takes time for this connection to form.

It’s all about developing proper habits to wear in that dog path in the back yard, so to speak.   Going back to my first point, that’s the reason why I suggest starting at a medium tempo, rather than a super slow tempo.

We’ve got to start at a place where the body can easily grasp what the mind wants it to do, then after that, we repeatedly challenge the nervous system by chipping away at the changes in tempo.

Patience is a virtue

The secret to developing this mind muscle connection is that there is no secret.  You’ve got to practice.  A lot.  Repetition is the key here.  It’ll eventually become ingrained.

Remember what I said about the powerlifters?  Well, if you know anything about that type of working out, you know that lifting heavy weights is about strength.  but that’s only part of it.

A TON of work goes into practicing form, day in and day out.  In fact, most power lifters wont max out on a particular lift more than once a week.

The rest of the time they spend it repeating the same movement using lighter weights to burn that exact movement pattern into the nervous system. The purpose of this is to train the body to move the exact right muscles at the exact right time.

It’s really quite amazing actually.  Watch a powerlifter sometime.  You’ll see, if they’re skilled, there is literally no wasted movement.  The same is true with guys like Bruce Lee, Rodney Mullen, or anybody that gets to the olympics.

That being said, we want to do the same thing here with our movements in time.   You should practice these methods until you’re comfortable with the tempo, then push yourself a little further.  We’re doing incremental work here.

There’s nothing is more frustrating than trying to jump ahead to an unrealistic tempo only to repeatedly fail at your lofty goal.

Be patient with yourself.  If you form these initial habits right, your future practice will happen quicker.

The Protocol in 4 parts

Part 1:

Metronome setting: 110bpm (or whatever you’re comfortable with

Play single stroke quarter notes Starting with the right hand until comfortable.

Play single stroke quarter notes Starting with the right hand until comfortable.

Add eight notes to the metronome setting and play eight note singles till comfotable, starting with both right and left hands.

Repeat the same eighth note sequence but without the eighth note metronome setting.

Repeat this process with triplets and sixteenth notes.

Ok, once you get good at that heres the next step.

Part 2:

Make sure the metronome is just on the quarter not setting

Play all of this without stopping- 4 bars of quarter notes, 4 bars of eighth notes, 4 bars of tripletes,  4 bars of sixteenth notes, 4 bars of triplets, 4 bars of eighth notes, and 4 bars of quarter notes.

Repeat the same sequence, but with 2 bars per subdivision.

Repeat the same sequence, but with 1 bar per subdivision.

When you get this all locked in here’s the next step.

Part 3:

Bring the metronome down 5bpm and repeat these steps until you get down to 60bpm.

Go back to 110bpm and repeat the process, but this time bring in up 5 clicks until you get your 16th note singles to 240bpm and beyond.

Part 4:

Repeat this whole sequence with other rudiments as well as beats that incorporate all 4 limbs.

So, there you have it.  I hope you enjoyed my little article.  This is such a vast topic, so I’m going to do more tutorials in the future on how to practice ultra slow tempos and ultra fast tempost.

For the time being though, this should hopefully get you started in the right direction.

Happy Drumming!                                                                                                                                  Jesse-Lee 

The post My Top Tips On How To Practice With A Metronome appeared first on JLKickboom - Jesse Lee (the Drummer) Yarbrough.

My Top Tips On How To Practice With A Metronome posted first on https://jlkickboom.com/

[jlkickboom]

My Top Tips On How To Practice With A Metronome

Why metronome practice is important?

I was recently on a social media group and someone had asked the question of how to get better at practicing with a metronome.  I first replied with a short answer, but after a few days of thinking about how to make that groove happen I felt it warranted a more in depth answer.

I was actually in the middle of typing out a RIDICULOUSLY long reply comment, when I realized I should just turn it into a blog post.

So, here you go Mr. Emmanuel Phiri, these are my best tips on how to practice with a metronome.

Here’s what I’m gonna go over in this article:

What type of metronome is best for my practice protocol

What type of headphones are good SPECIFICALLY for drummers practicing with metronomes

My top list of tips for practicing with a metronome

A finalized practice sequence that ties all of these things together.

Here we go.  Firstly, I need to talk briefly about the needed equipment.

What type of metronome should I get?

For the recommendations that will shortly follow, having the right type of metronome will matter.  I recommend a metronome that can do multiple subdivisions, including eighth notes, triplets, and sixteenth notes.

There are some polyrhythmic metronomes that are pretty advanced, but we wont need those for what I’m talking about today.  The simple eighth, triplet and sixteenth subdivisions will do fine.

There are plenty of smartphone metronome apps around that will do this, though the free ones tend to not have the subdivision functions.   Also, the interface on some of them is a bit confusing.  Though, if you find one you like, go for it.

If you can’t find one you like, I suggest this metronome.  The Boss DB-90 is a beastly metronome.  Digital metronomes are definitely a viable option, but I myself Like to play along to a hardwired machine, as it doesn’t drain the battery life on my phone.

I started practicing with this back in the early 2000’s.  It has a ridiculous amount of functions, of which I won’t go into discussing today.  It’s a little on the pricey side, but well worth it if you plan on making a profession out of being a drummer.

One thing I really like is that the subdivisions are all on individual faders, so you can make them as loud or as quiet as you want (hint: this will come in handy later).

The other nice thing is that this is a really loud metronome.  Obviously, this is a benefit to us drummers, as our sound can typically drown out the sound of the metronome.  This brings me to my next point, which is proper headphone gear.

Do I need headphones for metronome practice?

Well, in short, yes.  For drummers it’s necessary because often times the drums will overtake the sound of the metronome making it virtually inaudible.   I have tried using loud metronomes to be able to hear it over the drums but it really takes a toll on the ear drums.

After a few weeks of ringing ears you’ll discover that this isn’t beneficial long term.  Therefore, invest in some good headphones.

If you want to start practicing with a metronome and not go deaf, I highly recommend a good set of noise cancelling headphones.  I used to use Metrophones, which are awesome.  They have a built in metronome and the muffs are filled with a liquid for maximum noise cancelling.

I bought my first pair when I was 19 and they lasted for YEARS. There are a couple downsides though.  One is that they are a bit heavyweight.

Also, the metal frame makes them fit tight, so if you have a big head like myself, they can get a little uncomfortable after 3 or 4 hours of practice.

The other downside is that the metronome doesn’t do subdivisions, but that’s not a concern if you’ve already got  an external metronome.

The other option that I recommend, are the Bose Quiet Comfort 35 Headphones.  These are definitly more on the pricey side, but trust me, they are FREAKIN AMAZING.  Here are my reasons why I actually like these better than Metrophones.

They’re lighter.

The sound quality is better.

They’re more comfortable.

They cancel noise better.

If any of you are privy to Bose, you know that their audio engineering is pretty much amazing.  They’re equipment is marketed more towards consumer purposes, so they don’t get a lot of press in the professional musician world.

In my opinion though, they’re as good, or better than, a lot of “professional grade” audio equipment.  Bose headphones are by far my favorite headphones.  Not only is the sound quality pristine, but unlike the metrophones, they are a lot more lightweight and  comfortable.

You can definitely experiment on this.  There are plenty of headphones out there, but in my experience, you get what you pay for.

So if drumming is something you do on the side, you can try some cheaper options, but if it’s a long term investment for you, then I suggest spending a little more up front, as you’ll save yourself a lot of frustration in the future.

Can I use earbuds?

Ok, one last point on headphones.  DO NOT USE EARBUDS.  I absolutely am against using ear buds for practicing drums.  For reasons I will not go into in this article, it is clear to me that ear buds destroy your hearing.

This is not just for drumming either.  This is a general recommendation to stay away from earbuds.  If you wanna go deaf early, please, be my guest.

However, if you want to save your hearing, switch to cans.  In ear monitors are a bit of a different ball game, so for today I’ll stay away from that topic completely, but as far as ear buds go, do not use them.  Have I made myself clear?  Ok, good.

My tip top tips on practicing with a metronome

Alright, I finally got through that laundry list.  Now for the actual lesson. It should be noted that my suggestions here are for beginner drummers, so if you are more advanced you can simply modify this to your level of playing.

If you’re more advanced I don’t need to tell you how to modify these tips, you’ll just know how to do it.

My first recommendation for developing a groove with the metronome is to start with just hands.  If you’re a drum set drummer, just leave the feet out for the time being.  We can get to that later.  Also, pick a simple rudiment.  It should be something you can do without thinking too hard.

Simplify

Remember, the goal here is to practice groove, so lets simplify anything else in this equation that would otherwise detract from focusing on the metronome.

For our purposes here, just start with single strokes, and practice starting with both the left and the right hand at each tempo.

For getting better at practicing with a metronome most people will say to start slowly.  I actually somewhat disagree with this.  With more complex beats it’s helpful to really slow stuff dow, but for a simple rudiment I find the middle range to be a good starting point.

I would actually suggest starting in the medium tempo range, somewhere between the tempos of 80bpm and 120bpm.

The reason is simply because if you start too slow there is too much space in the gaps to get lost.   The 120bpm falls in that average range of the human heart beat, so it’s something sort of ingrained in humans.

That’s probably why most popular dance tunes fall right in this range, whether it’s disco, EDM, marching band, or any other type of music.  This tempo is graspable for a beginner, so start in that range. Pick something you are already comfortable with.

Lock in to the metronome

The next tip is where the fancy metronome comes in handy.  If you have the Boss DB-90 or something like it start by practicing just quarter notes.  get really comfortable with that.  Make it nice and tight.

Once you’re comfortable with that, add the eighth not subdivisions on the metronome and lock your single strokes into that tempo, and when I say lock them in really focus on locking them in.

You should be able to get to the point where it sounds like the metronome clicks are coming from your drumsticks hitting the drum (or pad).  It’s a pretty cool feeling when you get it that tight.

I remember when I first got this.  It felt like the sound of the pad and the sound of the metronome had merged into an indistinguishable sound.  Such a good feeling.  This is what they call “burying the click”.  So yeah, go for that.  

The next step is to remove the eighth not subdivision from the metronome settings.  This wont be hard at this tempo, but when you get to the really slow tempos you’re going to have to really focus on exactly where that not needs to be.

This is where the sliding feature of the Boss Metronome really comes in handy.  You can slowly drop the volume of the subdivisions until they are silent.  This is super helpful  when you’re trying to internalize those beat.

Start shifting the tempo

Once you have gotten one tempo comfortable, then you can slow it down incrementally by 5 or so clicks until you get to the really slow tempos.  Then you can restart at that same medium tempo that you initially started with, but this time move up by 5bpm until you get to your fastest  tempo. 

Every day you should be able to increase your top and bottom speeds by 5 clicks or so.  After a week or so you should be able to easily switch to another rudiment and repeat the process, or perhaps start with a simple beat that incorporates some footwork.

My last tip for this before I map out the practice protocol, is to note how the central nervous system works.  It’s gonna take time to develop an awareness of your movements and how they lock in with the metronome.

It’s not gonna be comfortable at first.  However, after a while you’ll start to feel it in your body.  What I’m talking about is what powerlifters call the “mind muscle connection”.   It takes time for this connection to form.

It’s all about developing proper habits to wear in that dog path in the back yard, so to speak.   Going back to my first point, that’s the reason why I suggest starting at a medium tempo, rather than a super slow tempo.

We’ve got to start at a place where the body can easily grasp what the mind wants it to do, then after that, we repeatedly challenge the nervous system by chipping away at the changes in tempo.

Patience is a virtue

The secret to developing this mind muscle connection is that there is no secret.  You’ve got to practice.  A lot.  Repetition is the key here.  It’ll eventually become ingrained.

Remember what I said about the powerlifters?  Well, if you know anything about that type of working out, you know that lifting heavy weights is about strength.  but that’s only part of it.

A TON of work goes into practicing form, day in and day out.  In fact, most power lifters wont max out on a particular lift more than once a week.

The rest of the time they spend it repeating the same movement using lighter weights to burn that exact movement pattern into the nervous system. The purpose of this is to train the body to move the exact right muscles at the exact right time.

It’s really quite amazing actually.  Watch a powerlifter sometime.  You’ll see, if they’re skilled, there is literally no wasted movement.  The same is true with guys like Bruce Lee, Rodney Mullen, or anybody that gets to the olympics.

That being said, we want to do the same thing here with our movements in time.   You should practice these methods until you’re comfortable with the tempo, then push yourself a little further.  We’re doing incremental work here.

There’s nothing is more frustrating than trying to jump ahead to an unrealistic tempo only to repeatedly fail at your lofty goal.

Be patient with yourself.  If you form these initial habits right, your future practice will happen quicker.

The Protocol in 4 parts

Part 1:

Metronome setting: 110bpm (or whatever you’re comfortable with

Play single stroke quarter notes Starting with the right hand until comfortable.

Play single stroke quarter notes Starting with the right hand until comfortable.

Add eight notes to the metronome setting and play eight note singles till comfotable, starting with both right and left hands.

Repeat the same eighth note sequence but without the eighth note metronome setting.

Repeat this process with triplets and sixteenth notes.

Ok, once you get good at that heres the next step.

Part 2:

Make sure the metronome is just on the quarter not setting

Play all of this without stopping- 4 bars of quarter notes, 4 bars of eighth notes, 4 bars of tripletes,  4 bars of sixteenth notes, 4 bars of triplets, 4 bars of eighth notes, and 4 bars of quarter notes.

Repeat the same sequence, but with 2 bars per subdivision.

Repeat the same sequence, but with 1 bar per subdivision.

When you get this all locked in here’s the next step.

Part 3:

Bring the metronome down 5bpm and repeat these steps until you get down to 60bpm.

Go back to 110bpm and repeat the process, but this time bring in up 5 clicks until you get your 16th note singles to 240bpm and beyond.

Part 4:

Repeat this whole sequence with other rudiments as well as beats that incorporate all 4 limbs.

So, there you have it.  I hope you enjoyed my little article.  This is such a vast topic, so I’m going to do more tutorials in the future on how to practice ultra slow tempos and ultra fast tempost.

For the time being though, this should hopefully get you started in the right direction.

Happy Drumming!                                                                                                                                  Jesse-Lee 

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