Month: June 2018

In 2015, I made an exciting discovery! Have you ever taken up a new musical instrument? Then you’ll know what I mean.

That first discovery expanded my musical world, and eventually led me to another discovery, and the very question I pose to you today: “What is a Bodhran??”

Now that I’ve been playing a bodhran for a few years I can answer that question for ya! It’s exciting for me to introduce to you today its sound, its story, and its potential for making your music even more interesting than ever.

But first, lemme show you how I found it in the first place!

String-y Serendipity…

My first exciting discovery in 2014 was… the violin!

It wasn’t my plan to take it up as another instrument, but… life is strange sometimes. What was it Lennon said? “Life is what happens to you while you’re busy making other plans.” Great insight. But then he was a Beatle!

I had actually planned to take up cello. I saw a fine-looking, dark brown cello for sale on CraigsList and just had to have it. When I arrived, the seller actually had dozens of instruments for sale, including a violin in good shape.

She said a hundred and thirty bucks for it. I figured, “Wow, that’s all?! I might as well at that price!” So I went home with more than I planned for. FOUR MORE instruments actually. Talk about Serious G.A.S.!

Back home, I was surprised to find that it was not the cello that consumed me, but rather the violin. And soon enough, the bodhran was in the mix too, because of a new appreciation for music… from across the ocean!

The Pipes Are Calling, Danny…

It was through one of my violin study books that I first heard and came to really appreciate the bodhran. The book included, amidst the mostly classical pieces, an Irish folk tune. As soon as I played it, I immediately appreciated its beautiful melody, as well as the unusual choice of chords sitting underneath.

I kept being drawn back to play this tune from the “Emerald Isle”, as Ireland is called. Again and again. “Hmmm… “, I thought, “… this Irish music rocks! Wonder if I can find more??”

A couple hours and online receipts later, I did! Eventually I was playing through more awesome melodies, and I just couldn’t get enough. Even “Danny Boy”, a song most people have heard at least once, seemed to really come alive and become so much more emotionally impactful playing it on a violin.

But there was also, almost always, a different-sounding DRUM playing along on these Irish songs. It sounded really different, but really cool. Researching, I found it was the BODHRAN!!

As I continued playing, and began listening to more and more Irish music, and watching videos of Irish groups, my interest in this north island beat-maker grew until I knew… I had to have one!

Getting Comfortable with my OWN Skin

Just around the time I was seriously G.A.S.-ing for a bodhran, wouldn’t you know it… one showed up on CraigsList!!

I ended up snagging this Roosebeck Tunable Bodhran, seen in the picture to the left, from a local girl who no longer played it and wanted it to go to someone who would appreciate it and play it into the future. I assured her I would.

There were others listed on CraigsList, but hers was the largest… exactly what I was looking for. No mamby-pamby play toy bodhrans for me – only the most powerful will do!!

She only asked $80. These sell new for $108 plus tax, and since it was in perfect condition I thought that a steal.

The head is genuine goat (apologies to any P.E.T.A adherents), tho’ you can buy the same model with a synthetic skin instead.

If you’re interested in my specific model, feel free to take a look at the MidEast company’s website by CLICKING HERE. They are more pricey than your typical beginner models, but as always, you get what you pay for.

Leprechaun Speech

Since I know you’re wondering, let’s cover the first thing most people ask when they’re looking into the bodhran is, “How do you SAY that??!”

This is especially the case when they see the drum spelled in the right Irish way: “bodhrán”. Most people outside of Ireland leave off the diacritical mark above the ‘a’. Heck, I don’t even know, as an American, how I’d type one in in the first place!

The easiest way to remember its pronunciation is to say, “It’s a bodhran, MORON!!” Keep those two in rhymed complicity and you’ll have no problems. Oh, and it’s probably best to say that in your HEAD, not out loud. For obvious reason. 😉

Dig That Gaelic Beat!

So you’re here because of genuine interest in this exceptional instrument. Maybe you noticed it in the movie “Titanic“, during the below-deck dancing and playing. Maybe you came across an Irish group recently, in a restaurant, pub or bar. Or maybe you stumbled upon Irish music on Spotify, Pandora or ITunes.

Whatever your reason, welcome! The BODHRAN awaits for you to breathe the pulse of life into it and make it come alive in some energized gig near you!

The bodhran is a simple, single-skin frame drum. It’s played mostly in Irish music groups, tho’ occasionally artists like myself will use it in songs that are not Irish, but still benefit from its sound.

Bodhrans come in different sizes, which make them louder or softer, higher in pitch or lower in pitch. The smallest is 10 inches in diameter. The largest? 26 inches.

A goatskin is usually used in Ireland for the beating material. In America, it might be synthetic, or even other animal hides that make the striking surface.

On the back of the bodhran, you will usually find one or two crossbars. These allow you to hold the drum securely, but even more, it gives the back of your hand something to brace against so that you can push the drum skin outward, raising the pitch when desired.

Sometimes you’ll see a tunable bodhran. Many are not tunable. You’ll know the tunable one by either lugs, bolts or hex key riggings, either on the outside of the side of the drum, or underneath on the inner side.

Did you know that bodhrans are a descendant of the tambourine?! There are even pictures of some Irish musicians playing from the 1950s that show jingles still attached, just like a tambourine.

Not Your Everyday Beat Box

There are a few things that set the bodhran apart from other drums and percussive approaches. They are:

1. It’s played on its SIDE.
2. It’s played with a “beater“.
3. It’s played with your palm touching the underside of the skin

So, first, the bodhran is played on its SIDE, not with the skin facing up. It’s usually resting on your leg (usually the left thigh, if you’re right-handed). The skin top faces your chest as you play.

Secondly, you play it, not with drumsticks, and only occasionally (if ever) with your hands or knuckles. Most of the time, you’ll use a unique, artistically-crafted wooden stick called a “beater“.

Centuries back, it was more common to use an actual animal bone. The ends, where knuckles or joints would be, served as excellent striking mediums to pummel out the loudest sounds. That’s why you’ll hear some still refer to the beater as a “bone“.

You’ll also find this playing stick referred to by the name “tipper“, or “cipin” in certain territories, especially in Ireland. But the term I’ve heard the most here in American is “beater”.

Regardless of the name though, it takes a while to get used to the novel way of holding and sounding the drum with one of these. It’s different from any other percussion instrument I’ve come across.

Oh, and sometimes I’ve seen bodhran players use brushes on the skin for a softer effect. I just use the brushes from my drum kit and they work great. Adds another color to your tonal arsenal, but you probably won’t use them much, as Irish bands tend to be anything BUT soft and gentle!

Lastly, to coax, or explode, different sounds from the bodhran, you place your left hand (if you’re right-handed), open-palmed, on the back side of the drum skin. Lifting it from the skin, touching it palm open, or pushing the skin outward will provide different responses, pitches, and timbres, since that dampens or releases the vibration of the skin.

I find this technique to be very much like playing the hi-hat on a traditional drum kit. Your left hand will “open and close” the drum, by merely lifting or dropping your palm to the skin. Thinking this way, you can pound out rhythms as complex as you’d like with this instrument, just like you can get all Stewart Copeland on the hi-hat with drum sticks.

Opening and closing the drum skin sound is also great for musical accents. It’s easily done once you get the hang of it, and easily heard too. In fact, I don’t think there’s a more expressive drum with as much variance in skin resonance, except for the African talking drum.

Getting JIG-gy With It!

When playing the bodhran, you’ll find that most Irish music comes down to two varieties of songs:

1. The Jig
2. The Reel

A jig is in 3/4 time, and has a rhythm similar to saying “PINE-ap-ple”.

The reel, on the other hand, is in 4/4 time, and has a rhythm similar to saying “WAT – er – me – lon”.

If you’re playing the bodhran, it’s mostly your job to keep everyone centered on one of those particular grooves.

There’s not a lot of soloing typically; you’re mostly serving the song and the other solo instruments that keep the tunes on fire with their breakneck speed and rousing energy.

Irish music can be very fast at times, and I’ve found it a challenge to keep up on bodhran, but like anything, practice makes progress.

And besides… I’ve found violin is MUCH HARDER. 😉

The tipper you will hold in your beating hand similar to how you’d hold a pencil. Then, swinging the wrist up and down, you thump out your most ‘leapin’ leprechaun’ grooves for your fellow musicians to play along with.

There are, however, differing styles of beater technique, mostly based on geographic preferences and the origins in Ireland. The style that I play, and that is by far the most common, is “Kerry” style. This is the method that uses a tipper with TWO heads. The other less popular technique is called the “West Limerick” style, and it uses only ONE end of a longer, thinner tipper.

But wait! There are even some who play the bodhran with thumb and knuckles instead of with a wooden beater. If you try this, you’ll see that you do not get nearly as much volume out of the drum. Since some Irish music gigs are done with no amplification, it’s much harder to be heard over all the other instruments if you opt for this method. I personally am gonna stick with “tipper-ing”, thank you very much.

You can strike the rim of the bodhran too if you want, to get that “wood on wood” sound that’s more like South American claves. Just be careful you don’t do it too hard – nobody likes dented or chipped tippers!

The aural textures you can produce with the bodhran can go from deep and booming, to subtle and mid-rangey, to bright and staccato, if you want. The combination of controlling it with the tipper AND the palm muting gives you a LOT of controlled variety.

For those of you wanting GREAT online instruction, I suggest what I use myself: the Online Academy of Irish Music! They are actual Irish musicians who live over there and play this music week in and week out, and know how to teach it well.

I know there’s lots on YouTube but honestly I don’t think any of that compares to what OAIM offers us. Check out their FREE beginners instruction videos by CLICKING HERE! Then just navigate to your instrument of choice and start jammin’ with the experts.

Meet ya in the virtual practice rooms!

You Never Forget Your First

For those just starting out, I recommend you do what I tell all my beginner students to do: don’t spend a lot! Unless, of course, you’re really, really sure you love the instrument and will stick with it and develop into an expressive musician using it.

For those who are unsure, I recommend THIS 10″ INEXPENSIVE BODHRAN. It will do the job nicely and give you everything you need to start learning the Irish repertoire beats and grooves and improvisation techniques. The best part is, it’s under fifty bucks!

Or, if you don’t mind advertising an esteemed BEER while you play, THIS 16″ ONE is good for starters and a little bigger so the sound will have more beef. If you drink a coke while playing it however, don’t be surprised if you get your tipper stolen.   lol

For those of you more certain of your decision, you’ll feed good about investing in THIS 14″ MID-PRICED BODHRAN. All three of these options come with tipper included, so you’re good to go out of the box!

Recognize that bodhrans, like most instruments, can be priced quite expensively. If you want to spend a lot on one, you certainly can! But the options I’ve given you here are great BAM for the buck, but aren’t cheaply made so that your playing suffers.

One of the more expensive ones I’ve ever seen it THIS ONE. Tho’ I’m a Lord of the Rings fan, I can assure you… I will not be picking up that bodhran any time soon. lol

Grins & Skins!

Because the bodhran is so unassuming and humble, it tends to get the short end of the beater when it comes to jokes. There are SOOOOO many, you could enjoy a whole day looking them up online, but I’ll give you just a couple to suffice here:

“When someone tells a guitarist joke, people laugh.

When someone tells a bodhránist joke, people nod in solemn agreement.”

See what I mean?! Here’s another:

“What’s the difference between a bodhran and an onion?

Most people cry when they cut up an onion.”

And finally… :

“What is the difference between a dead bodhran player lying in the road and a dead rabbit lying in the road?

The rabbit might have been on it’s way to a gig.”

There are many more, but you get the picture. But it’s all in good fun. I can tell you, for all the jocular put-downs, I’ve never seen an Irish group perform yet that did NOT have darn good bodhran players… and they helped make the concert exciting in big, toe-tappin’ ways!

Boost That Beat!

There will be times when you’re just gonna have to mic your drum. In the studio, on large stages, or at concerts where you have a lot of other loud, amplified instruments, will call for some type of help getting your sound up and over the other spotlight-stealers.

For studio use, the mic I use for picking up the bodhran (not to mention pretty much everything else), is the Audio Technica 4050. You can read all about that impressive mic in the article I wrote HERE. I also usually record with TWO mics on the bodhran, one in front and one in back. The sound is quite different for each side and it helps to have both in a mix to choose between.

For live performance, a dynamic mic like the Audix i5 works well, or even the common Shure sm57. I prefer the Audix tho’.

You can also get a mic that clips to your drum so you don’t have to worry about clunky mic stands and the like. I’ve come across numerous recommendations for THIS AT PRO35 CLIP MIC and plan to get one for myself for just this use.

Skin-rappin’ Gets Toes Tappin’!

So, what is a bodhran?? That’s easy – it’s fun in a drum! And now you know why everyone should have one… including you!

A little practice… a few upbeat, jiggy gigs… and who knows – maybe we’ll meet at the World Bodhrán Championships in Milltown, County Kerry, Ireland where it’s held each year.

If we find you’re spankin’ a mean bodhran… I’ll be sure to tip my tipper to ya. 😉

For now, get yourself one… start practicing… and go see some real bodhran bashers in action. Watch the ads for Irish groups near you. Irish PUBS are a good place to check for Irish music too.

Maybe you can even find what we have here in Michigan that’s put on by the put on by the “Detroit Irish Music Association” – an Irish music “open chair night“, where anyone can show up with their instrument and sit in on song after song after song from the Irish repertoire. It’s daunting when you first try, but worth the bravery!

Whatever route you take, may the luck o’ the Irish dance and jam wi’ ye! I know I’m so glad I stumbled upon this well of rhythmic riches. It was an interesting, surprising road but I’m glad my musical curiosity led me to it. Many lively hours of smiles, expressiveness and skill-building later, I’m still happily ON the beaten path.

Now, go… make… sounds!!

Teaj

For all you gangstas of the groove out there, today’s post is an insightful reminder – there’s more than one way to skin a drum!

Sometimes all it takes… is a couple PLANKS.

Of all the wooden contraptions assembled throughout the centuries, the Cajon drum has to be one of the simplest, yet most efficiently pleasing creations ever.

Musical instruments are typically not as simple and approachable as the Cajon, which is probably why its popularity doesn’t diminish with time.

What is a Cajon drum?? In a nutshell, it’s simply a box that you hit with your hands like a drum! The sounds you produce when you whack it can sound either low, like a bass drum, high like a snare, or somewhere in the middle like the tom-toms on a trap kit.

These days, plastic has usurped wood as the material of choice (at least in the low-price options), but regardless of the construction choices, the end result is a convincing set of tones that are making more music today than ever.

A History of “Hit”

The South American country of Peru and its concomitant indigenous cultures have bequeathed to us many revolutionary developments: agricultural technology; weaving; pottery; gold and silver work… all these can be traced back to Peruvian people groups in those dramatic mountains and valleys near the mighty Pacific Ocean.

For musicians, they passed to us a singular instrument that has stood the test of time: the cajon!

Interestingly though, it turns out it was foreigners in Peru that brought the cajon into existence, not the natives. The following story is an example of how mixing human cultures can produce interesting results, even in music…

The 1500s were a terrible time for Peruvian people groups. It was the century that Spain decided to invade Peru, their eyes wide and their mouths salivating for what they knew was an area replete with gold and silver.

Francisco Pizarro, a Spaniard with thirst for riches and fame, had sussed out that the Incan Empire was quite a rich one while he was stationed in Panama, in the newly conquered territories there. In 1524 and in 1526, he tried to conquer the Incan Empire in Peru, then led by Incan emperor Atahualpa, but was sent packing by the Incan resistance with his greedy tail between his legs.

Didn’t stop him though. He came back a third time with even more military strength and finally captured Atahualpa, which essentially established Spanish rule.

Those whom the long genocidal war didn’t kill mostly succumbed to the disease epidemics that the Spaniards brought with them. Within a few decades, the Incan culture and peoples of the 16th century had pretty much been decimated. The Peruvian native cultures just couldn’t protect themselves from the vast numbers Spain sent against them.

Yet, from out of that rapacious slave and slaughter-fest, something beautiful emerged. An unexpected instrument. A way to find a little joy amidst the suffering. The cajon.

See, the Spanish conquistadors in the New World often brought with them African slaves, both to serve them in their newly “acquired” territories, and to serve as spear fodder in their invasion armies as they tried to take over mile after mile of sprawling land masses that legitimately belonged to other people.

Africans have a long, fascinating history of extremely rhythmic, energizing music, performed on improvised instruments that often brought communities together for song, dance, and vibrant celebrations. Music in Africa has for centuries been a successful means of cultural cohesion and local pride, and hand-made African DRUMS were often the focal point for most tribal performances. Even ancient rock paintings depict it!

So it was only natural that the slaves, stolen from their native African homes and music, would try to emulate their memories and create something that they could play to feel like a little part of home was still with them. The torment they suffered was hideous, but the moments that they could play songs together somehow lifted them above their situation, if only for a moment. Such is the power of music.

They didn’t have much. But what they DID have a lot of was… boxes, barrels and crates. In fact, that’s what the word “cajon” means in Spanish – “crate”!

Wooden hauling crates, barrels or chests were used to store everything an invading army needed, especially food and dried tea. There was no lack of them lying around and they had a pretty solid bass kick when struck in the middle. Sound familiar??

Who was the first stolen musician to pick one up and start thumping on it like a drum? We’ll never know, but I’m standing up to salute his memory right now. You will always be remembered now, our brother in groove!!

In the centuries that followed the instrument grew slowly in popularity from the slaves on tea plantations, to Spaniards who adopted the instrument into Flamenco music, to other European musicians who took notice.

A couple modern players really brought the instrument into focus through their consistent use of the instrument: Alex Acuña, an L.A. session drummer & percussionist from Peru, has had the cajon as part of his arsenal since the 70s.

I witnessed this firsthand when he was booked for a session with “The Yellowjackets” at the studio I worked at in North Hollywood. The man had an EPIC amount of percussive toys!

Paco de Lucia, a renowned Flamenco guitar virtuoso, also brought the cajon into the spotlight by incorporating it into his regular repertoire and writing with it in mind.

Now, centuries after its humble beginnings, the cajon is well-established in today’s Western music scene. Now, any set of hands eager to rhythmically assail a solid surface, for beat’s sake, can pick up one of these unpretentious yet pragmatic boxes of beat, and play excitement to the open skies!

The “SLAP”-pin’ Sounds of Today’s Cajons!

Cajons today are used mainly for acoustic, stripped down music and live performances. I have seen many live shows that featured cajon in the percussion section. Some shows even had only cajon for rhythmic backup.

If you’ve never heard a cajon, or if you’d like to hear what many cajons by diverse manufacturers sound like by comparison, WATCH THIS VIDEO.

One of its main benefits, of course, is that instead of dragging multiple cases, drums, hardware, cymbals, and percussion toys to a gig, you can simply pick up ONE BOX and walk smiling out the door. Setup and tear down?? What’s that?! All you do is set your box down and sit on it – you’re ready, baby!!

For me personally, I’ve played many solo gigs, just me and a guitar and/or me and a keyboard. At quite a few of those I’ve hired any one of dozens of drummers I know to sit in with me on cajon, djembe and percussion. It always turns out really well and even produces a lot of interest from the audience, the most popular question being, “What IS that thing??!”

But there’s many other ways to use what the cajon offers. Here’s a list of its popular uses in the music business today that I’ve played, hired, seen or discovered from my fellow musicians:

• Acoustic music live shows
• Radio tours
• Open air gigs with no amplification
• Songwriter rounds
• Small venue gigs
• Bands with no bass guitar or instrumental soloist
• Low-paying gigs where bringing a full band isn’t worth it
• Private parties where space is limited
• In-home concerts
• Camp music
• Educational school tours

Cajons are, more and more, starting to be incorporated into live performances by well-known, renowned artists. Just yesterday, for example, I clicked on Netflix as I ate my dinner and watched Steve Martin & Martin Short’s live show. The show was funny and full of anecdotes and personal reflections from the two men. Definitely worth watching if you haven’t caught it yet.

Near the end of the show, though, Steve brought out his backing band to join him for some bluegrass music that he’d written and played it on his banjo. The drummer, Mike Ashworth, was playing a kit that included a cajon, and it went perfect with their “Appalachian sound”: acoustic guitar, acoustic bass, acoustic banjos… all instruments that prefer a softer rhythmic approach than the drums. The cajon worked perfect!

The cajon is starting to catch on a bit in the recording studio, but it’s still not very popular for that particular use. I tried and tried to find actual studio recordings by well-known artists that have cajon in the mix, but came up with squat.

Do you know of any studio recordings that feature the cajon?? If so, let me know, ‘cuz even after Googling probably 30+ pages I came up with nothing…

You’ll also find in today’s drum marketplace plenty of accessories for the cajon – so many it can practically be turned into a pretty convincing simulation of a regular trap kit (watch that Steve Martin special for a great example!). Castanets, jingles, clave blocks, foot pedals… there’s a plethora of options to stick on or around your cajon these days.

Give ’em a try. They’re all still small enough that you’ll probably still be able to put everything in one bag, over your shoulder, and get to your gig with ease. Now that’s efficiency!

Types For “TAP”-in’!

My, my… what a long way the Cajon has come! What once was just a simple wooden crate now has a whole marketplace of options, sizes, shapes and accessories… it wallops the mind!!

In today’s modern world, there are basically six types of cajon to choose from:

1. Standard box models
2. Standard box models, with pickups
3. Slap top models
4. Slap top models, with pickups
5. “Tablet” cajons
6. Fully electronic

Tho’ they’re all basically a box or slab that you hit, the sixth is a much different hybrid version that we’ll explain soon enough.

If you look hard enough you’ll also find some one-offs – cajons that are built in weird, different configurations, but are only put out by one company to see if there’s any interest in their off-the-BEATen-path design. HERE’S ONE by Schlagwerk, for example.

Other countries have some designs that we don’t promote much here in America too. I discovered recently that in Cuba, for example, they make several cajon variations, including a much larger “bass cajon” for their energized music. Cigar caddy not included though. :-p

Configurations and uses will be as varied as there are people’s preferences, but really the six above are what you’ll find 99% of the time.

Let’s explore each with some detail…

The Standard “Box”

These are your basic cajons. Nothin’ fancy, just the box and a few sounds for you to draw out by pounding away.

With the standard version, you SIT upon it and play the instrument by slightly leaning forward (NOT bending) and pounding out your passions with the palms of your hands down just below your kneecaps.

It’s important that you don’t get in the habit of slouching forward to play, as that will, over time, turn you into kind of a Qausimodo-looking player, and tho’ that might be a hit with the ladies (it was in Disney’s movie!), you might regret it when you try to reach your dusty mallets on that upper shelf.

These big box “chairs” have excellent bass response, since they have a large chamber inside to bounce big bass waves around. Sometimes these models have a bass port (a HOLE, basically), and sometimes not. If you get one with a bass port, you can stick a mic in front of it and get quite a convincing “kick drum punch” when you need it.

Some of these cajons will come with pickups already installed inside. Most will not. If you ever DO want to put your cajon signal through a P.A. or amp, however, there are pickups available, like THIS ONE, for you to install easily and solve that problem with minimum effort and learning curve involved.

“Slap top” models

This type of cajon is what I first bought and have stuck with. I personally don’t LIKE the posture you have to use with a standard cajon. Even when you try not to slump, it still feels like I can’t keep my spine straight.

It’s probably because I’m 6’2″, so it’s more of a reach for me than shorter groove-meisters to get down there where the bass really booms.

In any case, I really like these “Slap top” models. Currently only Meinl makes them, but I bet eventually we’ll see them from all the major manufacturers when the patents allow.

I bought the “Makah Burl wood” cajon of this type years ago. The pic to the left shows me havin’ a bangin’ good time walloping out the rhythms with it while recording it all via the mics into Pro Tools.

Check out the review I did of it by CLICKING HERE.

The clear advantage with these is you can sit up straight and interact with the audience without straining your neck upwards. Also, in the studio I can sit as normal, in my control room chair, and play it while operating my studio gear without changing my posture or position at all. I like that.

The slap top models will not, however, produce as much bass response, since inside they do not have as big a reverberatory chamber. I find if you are mic’ing the cajon, this does not matter, but if you plan on using the cajon mostly for open air concerts with no P.A. system or amplification, then the bigger cajons that you sit on will give you a deeper bass response.

As with the standard cajons, some come with pickups, most do not. Adding a pickup is simple to do however, as I mentioned above. It all depends on what kind of gigs you’ll be playing and what, if any, amplification you’ll need.

This week I’m finishing up a review of a newer Meinl slap top that came with electronics built in. Stay tuned here at Serious G.A.S. for that in-depth comparison and hear how the pickups fare, compared to the sound through microphones.

Which way do YOU think will win?? 😉

“Tab” Cajons

Now, these are not a box. At least, not much of one. They are basically just a slightly hollow slab of wood or plastic about the size of a computer tablet, so their bass response is, uh… pretty non-existent.

Still, if you don’t mind low volumes (most people mic these) and a different approach, this stripped-down approach to the cajon and bongo sound might be just the ticket for your musical explorations.

You could also, as with the others, stick a piezo pickup on the wooden surface and send that signal through the P.A. or amp, instead of mic’ing it.

If you don’t amplify it, then you’re sure to be drowned out if you have several other louder instruments jamming with you.

To watch a video of a tablet player, click THIS LINK.

Electronic Cajons

Like the portability and ease of the cajon, but want a wider array of sounds to choose from? No problem! Enter the electronic cajons!

These products give you a box, or a slab, of wood to pummel, but they also provide an electronic system that will trigger dozens of other desirable percussive sounds. Any of you familiar with MIDI triggering will know exactly what I mean.

By far the most popular of these models is the Roland EC10, which you can hear in all of its glory by GOING HERE.

This kind of approach certainly will brand you as a cajon player who has, at any needed moment, a diverse and well-rounded sound set that can complement any song genre. You can even sound just like you’re playing a real trap kit if ya want. The Roland unit, for example, provides SIXTEEN different drum kit sound samples, giving you just the right kit sound for just about any genre of music.

And expanded sound boundaries makes for more and better gigs, right? Riiiiight.    😉

“BASH”-able Brands!

There are certain companies in the percussion industry that stand out for good reasons. These are the manufacturers that:

• put in a good amount of research for their designs
• have excellent return policies
• have excellent quality control in place
• use consistent manufacturing techniques
• have a good track record of dependability in their products.

The companies that readily fulfill these expectations, in my experience, are:

• Tama
• Meinl
• Pearl
• Latin Percussion (LP)
• Roland

Are there other small companies, and even individuals, making cajons of all styles, colors and sound qualities across the globe today? You bet! One quick search for a cajon on “Etsy” will show you what I mean.

If you wanna support the little guy, go for it. Feel free to explore the vast Internet frontier of home-grown rhythm boxes. You’ll find hundreds of weird and (sometimes) wonderful options all over the Internet, Make sure you ask about warranties, shipping costs, repairs and the like before you buy. The “little guys” don’t often have the support in place after the sale that we’d like to trust is there.

With the large corporations that I listed above though, you’ll tend to get a lot more color and style options, as well as a solid warranty to protect your investment.

So, if dependability and “BAM” for your buck is important to you, stick with the companies I listed. They have a long, respected history and, as I’ve experienced, won’t let you down.

“PUNCH”-ey Price Particulars!

In case you’re wondering what separates an expensive cajon from a cheaper one, here are the typical places you’ll find major differences:

• the type and quality of the snares
• the ability to change the snare tensions
• the type and quality of the box wood
• the type, quality and/or adjustability of the frontplate of the cajon
• the presence (or not) of electronics
• the thickness of the wood used
• the sound port size and location
• the artistic detail of the choices and assembly of woods

Here’s a bit of insight, by the way, if you ever run into the following designations: if the cajon you get does NOT have snares inside, it’s designated a “Peruvian style” cajon. Basically it sounds like you’re only playing a crate or a box (remember the African slaves in Peru?).

Those cajons with snares installed (which is by far the majority) are called “Flamenco style” cajons. This is what allows modern day cajons to sit in for full drum kits for acoustic bands, the fact that you can get a low kick and a high snare sound out of one small instrument.

There. Now you’re knockin’ in the know!

“FLOG”-able Favorites!

So, if cajon is in your future, either because you’re going to begin pummeling wood with a beat, or because you’ve been doing that for a while already, here are two rave recommendations for ya…

For Beginners:

You’ll want a good instrument to start on, but you probably also want great value and a lower price, since you’re just beginning to check this Peruvian “crate” thing out. No worries – the Meinl Compact Jam Cajon is your best bet.

This cajon is slightly smaller than most of the higher-priced models, but that just means it’s lightweight and easy to carry to gigs!

Because of its smaller size though, it’s not going to pump out as much low end as the bigger, more expensive models. You can mitigate that, however, by putting a mic on its sound port and cutting the high end through the EQ on whatever mixer you’re running through.

If you’re going to play without any amplification, this cajon will be fine as long as there’s not too many other musicians, and as long as everyone else is playing non-amplified instruments like you are.

It’s got a 2-year warranty so you’re covered if anything goes wrong. A definite benefit to have when you’re first starting out.

To get a quality cajon made by a respected manufacturer, that’s this portable, for under $70… in a word: sweet.

To see it and HEAR it in action, GO HERE!

To pull the trigger and start makin’ some crowd-gathering street concerts in towns near you, use either of these links and go BEAT CRAZY:

For Intermediate to Pro:

You’ve been in this game; you know your stuff. But maybe you haven’t peeked into the market recently to see some of the new offerings.

My favorite cajon sound this year comes from a newer company… out of Sweden, believe it or not! Valter Percussion is producing, in Europe, a series of cajons that sound GREAT. I’ve watched several videos on their products and am really impressed by the pro sound they get out of their designs.

My favorite they’ve made is the “Big Box“. To my ears, it’s a cajon that could really fool people’s ears into thinking that they’re listening to a real drum set. The bass hits sound so much like a real kick drum hit it’s freaky! It’s mostly because of an internal baffle they put on the front plate. An excellent innovation that makes all the difference!

Unfortunately, no one here in the States sells them. If you want to though, you can personally special order one for yourself via their WEBSITE HERE.

If you want a no hassle, get it here, now, kind of product, then I’m really stoked by the Kevin Ricard Signature String Cajon by Latin Percussion. This cajon has great tone, a superb look, the latest ergonomic form, and tuning flexibility unparalleled by most other cajons. Let Kevin walk you through what sets it apart by watching THIS VIDEO.

Kevin Ricard has played for Sting, Kenny Loggins, American Idol, and had a long stint bein’ the groove meister for the Tonight Show as well. The dude is the epitome of what a professional is all about. The fact that he helped design this cajon and is proud to put his name on it… is all the “POW!” we need to know. This instrument is going to serve you well.

So check the specs and get your own bit of “BOOM!” Kevin’s pro beat sound is one click away…:

Time for Woodshed WHACK-ing!

One of the best parts of getting an instrument is… playing it! Ahhh, the joy of woodshedding for days, and days, studying songs, patterns and approaches… and soon finding that YOU can really make the instrument speak! As you accumulate skills through tapping, beating, punching, slapping or battering your own cajon, it will become easier and easier to slip into any song and be a great rhythmic accompanist with the cajon.

At that point, you’ll probably find yourself getting called on to play with others frequently. With practice will come renown. You’ll then probably get serious G.A.S., like the rest of us, and just have to have a couple more (or five… or ten??) expressive cajons for your collection.

But here’s where ya start. Get that beat box in your tremoring hands and strike away… who knows what spotlit stages await you?!!

Let us know here at Serious G.A.S. how your cajon journey goes. Are you taking the plunge and starting to play? Are you an old cajon pro? Have you tried the latest, greatest electronic approach?? Let us know in the Comments section. We’re all gear heads, anyway, so all your stories intrigue us!

Until we all sit in a drum circle and jam… go… make… sounds!!

Teaj