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you are quoting a heck of a lot there.
[QUOTE]blah blah blah[/QUOTE] to reply to barbeloh.
Please remove excess text as not to re-post tons
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[QUOTE="barbeloh:1044675"]yay for French grip, use it all the time For me the blast is all about the fingers. Get a good fulcrum and develop the strength of those fingers. That's all there is to it. Witness the master: <object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/eqTC3-nTZro&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/eqTC3-nTZro&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object> (ridiculous angle on that wrist! Jesus) if letting the fingers do all the work (following up on the initial stroke) is what you mean by the "push-pull" then of course that is the way to go. Thing is, fingers alone won't cut it on a cymbal or hi-hat since the response is so different. This is what makes the Moeller tech. necessary - so you have to have the fingers carrying out the blast on the snare while getting the arm way more into it on the ride or hat. (What you get if you use the moeller on the snare too is the kind choppy, uneven volume, if note-for-note accurate, blast that Marco Minneman was playing on the Necrophagist tour. He was an AWESOME drummer but it was clear that he hadn't been drilling grind at all [ditto re: his 2-footed blasts], although by now I imagine he could do it in his sleep.) [/QUOTE]
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