Syrinx

Wow do you people have families and jobs!? I put in a half hour to 45 minutes on my electronic drums, usually at 5:00 am.

WOW!!! Stuff like that leaves me speechless.

Saw them last night in Toronto. Sat right beside the stage. Awesome show!! Chad Smith is a powerhouse and John Fruschianti (spelling?) is one of the most tasteful guitarists in rock music. And Flea - wow!

That is a very cool site. I was actually the second high bidder on the auction - the one who caused the final price to end in 2112. I was able to keep in touch with all the parties and I now own several of the extra/ oddball items from this set.

The flight case only, does show up on Ebay on a fairly regular basis.

QUOTE (Grandpa Grizz @ Jan 5 2006, 12:35 PM)

Wow. That's way more than life size, buddy.

QUOTE (Drumnut @ Dec 30 2005, 12:33 AM)

QUOTE (Syrinx @ Dec 29 2005, 09:11 AM) I have one of Neil's cowbells from the Hold Your Fire Tour.  No brand on it, but it is black and big.  It had broken off of the stand as you can see where the soldering is damaged. That would be interesting to see, can you post a pic of it? Here are a couple of pics. This cow bell is from the Hold Your Fire tour and measures 8" long by 5.5" at the wide end and 3.75" at the narrow end. http://i3.photobucket.com/albums/y69/GRohn/NPHYFCow2.jpg http://i3.photobucket.com/albums/y69/GRohn/NPHYFCow1.jpg

I have one of Neil's cowbells from the Hold Your Fire Tour. No brand on it, but it is black and big. It had broken off of the stand as you can see where the soldering is damaged.

All that being said, experiment! You can get many different sounds out of a cymbal. In my opinion there is no one correct way to hit a cymbal. Depends on what you are trying to get from it.

SOLD OUT!!

This is a really interesting thread. I haven't had a chance to read it all, but I thought that I would add my 2 cents. I bought Fly By Night, the day it came out, and followed that up only 6 months(!) later by buying COS on the first day. Yes, back then bands seemed to release a new lp every 6 months or so. Don't see that much these days! I have been a fan since the first album. Growing up in Toronto, Rush were very big from the beginning. There was a local buzz almost right away. I was able to see them a number of times in the mid to late 70's. I was at the ATWAS show. I remember hanging outside the Colonial tavern as an underaged kid, trying to hear the band. I had a band in high school back then and we were covering Working Man and some other early Rush songs. Rush was IT, with my friends and I. You had to be there to realize how BIG they were in Toronto in the early years. Their annual New Years eve gigs at Maple Leaf Gardens were a ritual. Rush is so ingrained on my memories of my high school years that every time I hear one of the first 6 albums, it has a pretty intense effect on me. For me, there will never be another Rush album that means as much as 2112 or Hemispheres or AFTK. They haven't and could not possibly top those three in my mind, only because of when they were released in the context of my own life, and just how huge those albums were in Toronto at that time. I know they were big elsewhere, but there was something about "local boys make it big" hometown pride that seemed to add a little magic. I actually lost touch with the band in the mid 80's until really the late 90's. It was a combination of my changing musical tastes, and my changing life and all the additional responsibilities of "growing up". I have come back with a vengeance and may be a bigger fan now than ever before. I have become familiar with all those lp's issued when I was "out of touch". Rush remains one of the truly great bands of all time in my opinion. I can understand for someone who discovered 2112 only years after it was released, that it would seem ponderous or pretentious, or not up to some of their later work, but for me there is no greater Rush moment than listening to side one of 2112.

QUOTE (R.G @ Sep 21 2005, 03:30 PM)

QUOTE (Syrinx @ Sep 21 2005, 01:14 PM) I am a huge Neil Peart fan.  He is an amazing and huge influence, but anyone who slags John Bonham's drumming, knows nothing about drumming!!  A lot of noise!?  John Bonham is one of the great rock drummers of all time.  Powerful as anyone, but with great technique.  Tasteful, swinging, awesome fills.  His triplet fills with the bass drum on Good Times, Bad Times - wow!  Try keeping up with him on Rock & Roll.  If played correctly your left hand will be screaming, if you can play it at all.  Again, to play like he did took superb technique.  It's not all about how many notes you can cram into a song, or how many drums you have - its about playing for the song.  No one did it better, in my opinion. that wasn't very polite, it is merely my opinion. how can you presume to know the extent of my knowledge of drumming? I am sorry if you feel I was not polite, but I found your statement regarding John Bonham's drumming to be ludicrous at best. I have never met a drummer who didn't have the utmost respect for Bonzo. You stated "sure he creates a lot of noise, but that's about it. " To me that shows very little knowledge of drumming in general, or of John Bonham's style, and contribution to the legacy of drumming. Just my opinion.

I am a huge Neil Peart fan. He is an amazing and huge influence, but anyone who slags John Bonham's drumming, knows nothing about drumming!! A lot of noise!? John Bonham is one of the great rock drummers of all time. Powerful as anyone, but with great technique. Tasteful, swinging, awesome fills. His triplet fills with the bass drum on Good Times, Bad Times - wow! Try keeping up with him on Rock & Roll. If played correctly your left hand will be screaming, if you can play it at all. Again, to play like he did took superb technique. It's not all about how many notes you can cram into a song, or how many drums you have - its about playing for the song. No one did it better, in my opinion.

Usually they get on stage in the dark, and he can approach the set from behind. At Sarstock a couple of summers ago in Toronto, they played a huge stage in daylight, and he along with the other two, ran from side stage across to his set. You are right - now that you point it out, it occurs to me that that particular stage entry sticks in my mind because it was so unique from all of the other times I have seen Rush.

I picked those up over the years. They are all authentic Neil Peart bass drum heads. The vapour trails one was a spare (not stage used), but still the real thing. The difference on that one is the Remo logo was not blacked out yet - as on the ones Neil used on stage.

Here are a few for you to look at! Not for sale though!!

starman head

gup head

vapor trails head

Well I will be the first one to say Moving Pictures! I believe this was their biggest lp, but it should have been a lot bigger in my opinion. All us Rush fans love it, but it still doesn't get as much respect overall as many other lesser albums by other "bigger" bands. Greg

QUOTE (yyz @ Nov 21 2004, 02:25 PM)

QUOTE (Drumnut @ Nov 21 2004, 02:40 PM) You can find a good graphics shop to make one for you for around $50.00 plus the cost of the head. I'm a collector junkie but, $3300.01 is a lot of money for something like this. Exactly. You can also buy preprinted Beatles autographs, a fake Rolex, a Ludwig Bonham tribute set, a reprint Bobby Orr rookie card etc. etc., but they are not the real thing. Collectors want the real thing and are willing to pay for it. That is what drives Ebay, Sothebeys and all the other auction houses. Whether it was too much money is a personal opinion, but to say you can reproduce the head for $50 is irrelevant. Greg

I would have to go with 2112. Probably not their best, but the one that means the most to me. I was blown away by it when it came out - must have played that vinyl 100's of times. Greg