Lmkt a écrit :En direct de son forum, il explicationne la base de son mouvement :
John Longstreth a écrit :
With double strokes its easy.
Start with a normal flat foot like drop. Work on lifting your toes as the beater hits the head. Your toes should basically be where the top of the pedal board rests when the pedal isn't being played. After a while it wont feel like your lifting your toes. Spend a long time developing this. Second, start working in the toe strike(2nd strike). The toe strike acts as a lift for the rest of the leg. Spend time developing SLOW 16ths. Another good exercise is the shuffle. Develop a shuffle with each foot, have fun with this one. Consider "Hot for Teacher" or "Full Bug" a goal. Don't like Van Halen? Try Psycho Holiday by Pantera. In developing a shuffle, make sure you really examine the toe strike and over accentuate this strike to bring out a true shuffle feel. Stop here! Explore this shuffle, see where it can take you in your playing. Seriously, spend an entire practice session with it. Learning to enjoy the journey and not just rush to the destination is golden in practicing.
Once you have developed a solid shuffle with each foot try putting them together. What i found is the extra attention paid to the toe strike in developing the shuffle created the extra power needed in the smaller muscles of the shin. This over compensation served me well in creating an even open stroke roll. This is not a bounce or a double bounce, it isnt a pump. Its a heel toe stroke and it is a REAL double stroke. As you get faster, you will need a different rate of leverage. This is why you see the ball of my foot in the center of the pedal board and my arch at the heel block.
Also, my little motto "be prepared to spend more time playing slow than fast" Its ANNOYING i know. BUT......long uninterrupted periods of time concentrating on technique, breathing, relaxation, and COUNTING OUT LOUD trains and develops the body and limbs. With this method, you will develop control and your body will not lose its sharpness with the technique if you go a long period of time not playing. Going balls out for 20 seconds over and over only gets you so far. I speak from experience.John Longstreth a écrit : It took me about 2 months of practicing 3-4 hrs, 6 days a week. However, it was like a buzz roll........im STILL developing it. Lately ive been keeping it at a slow pace to develop the toe strikes and give it a true open stroke 32nd note feel .
Désolé mais mon anglais niveau 6ème est un peu just !
Ya moyen d'avoir un petite traduction siouplé ?!
: ça blaste et ça soloïse (pardon pour le barbarisme 
) dans tous les sens avec un art consommé de la furie technique. Incroyable de penser que ces parties hallucinées aient pu être réalisées par de simples humains - qui repoussent les limites de l'entendement en termes de rapidité instrumentale. Et le père Longstreth n'est pas en reste, qui passe le mur du son en permanence tout en nous infligeant des parties rythmiquement étourdissantes, et les doigts dans le nez. A noter également la présence d'un morceau qui devrait rapidement s'avérer culte dans le répertoire d'Origin, j'ai nommé le monstrueux "Saligia", qui prouve - pour ceux qui en douteraient encore - que le combo ne se contente pas de pulvériser les bpm mais sait aussi composer. Terrassant.