Through other masterful hands, we can hear everything a drum set can give; here, those of our friend and acclaimed professional whom we present in these pages. We can also add the interesting touches in this instrumentalist's teaching approach, which give him a special distinction because of its connection to psychology. A musician who pours himself into sharing, listening, learning and passing on everything he receives through his communication in numerous master classes and clinics. It is a pleasure to have David Barcos with us.
Brief Biographical Notes
Graduate of Berklee College of Music in Performance,
Master's in Neuro-Linguistic Programming,
International Endorser for Sabian Cymbals, Remo Drum Heads, Pearl Drums and Vic Firth Sticks.
Author of the Pro-Drumming System drum method (228 pages with 2 CDs, audio and video)
Co-Founder and General Manager of Elite Pro-Seminars.
As you know, we like to share the experiences and opinions of industry professionals, and in your case, the psychological applications you bring to the teaching you do are of great interest to all our readers. What is your method based on, and where did your intention come from?
My method is based on empowering drummers to reach their full potential as musicians and as people. The whole method is based on a hierarchical order. I believe that in anything we want to improve and excel at in life, there are already proven strategies that can help you move forward much faster, help you unleash your most powerful resources and, as a result, produce truly extraordinary results. Then there is also a very specific order for applying all these concepts to reach what I call an “Optimal level of performance.” The order, or syntax, is absolutely crucial for reaching an optimal level of performance. It would be the equivalent of having, for example, the exact digits of your best friend's cell phone number and dialing them in a different order. That change in the order of the correct digits when dialing his phone means you don't get through to him. It's the same on the drums. You can know the material but, if you don't know how to apply it in the right order, unfortunately you'll progress more slowly, waste your time and inevitably feel pain, incompetence and frustration. I know, because I myself have suffered the terrible consequences of this. That's why I now feel a burning desire to share with people everything I've learned over the last twenty-something years of my life by delivering specific, proven and powerful tools that let them enjoy a much more pleasant, fun and satisfying path while they reach all their goals.
To what extent do you think the information you offer enriches those who share in it?
I believe the greatest wealth we can have in music, and in life too, is to enjoy our own process of growth and improvement at the highest level. To feel completely motivated and excited as we head down the path toward achieving all our dreams. For this reason my primary focus when I do seminars, clinics or master classes is not only to get people to learn, but also to make the whole process something truly special, fun and memorable. Because when all these elements are combined, there is a transformation in people's musical quality so surprising that it's truly extraordinary to see. In my opinion the ultimate wealth is being able to enjoy the path toward our goals to the fullest, continuously.
Speaking of drums: what is your kit, what would you highlight about it, and why is it set up the way it is?
My kit is a Pearl Master Custom (MMX). It has four plies of maple, and it's a sound that really seduces me every time I hear it. Ever since I was very little I've always been drawn to the Pearl sound and, today, more than ever, it still is. I feel very fortunate, grateful and privileged to be an endorser of this great brand.
My setup is:
Pearl MMX
(4-ply maple)
10”x 9”
12”x 10”
14”x 12” (hanging)
16”x 14” (hanging)
22”x 16”
14”x 5 1?2 Free Floating Snare
The reason for my setup has to do with the fact that I now do a lot of clinics and seminars, and it's what best suits that situation. Although what dictates whether I use one setup or another is primarily the style of music I'm playing.
When should you use an 18, 20 or 22” bass drum? Is it purely a matter of taste?
Personally I use the 18” bass drum primarily for playing jazz, the 20” for styles of music like fusion and situations of that sort, although if I need to play things involving double bass drum or double pedal I prefer the 22” bass drum. It has the best response for those situations.
Focusing on the snare drum. What are your favorite snares? Metal or wood? When should a drummer choose metal and when wood?
My favorite snare is of course the 14”x 5 1?2 Free Floating Snare. As for metal or wood, I like wood more. It strikes me as a warmer sound. I think sound is something so personal that I don't have specific, defined categories for when to use wood or metal. All I would say is that it's the music that should really decide whether it accepts the sound or not. In other words, if the sound you've chosen clashes a lot with the type of music you're playing, that would be a very good time to try new options. What I always say when I do clinics or master classes and talk about sound is that “the only bad sound is the one you don't like.”
Cymbals. What is your advice on this element and what is your choice?
The advice is much the same as before when it comes to sound: choose what sounds good to you. I think Sabian has made the difference from the very start and still does today, because they keep doing extraordinary work with all the different cymbal models they have brought to market. They have a gigantic variety of sounds to choose from. They are innovative in what they do, they know musicians' needs and they are also absolutely committed to their customers being truly satisfied with their products. My choice of cymbals is:
14” Rock Hats HH
13” Fusion Hats AA
10” Splash AA
12” Splash AA
17” Thin Crash AA
17 Fast Crash AA
19 Xtreme Chinese AA
20” Heavy Ride AA
Following the line of the rest of the interviews, what do you think about the importance of miking when recording or playing live? Do you have any mic preferences?
I think miking is very important both live and in the studio. Although technique is also largely responsible for producing one sound or another. My preference in mics is Shure. (Beta 98, SM81, etc.).
What are your current and future projects? Where can we see you live?
I have several current projects. I'm finishing the filming of some instructional videos. In January I'm starting a national clinic tour to promote the Pro-Drumming System method. I'm also finishing a book on psychology and motivation that will be published in March. Once that book has been published I'll begin a tour of Mexico, Costa Rica and other Central American countries, giving motivational talks at universities in those countries, which are also held here, in this country. In the spring I'm going to New York to record a DVD and an instructional video as well. In June, I think, I'm also going to Australia for an international drum festival. And in the summer we'll carry out the Elite Pro-Seminars high-performance programs for both the emotional and the musical spheres.
Finally, our open space for you to share your recommendations with all the readers who are following you right now. What do you recommend they do to grow musically and professionally?
That they always keep a burning desire to learn and improve. That they have faith, patience and, above all, that they not waste their valuable time trying to reinvent the wheel. Because whatever their goals, without a doubt there are people right now who can help them reach what they want in a faster, safer and more effective way. That they devote their time to looking for models of excellence. Those models are, ultimately, the ones who have the strategies that really make the difference. And finally, I'd say that if they want to truly enjoy authentic musical quality, they should commit to continuous, lifelong improvement while choosing to enjoy the path toward their goals to the fullest.
Not without first welcoming you to our “circle of musical conversation,” we say goodbye, thanking you for your warmth, promptness and kindness in sharing your experiences and joining the common interests we share in these pages.
Thanks to David Barcos.
David Barcos plays exclusively:
Sabian Cymbals, Pearl Drums, Remo Drum Heads and Vic Firth Sticks.
THE KIT
Cymbals:
- 14” Rock Hats HH
- 13” Fusion Hats AA
- 10” Splash AA
- 12” Splash AA
- 17” Thin Crash AA
- 17 Fast Crash AA
- 19 Xtreme Chinese AA
- 20” Heavy Ride AA
Drums:
- Pearl MMX (4-ply maple)
- 10”x 9”
- 12”x 10”
- 14”x 12” (hanging)
- 16”x 14” (hanging)
- 22”x 16”
- 14”x 5 1?2 Free Floating Snare
Heads:
- Snare: Coated Ambassador
- Toms: Clear Ambassador and Coated Ambassador
- Bass drum: Power Stroke 3 and 4, clear
Sticks:
- 5 A Wood tip
