The characteristics that you should evaluate when buying drumsticks are:
Wood Fibers: Fibers should be uniform from tip to butt without splinters or roughness.
• Weight: Each drumstick in the pair should be of equal weight unless purposely mismatched for special use – a rare exception! This characteristic has great influence on the balance and uniformity of the timbres.
• Length and Diameter: Test different models and see which gives you the best feeling in your hands and arms. Thicker sticks are more durable but are not the best option for musical styles that require a lighter touch. Talking about the length, we advise you to create a measure that is an “extension of your arms” to the drum kit. Longer sticks will give you a longer reach but they will be heavier.
• Tips: Wood tips give a natural sound that is generally softer. A good wood tip should have a well-defined circumference and be free of surface cracks. Nylon tips produce a more brilliant sound, especially on the cymbals, and are more durable. A good nylon tips should be well affixed be solid, without notable imperfections, and have a well-defined shape.
• Balance: A pair of drumsticks of equal weight is identified as “balanced”. “Balanced” sticks give more control on both attack and rebound, and produce similar timbres.
• “Feel”: Hold the drumsticks the same way you will use them when you are playing to get the “feel” of the stick. Roll and tap each stick on a hard, flat surface like a counter or table . Check the sound quality and vibration of each stick. Don’t purchase sticks that sound hollow, buzz or vibrate, are cracked or crooked. “Feel” if the pair gives you the desired comfort, control, sensitivity, sound quality, volume and good grip. A good drumstick should give you at least most of the desired qualities.
Liverpool is the market leader because of the excellent cost-benefit!
You choose the wood. Success chooses you.
Liverpool makes the best drumsticks in Brazil and uses only the finest raw materials. Get to know our noble and exotic woods and their special characteristics.
Flexible and high-impact resistant, hickory is the preferred wood of most drummers. This wood is also considered by the majority of drummers to be the most comfortable during heavy striking.
It is characterized by a refined timbre that originates a full and versatile sound quality.
Superb characteristics of elasticity and density produce an intermediate and softer sound.
The lighter weight of the wood allows more agility and comfort for those who prefer a drumstick with larger diameter and grip. If you are thinking about cost-benefit, this is the best option to you.
Purple Heart wood is heavy and hard, with an excellent resistance, beautiful and bright. Long wearing drumstick with incredible, natural purple coloring, vibrant texture and great rebound.
Eco Jatoba is a heavy wood with low flexibility and high resistance. The finish has a low luster and it is less smooth. This drumstick creates a louder sound on the drums and bright definitions on cymbals.
Eco Bio is a heavy and hard wood that offers the ideal volume and attack for the drummer that prefers a stick with a smaller diameter and grip. This wood has a high luster, medium texture, and excellent durability
Any drumstick, as good as it may be, has a lifespan according to the time of use and the way it is used. However, accidents do happen! Here are a few tips to help you avoid them:
1- When you get your drumsticks, check them over to make sure they do not have any cracks or are warped. Stay away from sticks that have knots or small holes in the wood, especially on the neck or head. The pair should be the same length, diameter and weight. On nylon-tip sticks, the tip should be attached well. Beware of sticks with humid wood evidenced by large stains, generally greenish. The surface of the drumstick should not be rough, uneven, or have deep cracks. The fibers of the wood (grain) should always run the length of the stick. If the grain runs across, the drumstick will be much less durable. To identify this problem, observe the ring-shaped or oblique marks along the stick. Test the drumsticks by hitting them on a hard surface and feel the vibration. Don’t accept sticks that sound hollow or cracked.
2- At home, in the studio and at shows, don’t store you sticks with anything heavy on them. Avoid humidity and excessive heat. If your hands perspire a lot when you play, when you finish, dry your drumsticks with a clean cloth. Don’t leave your sticks in the direct sun and don’t dry them in the oven! Leave wet sticks in the shade with good ventilation.
3- As soon as you finish playing, put your drumsticks away in the sleeve. If you don’t have the sleeve, use a rubber band or anything to keep the pair together. Playing sticks that have the same amount of use helps to make them last longer.
4- While every drummer has their own stroke and technique according to their musical style, don’t forget that the thinner drumstick, like the 7A, generally can’t take the heavy striking force. They are made for a softer touch, like jazz, lighter and quicker. For heavy styles, like hard rock, use a thicker stick like the 5A, 5B, 3A, 2B…
5- Study different rudimentary techniques and their application. It is quite probable that you can get good volume without too much striking force on both your drumsticks and drumheads making both last longer!
Butt (Grip): The butt - let’s call it the grip – is the place where you hold the drumstick measuring approximately 130mm (5”). Liverpool carries various models with rubberized paint allowing for a more secure grip. A good stick is rounded at the end for a comfortable grip in the palm of the hands. Furthermore, it is also important that the entire stick is perfectly cylindrical, without deformities like cracks or splinters, so it rotates evenly while used. Many drummers play with the stick inverted striking with the butt end for a louder, heavier and deeper sound.
Shaft: The shaft is the main part of the drumstick. The proper length and the diameter, along with the weight of the stick, will facilitate the function desired for each particular musical genre. Other important factors are flexibility and resistance. For example, rock drummers usually prefer a heavier drumstick with a longer shaft that can resist the constant and heavy contact with the rims of the drums while jazz drummers opt for lighter sticks with a shorter overall length.
Shoulder: The shoulder of the drumstick is where the taper begins; just between the shaft and the neck of the drumstick. The position of the shoulder will determine the balance point of the stick and the amount of pressure that will be directed to the drums and cymbals.
Neck: This part of the drumstick creates important characteristics. The longer the stick is, more flexibility and rebound it will be. Those with shorter or thicker necks created less flexibility and rebound but allow more striking force and volume on the strike. Make sure the neck is properly formed as it is the area that has the most wear and tear.
Tip: The tip is the link between the drummer’s movements and the quality of the sound that is produced. The tip should be dense and resistant as it is the main point of contact (on a stick with tips) with both the drums and the cymbals. It’s function is extremely delicate for this reason the project each model is studied and the turning must be perfect.
Liverpool offers drumsticks with many types of tips. Select you drumstick in our site and learn about the format and sound produced by each one.
Norte-rio-grandense, músico desde os 09 anos de idade já tocou com várias bandas renomadas do nordeste.
Durante esses 28 anos de música já gravou trabalhos com artistas locais e nacionais, sua vasta experiência em gravações o proporcionou criar seu próprio estúdio de gravações: Hall Studio Natal.
A tecnologia conecta esse grande músico às bandas de todo o país através das suas gravações de bateria online.
Atualmente está trabalhando como baterista com o artista natalense Pedro Luccas onde consegue expressar sua musicalidade tocando diversos estilos musicais.
Juan Ordoñez González
Juan Ordóñez was born on January 2, 1992 in Guayaquil - Ecuador. He started in music from a very young age, started playing drums at the age of five in a church attended by his parents. At the age of 7, he took classes with Mestre Salas, a renowned 70s drummer from Guayaquil, started his musical career at "Conservatorio Rymsky Korsakov" in 2009. Currently he graduated in music at "Universidad Católica Santiago de Guayaquil". Juan Ordoñéz received lessons from the renowned drummer Carlos Bravo. He participated in several drum clinics with Sergio Riggianni, Horacio “El negro” Hernández, Aaron Spears, Zurdo Ortega, Don Famularo, Eric Moore, Calvin Rogers, Robert Sput.
Juan Ordoñez has played for several national and international artists, such as: Greeicy, Josue del Cid, Jose Luis Orellana, Roberto Orellana, Chueco Viola, A2h + Clip Deemo, El Pessoal Quino Orrantia, Gadiel Espinoza, Cadaver Exquisito, Bmol Aaron Miller, Jenny Villafuerte, Pamela Cortés, David Triviño, City Band Voices La Iguana Invisible La Chicha Power Sergio Vivar Toño Navarrete Mirella Cesa Alejandro Jaćn Nikki Mackliff, City Lights Church NY, Daniel Betancourt, Nicol Rubira, Viviana Gómez, Orquesta M. de Guayaquil, Roberto Bolaños , Roberto Bolaños Jr, Diana Ávila, Los 4 Jinetes del Apocalipsis, El Cholo, Sonidos Banda CCI Honduras CEN Jazz Ensamble Cris Alcivar Jingle Jazz 2017 Javo Valladares.
Born in 1971 in the city of Brasília as Marco Aurélio Mendes, Bacalhau began his career as a drummer in the band Little Quail and The Mad Birds., Founded in 1988. In the band he participated in three albums and an EP.
After leaving Little Quail and The Mad Birds, he founded the band Rumbora, in which he participated in two albums 71 and the Positive and Operative Army.
He recorded with important names in Brazilian music such as Herbert Vianna, DeFalla, Gabriel o Pensador and Domenico +2. He also participated in the soundtrack of the book and children's play, "Eu e meu Guarda-Chuva" (composed by Titã Branco Mello and Cabine C. Ciro Pessoa).
He played with the English band The Mission in São Paulo and Recife, and on the program Altas Horas, by Serginho. He worked in the product development area at Orion Cymbals and had a line named after him, which has been out of print since February 20, 2008.
In 2002, he became a drummer for the São Paulo rock band Ultraje a Rigor. Currently, in addition to joining the band for shows and recording discs, Bacalhau is part of the program The Noite with Danilo Gentili (SBT) together with the band Ultraje a Rigor.
José Miguel Fabre was born in Guayaquil, Ecuador, in October 1997. Rock, pop, hip hop, R&B, experimental music, noise and metal drummer.
At age 14 he began his drum studies with Igor Icaza, focusing mainly on metal and rock. Two years later he entered Carlos Albán Estudio de Percusion, to study jazz and music theory.
Later he continued his drums studies with Raúl Molina, focused on jazz, hip hop and improvisation.
In 2019, he was awarded a scholarship for musical excellence from Universidad San Francisco de Quito, in which he is currently studying Contemporary Music Performance.
Throughout these 10 years of career, José Miguel has had the opportunity to share his talent with important figures in Ecuador´s music media, and other countries, which has led him to position himself as one of the most recognized young professional musicians in Ecuador.
Nowadays, he performs with the bands Lolabúm and Desarraigo, offers his services as a session and recording musician for various local bands and he is also a private drum teacher.
The gaucho Ébano Santos, from Porto Alegre (RS)
He started playing drums at the age of 12. He played in several “garage” bands until he was 18, when he started his drumming studies with professor Carlos Ovelha and soon after, with Moisés Piangers. Since then, he started to play professionally in dance bands, bars and nightclubs in the region of Serra Gaúcha.
In 1994 he met the legendary Argus Montenegro, and soon started to learn more about Brazilian rhythms. But, it was with the classes with the genius Kiko Freitas that Ébano went deep into the study of the drums.
In 1999, when he converted, he joined the Encontros de Fé Church as a contracted musician. This experience opened the door for him to play with several artists from the gospel segment, national and international, such as Marcos Witt, Ron Kenoly, Chris Durán, Davi Sacer, Gerson Santos, Marquinhos Gomes, Paulo César Baruk, Bo Järpehag, Soraya Moraes, Billy Bunster , Júnior Oliveira, Nani Azevedo, Tanlan, Evandro Alves, Luis Fontana, Asaph Borba, Fabiano Soares, Cristiane and many others. He was part of the band Êxodo, with whom he recorded two albums that were very successful, “Situation” (2002) and “Quantas Vezes Mais? ”(2004). In addition to recording several works in the studio, he recorded his first instrumental project in a duo, with keyboardist Thiago Marques, Grandense, having received excellent reviews in the specialized media.
Working in Porto Alegre, for over 20 years, Ébano Santos is one of the most requested teachers in the country. In addition to teaching hundreds of beginners on the instrument, he has already attended drummers who are true references in the national market in his studio or online classes.
In 2015, in the December issue of the American magazine specialized in drums MODERN DRUMMER, he was listed as one of the 100 TEACHERS IN THE WORLD appointed by the World Battery Ambassador, Mr. DOM FAMULARO.
Luigi Bolaños nasceu no Equador em novembro de 1998. Baterista latino, jazz, funk, pop, gospel, R&B, rock e metal. Começou a estudar piano e bateria no Conservatório Franz Liszt aos 5 anos. Aos 15, viajou com bolsa integral para o International Music Camp, na fronteira dos Estados Unidos com o Canadá; um acampamento focado em música acadêmica e jazz. Aos 16 anos, ganhou o prêmio Franz Liszt do conservatório onde estudou; prêmio concedido ao aluno mais destacado da temporada. Graças a este prêmio, ele participou do Five Week Summer Camp no Berklee College of Music em Boston, ganhando muita experiência na área contemporânea.
Depois de terminar seus estudos universitários, ele se formou em Música Contemporânea com subespecialização em Educação na Universidade de São Francisco de Quito (Berklee Global Partner), sendo um dos primeiros ex-alunos de sua classe e obtendo o reconhecimento Cum Laude. Luigi teve a oportunidade de tocar, gravar e dividir palco com grandes artistas equatorianos e de todo o mundo, destacando-se como músico profissional reconhecido na mídia. Apesar de ter se especializado na bateria como seu instrumento principal, ele também toca piano, percussão latina-sinfônica e canta. Atualmente trabalha como treinador de bateria na MusicLab Berklee City Music Global Network (Quito, Equador), dá aulas particulares, clínicas, masterclasses e é músico de sessão / performer.
♦ Reconhecimento Cum Laude na Universidad San Francisco de Quito.
♦ Bolsa de 60% para estudos no Berklee College of Music.
♦ Bolsa completa para o Festival de Percussão do Berklee College of Music.
♦ Bolsa de 50% na Universidade San Francisco de Quito.
♦ Certificado de cinco semanas de verão no Berklee College of Music.
♦ Prêmio Franz Liszt ao aluno mais destacado do Conservatório Franz Lizst.
♦ Bolsa completa para o Acampamento Internacional de Música.
Endorsee from Malaysia