Author Topic: New drummer and new album updates: What we know so far (*UPDATED 10/25/2011*)  (Read 66482 times)

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Offline bosk1

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This thread is a summary of what we know so far.  Further discussion, speculation, etc. in the appropriate threads is welcome.  But I thought it might be easier on everyone if we posted a thread and periodically updated it with the facts that we know are true.

Album details

Dream Theater's 11th studio album, A Dramatic Turn Of Events, is set for U.S. release on Roadrunner records on September 13, 2011.  The track listing is as follows:

1. On the Backs of Angels  (8:46)
2. Build Me Up, Break Me Down (6:59)
3. Lost Not Forgotten  (10:11)
4. This is the Life (6:57)
5. Bridges in the Sky (11:01)
6. Outcry (11:24)
7. Far From Heaven (3:56)
8. Breaking All Illusions  (12:25)
9. Beneath the Surface  (5:26)

The album is available for preorder on Roadrunner's site (as well as through other retailers) in four formats:

The album is available in the following formats:
-Standard:  CD only
-CD/DVD:  Standard CD with The Spirit Carries On documentary DVD
-Vinyl
-Deluxe edition:  CD + DVD + vinyl + instrumental only CD + digital download of the standard album the day before release date + turntable mat + lithograph + chance to obtain "ticket for life"


Short summary of DT's drummer situation

Mike Portnoy left the band in September 2010.  Shortly after, the band auditioned seven world class drummers:  1. Mike Mangini 2. Derek Roddy 3. Thomas Lang 4. Virgil Donati 5. Marco Minnemann 6. Aquiles Priester 7. Peter Wildoer.

Dream Theater and Roadrunner Records released a 3-part documentary about the auditions.  In part 3, the new drummer's identity is revealed.

Official trailer:  https://www.youtube.com/watch?v=yljVzWLlNa0

Episode 1 (posted 4/25/11):  https://www.youtube.com/watch?v=L609JsPFmmI

Episode 2 (posted 4/27/11):  https://www.youtube.com/user/RoadrunnerRecords#p/u/0/-vaDfcKzLbY

Episode 3 (posted 4/29/11):  https://www.youtube.com/roadrunnerrecords#p/u/0/2QHMQjH17aw

The band's eleventh album, titled A Dramatic Turn of Events, is currently being mixed and is slated for a September 13, 2011 U.S. release.

The first track, On The Backs Of Angels, was released on RoadRunner's YouTube channel June 29, 2011.



Chronology:

9/8/2010:  Mike Portnoy announces he has left Dream Theater.  An announcement from the band follows shortly thereafter.  It is revealed that Dream Theater will enter the studio and begin writing the new album in January 2011. 


10/18/2010:  Drummer auditions begin.  The auditions are held over a 3-day period.  It is later revealed that 7 drummers auditioned.

10/24/2010:  Mike Mangini becomes Dream Theater's next drummer.

11/5/2011:  Dream Theater notifies auditionees of the audition results.


1/3/2011:  Dream Theater enters the studio to begin work on DT's 11th album.


3/2/2011:  Dream Theater completes the writing stage for DT's 11th album.


4/18/2011:  James LaBrie began tracking vocals for DT's 11th album.


4/21/2011:  DT release video trailer of the new drummer auditions on the band's Facebook page.  https://www.dreamtheaterforums.org/boards/index.php?topic=22350.msg863060#msg863060


4/22/2011:  Comments from Peter Wildoer posted on this forum:  https://www.dreamtheaterforums.org/boards/index.php?topic=22350.msg863061#msg863061


4/25/11Documentary, pt. 1 now available for viewing!!!

https://www.dreamtheaterforums.org/boards/index.php?topic=22350.msg863063#msg863063


4/26/11:  Some additional information about the structure and length of the auditions from Peter Wildoer:  https://www.dreamtheaterforums.org/boards/index.php?topic=22350.msg863065#msg863065


4/27/11Episode 2 now up!

https://www.dreamtheaterforums.org/boards/index.php?topic=22350.msg863067#msg863067


4/28/11

Some comments about the process from Derek Roddy on his forum:  https://www.dreamtheaterforums.org/boards/index.php?topic=22350.msg863070#msg863070

Metal Insider posts interview with documentary director, Mike Leonard:  https://www.dreamtheaterforums.org/boards/index.php?topic=22350.msg863444#msg863444


4/29/11:

Peter Wildoer on his audition preparation:  https://www.dreamtheaterforums.org/boards/index.php?topic=22350.msg864295#msg864295

Peter Wildoer on receiving the audition results:  https://www.dreamtheaterforums.org/boards/index.php?topic=22350.msg865432#msg865432

Documentary, pt. 3 released:  https://www.youtube.com/roadrunnerrecords#p/u/0/2QHMQjH17aw

Dream Theater's new drummer is announced.  And the new drummer is:  Mike Mangini!


5/4/11:

Mike Mangini reveals in an interview with Modern Drummer Bogs that the new album is set for release sometime in the Fall of 2011.  Vocals and keyboards were being finished at the time of the interview.  https://www.dreamtheaterforums.org/boards/index.php?topic=22350.msg872335#msg872335

Another great interview where Mike Mangini reveals more information about the audition process, his work on the new album, and his drumming.  https://www.dreamtheaterforums.org/boards/index.php?topic=22350.msg872880#msg872880


5/11/11

John Petrucci and Jordan Rudess discuss Mike Portnoy leaving the band, the audition process, and writing the new album.  JP projects a September release.  https://www.dreamtheaterforums.org/boards/index.php?topic=22350.msg881259#msg881259


6/7/11

John Petrucci mentions that the band will likely play one song from the new album during the summer festival shows and then will base the album support tour in the fall around the new album:  https://www.dreamtheaterforums.org/boards/index.php?topic=22350.msg911803#msg911803

Album name, track names, and U.S. release date are revealed:  https://www.dreamtheaterforums.org/boards/index.php?topic=22350.msg911807#msg911807

6/28/11

John Petrucci announces mixing and mastering for the new album are complete.


6/29/11

The album's first track, On The Backs Of Angels, is debuted on RoadRunner's YouTube channel:  Listen here


6/30/11

Album artwork released:  https://www.dreamtheaterforums.org/boards/index.php?topic=22350.msg939978#msg939978
« Last Edit: October 25, 2011, 09:01:19 AM by bosk1 »
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Offline bosk1

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Re: New drummer and new album updates: What we know so far (4/21/2011)
« Reply #1 on: April 21, 2011, 06:56:14 PM »
This was just a quick summary.  PM me or post if I am missing anything important and I will put it in the first post.
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Offline bosk1

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Re: New drummer and new album updates: What we know so far (4/21/2011)
« Reply #2 on: April 22, 2011, 08:58:19 AM »
Just so you guys know, since I want to keep this thread as mostly a condensed, "one stop shop" for info., I'm going to be pruning out a lot of posts.  You guys can still post here, but unless something is really pertinent, I'll probably delete it after a little bit, since I don't want this to get beyond a few pages in length to allow people to quickly come here and figure out what the latest scoop is without having to wade through all the much longer threads.
"The Supreme Court of the United States has descended from the disciplined legal reasoning of John Marshall and Joseph Story to the mystical aphorisms of the fortune cookie."

Offline MajorMatt

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Figured this was a good place to put the download links for the 720p versions of the episodes when I have uploaded them so bosk can add them to the OP if he wishes. I'm doing this for those who cannot access the video in their country or if, like me, you want to keep a copy to view at your leisure. Of course if an official DVD release is announced then I will take the links down straight away.

As far as upload sites go, I've decided just to stick them on Megaupload, however, if you prefer another site or are having difficulties, PM me and I'll put mirrors up :)

Trailer:
Code: [Select]
https://www.megaupload.com/?d=S007QOBC
Episode 1:
Code: [Select]
https://www.megaupload.com/?d=P7XVNNEI
Episode 2:
Code: [Select]
https://www.megaupload.com/?d=NB8IKFFR
Episode 3:
Code: [Select]
https://www.megaupload.com/?d=GZ950KWY

Thanks,
Matt
« Last Edit: April 29, 2011, 02:39:42 PM by MajorMatt »

Offline Sixtease

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I uploaded the videos from Matt to Google Storage: a direct link, high speed, no ads:
trailer
episode 1
episode 2
episode 3

Offline bosk1

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4/21/11:  DT release video trailer of the new drummer auditions on the band's Facebook page (https://www.facebook.com/pages/Dream-Theater/7677942180).  The video reveals that the following seven drummers auditioned:  1. Mike Mangini 2. Thomas Lang 3. Virgil Donati 4. Marco Minnemann 5. Aquiles Priester 6. Derek Roddy 7. Peter Wildoer. 

OFFICIAL Youtube link to the trailer:

https://www.youtube.com/watch?v=yljVzWLlNa0
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Offline bosk1

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4/22/2011:  Comments from Peter Wildoer posted on this forum:

Hey there!

Well finally I feel I can post here. I've been following this forum quite closely since September and I want to thank you all for entertaining reading! Most of all I'm very impressed with the detective work around here and the enormous commitment concerning the audition, fantastic fans!

One thing I'm still learning are all the abbreviation you and all DT (see even I use these abbreviations now, ha ha ha) fans use like JP, JR, ANTR etc... It's like you have your own language.   ;)

I have so many things I've read over the last months that I would like to comment. I don't remember all and I'm not sure how much I can say without destroying the next video(s). I've been a DT fan since I saw the "Pull me under" video on MTV's Headbanger's Ball in the spring of 1993 and I don't consider myself being a guy that just wanted a gig and not being a fan like some may think!

First of all, I'm by far the least known guy out of all the drummers and I'm extremely flattered to be part of this drummer list!!! All the other drummers are my drumming heroes and I have lots of albums, DVDs, books from all of them.

I want to clarify one thing that was discussed here yesterday regarding the odd meter "test" the guys threw at us. First of all it was not like the normal rehearsal auditioning for DT, I mean it's DT! I was nervous for a month before the audition and when they told me they wanted to try some new ideas and then when they started playing the first idea I almost froze, ha ha ha. I could almost not hear what they were playing! I promise it was not easy.

Well, the guys are very humble and fantastic individuals and told me all the other drummers were kind of surprised too when presented to this test and that it was cool. Like already quoted here I got my head around it so and so and one idea we even jammed around. At the day of my audition even Virgil told me that I was in for a treat at some point on the audition, didn't make me less nervous, ha ha ha!!! All this said I can also add that I work as a math teacher.   ;)  I guess I'm the only one out of all the seven that don't do music full time but work a normal day job.

Here are two videos where I play more polymetric and "avantgarde" stuff. Just want to show you who don't know that I play more than death and thrash metal:

www.youtube.com/watch?v=gUC6Dy7D4i4
Read the description for the clip above, makes more sense then.

www.youtube.com/watch?v=ktLA0RfrYLc

I've written a quite extensive "diary" in swedish from the day I got the mail where I was asked if I wanted to audition up until after the auditions. It will be published in a swedish drum magazine soon. I'm working on getting it translated to english asap. So if you're interested in my personal view and thoughts together with facts about my audition then I'll keep you posted.  :)

I have my newly designed website www.peterwildoer.com up and running and will post more news there as soon as I can.



To Mladen: I'm the guy at 1:39, Lang at 1:44 and Roddy at 2:02.


Cheers and Stay metal!
Peter Wildoer
https://www.dreamtheaterforums.org/boards/index.php?topic=22228.msg854459#msg854459

Drummer World thread with some really good posts by Derek Roddy and Peter Wildoer on the auditions.

https://www.drummerworld.com/forums/showthread.php?t=74093
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Offline bosk1

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4/25/11Documentary, pt. 1 now available for viewing!!!

What was revealed: 

1.  Mangini was auditionee #1.
2.  Audition songs were A Nightmare To Remember, The Dance of Eternity, and an undisclosed (so far) ballad.

A later facebook post that day confirmed that "You can catch the next episode on Wednesday April 27th at 11 AM EST at Roadrunner Records YouTube Channel!"

Next installment:  4/27/11, 11:00 a.m. EST
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Offline bosk1

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4/26/11:  Some additional information about the structure and length of the auditions from Peter Wildoer:

Between the start of every drummer audition there were four hours. That left enough time for the drummer to audition, talk and get interviewed. Also the DT guys had a talk after each drummer auditioned.

I was the last one auditioning so there were no one after me. This is roughly what happened at my audition:
Meet and great, 10 minutes
Drum setup, tuning etc. 30 minutes
Warmup, 10 minutes
Jam, 15 minutes (this was simply amazing!!! Here I was jamming with these guys)
Went through the three songs, 30 minutes
"Test", 15 minutes (but it felt like an hour, ha ha ha. No not really, was actually fun!)
Interview, small talk etc, almost an hour since there were no stress.
During this time I also hade some food from the buffé and then the pizza that according to JP was the best in NYC!  :)

I actually think all in all we were there for a bit more than three hours. Because of Static Impulse James and I talked a bit about that too. Also the manager and his wife are amazing persons and my wife and I talked a lot to the too.

All in all the whole audition was fantastic to say the least! Once again I have to say that all people involved were very very nice!!!

The "Test" was operated by some aliens as far as I can remember. Memories dizzy there.

Could also be the fact that the "Test" was the part where the guys threw some odd meter riffs at the drummer to get the vibe how it would be working with him writing in the studio. Yeah, I remember now, I remember how it started, I just remember doing what they told me, told me...

Regarding each drummer's setup:

All drummers had enough time to set up the kit how they wanted it. Yes, we did use the same kit and there were plenty of toms, stands etc. and also some stuff that we individually asked for. The same goes for cymbals but I brought some special stacks and other specific cymbals with me. I also brought my twin kick pedal.

A "fun" thing is that I was the only drummer that used just one bass drum with twin pedals. All the others used two bass drums. I've never used double bass drums as that would not fit in my car!  :D  JR actually asked me how I was able to play their songs with just one kick drum when I was setting up. I said that I had a really fast right foot, ha ha ha...  :rollin  He looked at me very surpised then I said I use a twin pedal.  ;)
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Offline bosk1

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4/27/11Episode 2 now up!

It was confirmed that the other DT song to be auditioned was The Spirit Carries On.

The audition order:
Day 1
Mike Mangini (ep. 1)
Derek Roddy (ep. 2)

Day 2
Thomas Lang (ep. 2)
Virgil Donati (ep. 2)

Day 3
Marco Minneman (ep. 2)
Aquiles Priester (ep. 3)
Peter Wildoer (ep. 3)

And...

 *big spoiler alert*

Judging from JM's comments at the end, which are echoed by JP, the two frontrunners thus far both have the intials MM.  Stay tuned...

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Offline bosk1

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4/28/11:  Some comments about the process from Derek Roddy on his forum:

https://www.derekroddy.com/forum/viewtopic.php?f=23&t=19051&start=105#p241041

Quote from: Derek Roddy
The whole thing with all us guys audition footage is....you're seeing 5 minutes (of what some editor thinks.... is creating "drama" for reality TV)
If you notice.....all of the drummers with the exception of Mike was presented as if they had a "flaw" in their playing.....and that certainly wasn't the case.
What you didn't see are the 2 hours and 55 minutes of kick ass jams, tunes played exact, etc......each drummer had.

Another thing that needs to be considered in my case is.....
I auditioned for DT because I was asked.......not because I wanted to be the new DT drummer.
Too much commitment for me to stop what I have going on in my life.

I have a snake collection (over 100 animals) that has generated more income than DT would be able to pay me. For me to stop that.......would take a lot.

This drum thing is fun and all but, it doesn't make up even half of my yearly income.
For me to consider that gig....meant I had to move out of a really big passion (and security) to do something......I've done already (touring) and am doing still through education and my own projects.

One of the questioned asked by RR was "how would getting this gig change your life"

My answer was....."I'm not looking to change my life."
That was a big shock to everyone listening! Haha.

Cheers,
D

Quote from: Derek Roddy
Quote
Then why did you accept the invitation to audition for them? Other than it just being a fun thing to do. Did they pay your plane tickets and living in New york while you were there?
like I said....because they asked.
If you're a "professional" drummer.....
you have to go on things like this or you get the reputation of...."don't bother calling Roddy....he won't even bother coming"

So, you go to the audition.

Yes, they paid for everything. I was only in NY for 2 days so....I wasn't living up there or anything like that.

D

Quote from: Derek Roddy
Quote
You dont happen to have a chance of getting hold of more audition footage of you?
I don't...although, my section would be useless because of the missing audio.

The camera audio would have been OK .....if it wasn't an "in ear" session. Meaning there was no room volume...other than live drums. Everything was in the ears....keys, bass, guitar, Franks voice.
So, for me....all you would hear would be distorted crappy sounding, camera miced drums. Haha.

They may have a plan to release some footage with the new CD but, haven't heard anything.

D

Quote from: Derek Roddy
believe my section was short because there was no useable footage. Haha.

You couldn't hear us talking, couldn't hear guitars, vox, bass, keys during the tunes....there was simply nothing to use that didn't sound like distorted camera mics.

They actually respected the fact that I was the way I was.......one of them said to me..."at least you're being honest"

Another thing as well.....some of the other drummers are pissed at the way they were presented in this Doc.....for example you got the feeling that Marco and Thomas WANTED that gig.....I know that they might have taken it but, they weren't going to cry over not getting it.

In fact, one of them told me that it would destroy everything they loved about what they are doing with music. They couldn't do outside projects, HAD TO be there for DT 100% of the time, etc.....that's not something a drummer like Marco is wanting to do.....you know.
Would he have taken it?.....I can't say that he would have....knowing him the way I do.

I believe the only drummers who actually wanted that gig was Mike......maybe Peter (haven't spoken with AP)...The other guys....I believe were there because they were asked.

D

Quote from: Derek Roddy
I would have loved to play with them....from a musical point of view......it could have been incredible.
But, the commitment to them, for that amount of time... was something that each drummer had to reason with.

I just couldn't see myself forgetting about everything else I love in life.....outside of music.

It simply wasn't worth it to me personally. But, would still love to create some music with some of them....and that IS a possibility for the future.

D
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Offline zebolasha

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Hey, guys! I'd like to point that on episode 2 the video didn't show the real appreciation of the band to Marco Minneman!
Let me share my small investigation with you which shows who is probably the new drummer
https://sem-bolasha.livejournal.com/811.html

Offline bosk1

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Yeah, we've already discussed all that.  Yes, at least some of the things you pointed out were definitely said about Minneman.  However, that does not mean he is the new drummer.

But in any case, good work compiling all that.  Nice to have the specific clips from the videos.  Thanks for posting it.  :tup
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Offline bosk1

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From Metal Insider, 4/28/2011

https://www.metalinsider.net/interviews/exclusive-director-mike-leonard-talks-about-filming-dream-theaters-the-spirit-carries-on-documentary

Quote
Exclusive: Director Mike Leonard Talks About Filming Dream Theater’s ‘The Spirit Carries On’ Documentary

Chances are that by now you’ve been caught up with everything going on with Dream Theater. This past week, the band debuted The Spirit Carries On, which chronicles the audition process behind the band’s search for drummer Mike Portnoy’s replacement. While we certainly felt teased and annoyed by the trailer debut last week, we’d be lying if we said we haven’t been following the web series. Hell, like most of you, we want to find out who the new drummer is, and it’s been pretty cool to get an inside look into the audition process.

So as we wait patiently for tomorrow’s third and final episode of The Spirit Carries On, we decided to catch up with the people behind the making of the documentary. Director Mike Leonard and Over The Edge Productions were brought in by Roadrunner Record’s director of video production Rick Ernst to document Dream Theater’s search for a new drummer. Leonard and crew went in not knowing what the outcome was going to be, but in the end came out with what we now have been glued to for the past week.

Leonard took the time to talk with us about how the project came to be, initial worries about the fans’ response, and what could be the future outcome of The Spirit Carries On.


We all know what’s been happening with Dream Theater regarding their search for a new drummer, but how did you and Over the Edge Productions first get involved? Who approached who first about documenting the audition process?

I think I was in LA doing a music video when Rick Ernst, director of video production at Roadrunner Records, called me up and gave me the scoop on what was happening with the band.  My company, Over the Edge Productions, has been doing work for Roadrunner for a while.  Rick and I worked at MTV together and when he went to Roadrunner, he recruited OTE for a bunch of label work.

When we first watched the trailer and the episodes following it, we couldn’t help but feel that the documentary had a bit of a reality TV vibe. Did the band and management approach you about filming it like that, or did you pitch them on it?

It was very much thrown together last minute, we went into our first day of filming knowing it would be a documentary of some kind but didn’t really know how it would all pan out.  The reality TV style wasn’t our intention, but given the nature of what we were filming (7 drummers competing for 1 dream job) well, let’s face it, it automatically feels like a reality show.  However, I think after most fans watched the first two episodes, they realized, it’s not that at all. Maybe docu-reality, but it’s not like we were trying to make “Dream Theater Idol” here.

Fans have been waiting for a while now to find out who Dream Theater’s new drummer. Were you afraid of there being any backlash from fans upset with how the trailer and episodes extend the suspense?

Yes, this has been a huge issue that the label and the band wrestled with.  The band really wanted to let people know right away, but soon after the filming was complete there was a lot of interest by television networks to air this documentary.  So due to a potential broadcast deal it was delayed and so was the announcement.  Regardless of that, after seeing the first few cuts of the movie, I think the band realized that this would be the best way to announce everything to the fans.  They were so genuine about how much they wanted to introduce their fans to the new drummer and I know they felt terrible that they kept it from them for so long.

Out of the seven drummers that auditioned, was there one that particularly stood out to you?

We filmed with Mike Mangini the night before his audition and both as a person and as a drummer, he impressed me the most.  Mike is such an incredibly genuine and nice guy, just like all the members of Dream Theater.  He’s also incredibly meticulous about making sure he does his part and gets all the details right.  All of the drummers that we filmed with were incredibly nice and professional, but Mike really made a great impression on me.  Then watching him play in real life blew me away – he’s a monster. He plays the most complicated things like they’re nothing,  just incredible. I’ll never forget it.

Are there any plans to release a physical copy of this documentary, maybe along with extra footage?

Yes, I believe there is going to be a DVD release this summer with the new album.  We have talked about many different options and I have no idea what is actually going to happen, but I’m sure it will be released at some point and there’s tons of potential for bonus footage.

It all comes to an end (or at least we presume it will) tomorrow as the third and final episode of The Spirit Carries On will hit Roadrunner Records’ YouTube channel tomorrow (April 29) at 11am. In case you’ve been behind, you can still catch up and watch episode 1 and episode 2 online. You can check out other projects Over The Edge Productions are working on their website or Facebook.
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Offline bosk1

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Peter Wildoer on his audition preparation:

Peter,  could you tell us a little bit about the way you prepared for the audition? Did you know exactly what the auditions were going to be like? You obviously knew what songs were going to play, how did you go about learning them? We see that Marco made time signature charts, did you do any of that? What was the hardest section to learn? Did you discuss the drum parts with the other drummers that were auditioning? Too many questions I'm sure, but I would love to know these things!

I only got the three songs that we had to learn, besides all the technical info like flight times, audition time, drum gear available etc. I totally realized that we had to do some kind of test where the guys would throw ideas at us and then see what we did since that's the way they work composing in the studio together.

Thinking back at it now I guess I felt kind of left in the dark. My main preparation was to know the songs in and out so even if I would be nervous at the actual audition my muscle memory would play it for me. Also I practiced every day ta make sure I was in top shape of course. All this is quite precisely documented in the "diary" I've written that I will post asap. Still working on that translation from swedish to english.

The whole learning process of the songs felt a bit overwhelming in the beginning but you just have to learn bit by bit and then listen A LOT to the songs to get to know them. I also imported the songs into Cubase (music program for computer) where I could loop the different riff and practice one part over and over. For The Dance of Eternity that was lots of work programming all the different meters but the hardest part was that the tempo is changing a lot as I think most DT material is not recorded to a click track. Here's two screen shots from the Cubase session with meters on top (all the black lines with numbers) and the timeline (tempo changes up and down) underneath.






Like I previously posted I borrowed som DT guitar score/tab book from a friend and there I had all the music written out. This was crucial help for me as I like to read music.

I can't say what part was the hardest but for me the actual drum parts was not overly hard to play but to memorize, THAT was the hard part. There are not to many difficult coordination stuff or overly difficult stickings involved but just a lot to learn.

I did not discuss any drum parts with other drummers.

Need to go!

SEVEN HOURS!!!
"The Supreme Court of the United States has descended from the disciplined legal reasoning of John Marshall and Joseph Story to the mystical aphorisms of the fortune cookie."

Offline MajorMatt

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UPDATE: Final episode available for download now
« Reply #15 on: April 29, 2011, 02:42:10 PM »
Added download for Episode 3 in 720p, sorry for the delay, I'm not at home and been out all day. Whoever downloads it first, please post if it is working OK because i had to use a slightly different download method because I'm out.

Cheers,
Matt

Offline bosk1

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Peter Wildoer on being notified of the results:

One thing I remember someone asked is when we got the notification. All drummers talked to the DT guys on the same day, that's when you can see MM and me talking on the phone getting our decisions (his a bit different than mine  ;)  ), and that was on November 5th.

@Peter:  Regarding the notification, was everything that we saw about that spontaneous?  Or were you told, and then they did a conversation with the cameras rolling as if it was the first time you heard when you actually already knew?

Yes, everything was spontaneous. No re-takes or additional takes. That very day all drummers got specific times when to call in. At that point we had just changed to winter time here in Sweden, turning the clock back one hour that is. Suddenly my mobile phone rang and there were Frank, the DT manager. He said "so what's up Peter, when are you calling?". We figured out that since they hadn't changed for winter time in the US I was one hour late here. So my phone time had to be shorter.  :(

Afterwards I got mails from both JLB and JP, because of the shorter phone time, telling me that they had a great time at my audition, so thanks to them!
« Last Edit: April 29, 2011, 04:30:29 PM by bösk1 »
"The Supreme Court of the United States has descended from the disciplined legal reasoning of John Marshall and Joseph Story to the mystical aphorisms of the fortune cookie."

Offline bosk1

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John Petrucci's comments from his forum:

Quote from: John Petrucci
Well, it's been a very exciting day for all of us in Dream Theater and we are happy to finally share the news that Mike Mangini is our new drummer! He is not only a beast of a player but an incredible person as well who truly and fully understands and values everything that we strive to be as a band. Thank you for being so patient and incredibly supportive to us throughout the years and especially over the last several months. Thank you for your faith in us and your immediate and practically across-the-board acceptance of Mike Mangini as our new drummer. Thank you for the positive words about the documentary and all of your passion and dedication. The movie is our gift and our invitation into something that would traditionally be very private and I appreciate everyone's sensitivity towards that. There's a lot of work to be done, so back to the studio. JM finished tracking bass today and Jordan is recording as I type. Things are real busy around here. Can't wait for everyone to hear the new music and to begin playing live with Mike!
God Bless,
John
"The Supreme Court of the United States has descended from the disciplined legal reasoning of John Marshall and Joseph Story to the mystical aphorisms of the fortune cookie."

Offline kartmaze2

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I take the liberty to post this from Mebert78's talk with JR

Lastly, I asked him if he could give me any details on the new album, songtitles, anything.  He said one thing he could tell me is that Myung wrote lyrics for songs (I believe he said songs, plural -- as in multiple songs).  Of course, we already figured this would happen.  He said next he is recording his keyboard parts.  I asked him if drums are done.  He said yes and they are killer.  He said Mangini would play some parts with one hand and he's never seen anything like it.  I asked if Mangini wrote the music together with the band, like Portnoy used to do.  He said no.  Jordan, John and John did the writing without Mangini.

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MAN FUCK YOU KUJA.
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I think these are some of the keyboards Jurdan is using for recording the new album (i guess is Northfield voice in background)

https://www.youtube.com/watch?v=KxHWcUTj3A8


Edit: no, not at all Northfield

Offline cyberdrummer

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Roadrunner Tweet:

'Just passed by A&R and overheard some new Dream Theater.'

Offline cyberdrummer

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https://en.wikipedia.org/wiki/Artists_and_repertoire

I think they might have a single being prepared for release soon...

Offline bosk1

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Mike Mangini on his drum setup and some comments about the status of the new album:
source:  https://www.moderndrummer.com/modern-drummer-blogs/Mike%20Mangini%20of%20Dream%20Theater/

Quote
Mike Mangini of Dream Theater
2011-05-04

Mike Mangini of Dream Theater     

by Mike Haid

The announcement that Modern Drummer Hall of Famer Mike Portnoy had left his longstanding position as the reigning king of prog-metal drumming with Dream Theater in order to join Avenged Sevenfold sent shockwaves through the drumming community. Who could replace such an iconic figure in such a legendary band? Could this be the end of Dream Theater, the group that single-handedly created the prog-metal phenomenon that’s still thriving today?

The remaining members of Dream Theater chose to up the ante, and auditions were arranged for a who’s who of elite international drumming superstars. The list included Virgil Donati, Thomas Lang, Marco Minnemann, Derek Roddy, Aquiles Priester, Peter Wildoer, and Mike Mangini. As the world watched the intense auditions via the Internet, the seven world-class players competed in an attempt to win the coveted drum throne. When the smoke cleared, Mangini emerged as the band’s pick. The drummer’s amazing journey is one of personal struggle, commitment, heartbreak, dedication, frustration, and, finally, victory. Here, we speak to Mike about that journey, as just the first part of our coverage of his Dream Theater experience. There will be much more to come in the pages of Modern Drummer.

MD: What was life like before the Dream Theater opportunity appeared?
Mike: In 2009, I was literally lying on the floor of my garage, completely physically and emotionally drained, unsure where my career was going. I was inventing new techniques and new drumset configurations, but I was looking at my kit, saying: Who can I play with that would allow me to use everything I’ve worked so hard to develop? Who will just let me play and be myself—a band that isn’t going to tell me I’m using too many drums, that isn’t going to tell me I don’t groove, that isn’t going to tell me the kit is too big and too expensive to carry around? Little did I know at the time that it would be Dream Theater.

MD: You had recently suffered a severe knee injury as well.
Mike: The emotional pain was much greater than the physical pain. I’d never had a major injury in my life until then. It really hurt. Both sides of my right knee were torn up badly. It was from three decades of sports injuries, along with poor technique in my right leg. I know myself, and I know that I have always had issues with my legs retaining their speed. What I found out was that when a knee injury occurs, the knee signals the brain to shut the muscles down and fix the problem or let it rest until it’s healed. I ignored that, and the meniscus became extremely frayed.

At the same time, I was going through severe emotional pain from lack of sleep for several months with our new daughter. We’d also had a son three years earlier. Anyone with a new child understands this. Also, I wanted to be on stage playing drums, but I was committed to teaching full time at Berklee. The combination of all this was starting to weigh on me. Even though I continued to perform clinics, I was feeling that I had been left out of a lot of things in the drumming community, and I couldn’t understand why. The icing on the cake was the fact that I really had no time to reach my full potential as a player because I was honestly too tired to practice. That was an intense period of frustration.

MD: To leave L.A. and come back to Boston to teach at Berklee after touring with Steve Vai early in your career was also a difficult decision.
Mike: It’s hard to do the right things in life. I was raised with the simple philosophy of God first, family second, and career third. You can always choose a different career. But once you commit to a marriage and choose to have children, you have to sacrifice other things in your life. But this also brings incredible benefits. Putting God first means to search for the truth and try to do the right things in life. I’ve always tried to do the right things and do whatever it takes to provide financially for my family. And it’s really hard at times. 

MD: Now that the auditions are over and you have been awarded the prestigious drum chair in Dream Theater, what have you done so far with the band in terms of music?
Mike: My drum tracks for the new DT release are finished. They are currently finishing up keys and vocals. The new CD is scheduled for release in the fall.

MD: Have you created a drumkit to fit the specific needs of Dream Theater?
Mike: I showed up for DT ready for DT. Meaning the drumkit’s core was designed years earlier, but I prepared a kit design with DT’s music in mind, with Mike Portnoy’s incredible drumming style in mind. My DT setup is designed for my left foot to be hitting a 26" bass drum. I’m playing totally lefty on a big bass drum. Mike had to get up off his stool and move to another stool to hit a 26" bass drum. He also had to get up and move to another kit to play a smaller bass drum. I have a 26" to my left, an 18" bass drum on my far right, and two 22" bass drums in the center of my kit.

MD: Can you break down the overall design of your new Dream Theater touring kits?
Mike: I’ll be using either a Pearl Reference Pure kit or a Pearl Masterworks kit in this setup. The two 22" center bass drums are identical in size in order to play typical double bass patterns and to be able to play single kick patterns with either foot. And sometimes I want to free my right foot to play my right hi-hat. The 26" bass drum on my left is played by a slave pedal and used for big, airy, heavy rock sections. The 18" bass drum to the right is for dynamic purposes. My four acoustic bass drums are designed to create low-end dynamics within a single drumkit. I also have two Pearl e-Pro electronic kick drum triggers on the far left and far right. This allows me to trigger percussion sounds or any other sound I choose.

So I have a choice of six kick pedals at all times. I have to credit Mike Farriss at Pearl Drums for helping me design and create this incredible setup. He’s hand-making me a set of Pearl e-Pro electronic drums to include in this kit. My other two pedals are my cable hi-hats, which are wired to crisscross the kit so that each pedal controls the hats of the opposite hand. The toms are set up in an apex shape so that I can perform patterns as a classically trained musician. When guitarist John Petrucci plays a minor scale from high to low, descending one note at a time, I can also descend one note at a time on my toms, in the exact sequence. The gong drum acts as a bridge between my hands and feet, when I need a bass drum sound but my feet are already busy on other pedals.

My Pearl signature snare in the middle of my kit acts in the same way, as a bridge up to the suspended cannon drums in the front of my kit. Or it acts as a secondary snare drum for dynamic purposes. I will play sticking patterns between my mini snare and my main snare because that allows me better dynamics that I can’t achieve on my main snare alone. In the same way, I can use my 18" bass drum and my 26" bass drum together in a pattern to create more extreme dynamics within a groove.

My cymbal setup is designed to complement the specific dynamic frequency in the same way. I’ll use a smaller cymbal for high notes in the music and larger cymbals to accentuate the lower notes. I need quite a few of them to cover the gamut of the heavily composed music of Dream Theater. I also split my cymbal setup symmetrically, from the middle out to each side. My cannon drums are set up from left to right. Mike Portnoy used Octobans a lot in Dream Theater’s music, but I need to set my cannon drums up properly within my setup so I’m not killing myself to reach for them. I suspended them high in front of me, mainly because there was nowhere else to put them. I also have a set of Pearl e-Pro pads suspended up high for triggering timpani and percussion tuned to exact pitches. Everything has a very specific purpose in this kit.

MD: It sounds as though you prepared for this audition with no intention of failure.
Mike: These guys are extremely happy and appreciative of my dedication to my craft and my willingness to do whatever it takes to make Dream Theater the best it can be. And I am so grateful to Mike Portnoy for setting the bar so high in Dream Theater’s music. I made a point of playing Mike’s parts specifically for the audition because I wanted to put the music first, not my chops first. I love Mike Portnoy and have a deep respect for what he created with Dream Theater. I believe that he spoke from his heart when he wanted to be elsewhere. And I know he wanted to come back. But I’m sure that everything that is happening for him right now is going to be the right thing for him, because his heart told him it was time to move on. I feel that I am with true musical brothers now. And I don’t have to explain myself to anybody from now on.   
"The Supreme Court of the United States has descended from the disciplined legal reasoning of John Marshall and Joseph Story to the mystical aphorisms of the fortune cookie."

Offline bosk1

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Mike Mangini on the auditions, the new album, and being a member of DT:
source:  https://www.drummagazine.com/features/post/how-i-got-the-gig-mike-mangini/

Quote
Mighty Mike Mangini
How I Got The Gig

By Andrew Lentz                Published May 3, 2011


After enduring a six-month-long gag order, Mike Mangini has finally come clean about the Dream Theater audition process and the hoops he jumped through to land the coveted drum chair. With Mangini going up against the world’s most ridiculously dexterous drummers, the competition was fierce to say the least. We reached the world’s fastest drummer and former Steve Vai sideman last Friday, at his home in Boston, only hours after Dream Theater revealed Mangini as their new drummer. He graciously squeezed in our extended conversation while celebrating the good news with his family – so here is the very first long-form interview Mangini granted following the band’s announcement.

DRUM!: What did you have that Thomas Lang, Marco Minneman, Virgil Donati, Derek Roddy, Aquiles Priester, and Pete Wildoer didn’t?
Mangini:
I may have been chosen for the way that I hit those drums with respect to meshing the pre-existing drum parts with embellishments of them at times when I wanted to orchestrate something I was hearing one of the other bandmembers playing. I don’t know of any other reason it could be because every one of those drummers can do something uniquely ’the best.’ By the way, I think of this as wanting to be in a marriage, not a ’gig’ in the normal sense of that term.

With regard to my sound, I took time to examine what I sound like from outside of myself on the drum set via a video camera. Based on what I didn’t like that I did and what I could now do as the result of a repaired right knee, I’ve been working on to strike with more power than it appears I am and how to not rush figures like I used to. Those things must have added up into what works for Dream Theater. I was a step ahead of everything I was asked to do. Everything. I got all those tests straight off after writing them on a piece of scrap paper – bang! – and I played every note in every song [to the best of my knowledge] along with also knowing every note everybody was playing.

In addition to jamming and getting all the tests very naturally, one difference between everyone and me may have been the fact that I played Portnoy’s parts with the infusion of the others’ parts. I played the beats Mike recorded, but I also added a triplet here and there if Rudess or Petrucci played a triplet. The core of it all is that I love what Dream Theater recorded. I still want to play the song as it is recorded. It is like preserving Mike’s legacy and I take that very seriously.

DRUM!: Did you know about the competition beforehand?
Mangini:
We all found out about each other though an e-mail. And I’ll never forget when I read it because my first thought was, ’Oh no, I don’t want to know this. Now I’m going to worry about them instead of worry about what I’m going to do.’ After I looked at the list I said, ’Oh, no. This guy’s great at this. This guy’s great at that. This guy’s the best at this. This guy’s the best at that. What am I going to do?’ Blah blah blah. Then I said, ’No, I’m glad I know who it is and I’m just going to go focus on myself, things that are in my control and not question who’s coming down. I made checklist after checklist and just accomplished what I could each day.

You know what was very helpful about seeing the names? It gave me a sense of [Dream Theater’s] direction. So just knowing who was invited gave me a sense of what the band were looking for.

 
DRUM!: Break down the audition process step by step.
Mangini:
With no warm up, I immediately played three songs: “Nightmare To Remember,” “The Dance Of Eternity,” and “The Spirit Carries On.” If memory serves me, the three songs add up to about 30 minutes. That was one part. We also jammed for a while, and then I was given time signature tests to play on the spot. One phrase would be: 2/4, 7/16, 3/4, 4/4, 5/8, etc. Not only were there time signatures through the entire phrases, but the time signatures only happened once and you would go back and repeat a main theme and then it would be a different time signature somewhere within the phrase. But the way I did it, which allowed me to get it every time, was I asked Jordan [Rudess, keyboardist] to simply give me the numbers. When they said we were going to have a test, I looked directly at Jordan and I said just please give me the numbers, and he gave me the numbers, and I played it.

DRUM!: What was one of the biggest challenges?
Mangini:
Managing my immediate reaction when I realized that they were not leaving that room for me to work things out on the kit alone or warm up first. Meaning, I had no warm-up whatsoever because they were all in the room, and I was supposed to have 90 minutes in there, but then the band had to work on a soundcheck and I wasn’t about to sit there and put on the iPod and just start wailing on the drums and practice the songs, you know? I’m a classically trained musician – you don’t do those things.

The other toughest moment was when I had to open my mouth and talk [laughs]. I’m not kidding, because I was overwhelmed with joy and it’s not drum joy and it’s not just personal joy. It is joy for the future; one of reflecting their musical expressions through my drum parts. Anybody that’s ever played in a band with me, if they’ve ever accused me of overplaying it’s usually because I played their parts too. But for me even to be in the room with them was special. There was this kind of spirit carrying me through with this sort of trust in my heart.

DRUM!: Any mistakes during the song-list part of the audition?
Mangini: At the beginning of “Nightmare” I smashed one of the cymbals so hard that I disengaged the cymbal tilt. I stood up to fix it and hurried to sit down again and I didn’t seem to miss any notes, but I must have lost a step. Actually, I think I missed the splash cymbal and hit the air! In my opening drum fill, I played the Octobons instead of the snare drum. Oh well. You have to realize I was playing on drums that I have never played before that were set up differently, cymbals in different places, toms were in different place, and the kicks were spread out further that I had been used to. That moment lasted about an hour in my head, that was really about only two seconds.”

DRUM!: Did you already know the songs or have to start from scratch?
Mangini:
Oh no, I didn’t know them. I’ve enjoyed their music many, many times, but I’ve never learned a Dream Theater Song in my life. I was just all business about it when I got the songs. I grabbed the nearest pencil and paper and got to work. I then bought these big pencils for kids with big erasers on them. [laughs] I wrote everything out. Then I listened to them at half speed; at 75 percent speed; at full speed; at 40 percent speed before even practicing them with the slow-downer software [Amazing X] and it doesn’t change the pitch. I can’t imagine what all the people these days have for tools: lessons online, slow-down tools, zoom-in tools, multi angle – are you kidding me? No wonder there’s so many people getting better so much more quickly.

DRUM!: Did you take any liberties?
Mangini:
If anyone was to just see me play or look at audition videos or something they might say, ’Hey man, I thought you said he played every note exactly as written,’ because maybe I hit a different cymbal or something – I don’t know. I hit everything I thought was the right thing. If I hit a hi-hat versus a splash, hey, I’m sorry. That’s because my hearing at 3K and up is limited and I am on a waiting list for hearing aids at this time. I practiced a million hours a day when I was a child and I had a stereo blasting. My stereo system speakers, those were my headphones, no earplugs. Maybe I learned to put toilet paper in them because my ears started to hurt, but you put 30 years of that into the mix and your ears are not going to take it.

DRUM!: Did you second-guess what you played after it was all over?
Mangini:
I was running through the jams and tests in my mind afterwards, and although I did have a quick thought of ’Man, I should have done this, I could have done that.’ That quickly went out of my head because then I calmed myself down thinking, ’Wait a minute. I just nailed it, shut up and have some food.’

The waiting part was awful in this Twilight Zone kind of way. I almost threw up between classes at Berklee – probably that was during Marco’s audition, as I know I what time he auditioned and that is the time I got ill. And I was really wrecked because I wanted it so badly. I had a lot of heartfelt reasons for wanting to do this, not that the other guys didn’t now, it’s just that I didn’t know where they’re coming from.

What was hard for me was thinking about my life without [Dream Theater]. Those four guys made me feel comfortable and [after it was all over], I missed them because, it was a classy move for them to treat everyone so well actually. So it was painful for me, because I didn’t tell anybody, not even my parents or my siblings knew that I won the spot, but they knew I auditioned, which made it worse for them. When they asked me, I just went mum, I went completely silent on everybody. And so it was extremely difficult. But, before I got the call from them saying that I indeed won the audition I got white hair on my head.

 
DRUM!: Were you involved in writing new Dream Theater songs?
Mangini:
I was zero involved in it. It’s the four of them. This new material is stuff that they’ve never had the opportunity to do that without a drummer. My involvement is going to be worrying about the drums and backing this band. I have too much work to do, you know? I’ve been off the stage as a full time job for much too long. I just want to sit on a drum stool. I want to see those orange and magenta lights reflecting off my drums. I want to hear the crowd. I want to play drums – that’s what I want to do right now. That’s all I want to do. I didn’t want to get involved in anything at that time. If I have strengths to offer the band, those will show themselves in time.

DRUM!: Any new songs that were especially difficult?
Mangini:
The one where I put the most amount of psychotic, two-things-at-the-same-time type of drumming would be track six [still unnamed as of press time]. While multi time signature shifts were going on, I was playing in a time signature that was completely different from those with one limb on one side of my body. And I was really hitting the drums. I’m very proud of it, but they liked it musically. I wouldn’t do it just to throw it in. I didn’t do it for that reason. I did it because I had a mathematical joy out of it. Oh, my gosh, it would be amazing to play in 7/16 here, but yet it’s changing time signatures 18 times or something.

When I got [in the tracking room, guitarist] John Petrucci just bled his soul through mine and into the drums – it wasn’t me. I mean, it was me, but he brought out of me this intro to one of the songs and it was actually so hard to come up with the best possible thing with all the choices I had in my mind, that I didn’t do it all by myself. I did it with John Petrucci, so it was really something. So that kind of established the protocol for our relationship, which was wonderful. I was just like, “Man, I don’t want this to be about me. I’m not happy with my [input] alone. Sometimes I can’t get away from me. I want this to be about us.”

DRUM!: Will you miss teaching at Berklee?
Mangini:
I’m grateful for it, had a lot of great times and I’ll always miss a ton of people I worked with there. Put it this way: I got along well with a lot of people there for a reason, and I felt honored to be a part of that awesome Percussion Department. I’d take a ride in there to hang out in a heartbeat when the chaos slows down. I really want to add that I am so proud of the students that I had, especially in my last semester there. They would never think this of me, but [some people] might think I thought “Gee, I got a new gig. See you later.”

Students for the last few years knew I was missing the stage. Still, they need to know that I did not tell my parents that I won the audition until a week before the documentary appeared online, so they, or anybody should not feel left out of the news if interested in it. My students didn’t impose on me. I need to stress “my.” They didn’t poke at me, or cross boundaries. That doesn’t mean everybody, in and out of Berklee, spared me.

I say the following to contrast how classy the students were: In one case, a visitor that I never even met walked up to me while I was minding my own business, and busy, where my boss was about nine feet from me and another faculty was next to him. The guy interrupted what I was doing – the kind of person that gets too physically close type – and says, “Hey, man, congratulations on getting some gig, what, Dream Theater, I think? Cool! Yeah, man, so what are you going to do about working here?” What an intrusive, rude, and boundary-crossing thing to say when I am at the place of my employment around people I care about. I didn’t even get “the call” at that point. Additionally, I suffered a few instances of my getting intruded upon in different forms, very few, but I wasn’t surprised; they’re probably the ones always hitting “Reply All” all the time.

On the flip side of some suffering, the students knew that the Dream Theater drummer audition was going down because the news of their search was public, but they respected my privacy suspecting that I would get a call to audition. Who auditioned was private for months afterwards. I was so impressed with their strength. I love them a lot for that. I was torn about having to not tell them once I knew I was the guy. I didn’t want to say anything to them in part because I didn’t want it to interfere with our studies, because no matter what you say, it changes things. But on the other side, I wanted to tell them screaming at the top of my lungs with joy saying, “You see? The methods, they work!” Well, I used to say that a lot anyway, but winning this audition helps validate some things.
"The Supreme Court of the United States has descended from the disciplined legal reasoning of John Marshall and Joseph Story to the mystical aphorisms of the fortune cookie."

Offline weddingnails

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from james forum

   Vocals/ Studio etc. etc.
« on: May 02, 2011, 09:44:47 am » 

--------------------------------------------------------------------------------

Hi All,

Sorry I haven't been around, especially since the recent turn of events. Yes, MM is our drummer and we are psyched to begin on this new musical adventure.
Those of you who thought I am in Canada recording my vocals are correct. I am having a blast recording with Rich. We have been doing this recording thing off and on with one another for the last 24 years.
I am heading back into Rich's studio today to begin vocals on the 5th song. Can't wait for everyone to hear the fruits of our labor.

Have a great day and see you around on-line,doing fine.

Raaaaaaaaaaaaaaaaaaaaaaaaaaaaaaawwwk.
"i don't trust anything that bleeds for 5 days and doesn't die"

Offline bosk1

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I think he means that after he got the kit set up, he kind of wanted to be alone and warm up on it, but he felt a little self-conscious about doing a warmup in front of the band he was auditioning for and felt it might look unprofessional.  So they just launched right into the songs.  I think it's just one of those things about being unsure about what you can ask in a job interview (audition) situation without thinking you are looking stupid.  Kind of like the part where Jordan is giving him the time signatures and you can see he is processing it and trying to figure out whether he should ask questions, and then when Jordan asks him if he wants to write it down, the relief on his face is visible.  You can tell that he was almost for sure thinking, "Oh, man.  I so wanted to ask if I could write it down, but didn't want to look stupid.  Thank you for giving me the out!" 

I think part of the issue was just the fact that he went first.  A lot of the other guys sort of warmed up and started jamming right after setting up the kit.  But they came later in the process, so the band was more comfortable with the auditions as a process by that point in time.  Mangini was first up, so even though the band had a structure in mind for the auditions, I'm sure they hadn't thought out every little nuance, such as "what if the drummer doesn't know whether or not he should warm up?," or "what is the best way to communicate the time signatures for the riff test?"  There was clearly some figuring it out as they went.
"The Supreme Court of the United States has descended from the disciplined legal reasoning of John Marshall and Joseph Story to the mystical aphorisms of the fortune cookie."

Offline Adami

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from james forum

   Vocals/ Studio etc. etc.
« on: May 02, 2011, 09:44:47 am » 

--------------------------------------------------------------------------------

Hi All,

Sorry I haven't been around, especially since the recent turn of events. Yes, MM is our drummer and we are psyched to begin on this new musical adventure.
Those of you who thought I am in Canada recording my vocals are correct. I am having a blast recording with Rich. We have been doing this recording thing off and on with one another for the last 24 years.
I am heading back into Rich's studio today to begin vocals on the 5th song. Can't wait for everyone to hear the fruits of our labor.

Have a great day and see you around on-line,doing fine.

Raaaaaaaaaaaaaaaaaaaaaaaaaaaaaaawwwk.

Very cool that he's on his own recording the vocals with an outside producer. Very cool indeed.
fanticide.bandcamp.com

Offline bosk1

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John Petrucci on the auditions
Source:  https://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=157968

Quote
DREAM THEATER Guitarist: MIKE MANGINI 'Knocked Us Out' During His Audition (Video)
May 11, 2011

A little more than a month after drummer Mike Portnoy's sudden departure from DREAM THEATER, the band held three days of auditions in New York City. Over an incredibly productive three-day period, the band played, jammed and spoke candidly and at length with seven of the world's greatest drummers. The remaining members of the band got to know the candidates musically, personally and professionally and thus assessed the fit of each drummer's incredible chops with the band's trademark prog-rock sound.

After intense consideration, the band unanimously chose drummer Mike Mangini (EXTREME, STEVE VAI, ANNIHILATOR) to fill the seat behind the kit which was left vacant by Portnoy's departure late last summer.

DREAM THEATER began telling their intense tale on April 21 when the band took to its Facebook page to give fans a glimpse into the audition process. A video tool that was powered by new technology prompted fans to "like" the page in order to unlock exclusive content. Much to the joy of fans, a trailer for the three-part documentary series on the audition process was then revealed. Those that "liked" the page then received updates on when and where the actual documentary would be airing.

Artisan News Service spoke to DREAM THEATER guitarist John Petrucci about the audition process and the band's decision to turn it into a documentary. You can now watch the four-minute report below.

On the audition process:

Petrucci: "When we realized that Mike Portnoy really left and it sunk in that we had to find a new drummer, we started to think about, 'Well, how are we gonna go about doing this?' and 'Who do we know that would be somebody we would like to consider?' and 'Are there people that we don't know…?' We thought of all different things — are there unknown people that are somewhere in the corners of the practice rooms of the worlds, up and coming. And, of course, there are the people that we know, that we've played with before, or that we know professionally or whatever, and would they be interested? And we started to come up with a list, and we had a short list — [there were] not too many people on there. And then we started contacting them — 'Would you be interested?' and they said 'Yes,' and we set the whole thing up."

On making a documentary out of the new drummer search:

Petrucci: "The initial idea was, 'We have to film this.' That was our first thinking. 'We can't just do this and have no record of it. We have to film this.' So you think about, 'Oh, we'll give a video camera to our manager.' But then when we started to really think about it, it was like, 'Well, why don't do this for real? Is this something that maybe the label would be interested in.' And they were totally interested in it, and their production person really had some great ideas, hired an incredible director and film company to do it, and we went for it — we did it professionally. And I think they did such a great job."

On some fans' speculation that the drummer search/competition was "fixed":

Petrucci: "No. Of course we didn't know all along [who the new drummer would be]. It's just that Mike [Mangini] was the first guy, he was literally the first one to audition. And he came in there and he just knocked us out. He just has all of the elements; [all the elements] are just in place. So it's probably why it kind of came across that way; there was a very natural chemistry between all of us. He's like one of us — East Coast guy, Berklee… he's one of us."

On Mike Mangini being the first drummer DREAM THEATER ever played with other than Mike Portnoy:

Petrucci: "Up until that point, we had never played with another drummer, DREAM THEATER had never existed with another drummer, we never played with another drummer as DREAM THEATER, so it was like the first time we were kicking into a song with this stranger — not that Mike Mangini was a stranger — and it just blew us away. I mean, that could have [gone] any way. If it was somebody else or whatever… And it was like, 'Wow. We could have played these songs in front of an entire audience and it would have been perfect.'"

With the addition of Mangini to the band's lineup, DREAM THEATER moved forward into the studio to begin recording their third release for Roadrunner Records. Guitarist John Petrucci reprises his role as producer, and Paul Northfield (RUSH, QUEENSRŸCHE, PORCUPINE TREE) assumes the same engineering position that he has had on DREAM THEATER's previous two Roadrunner releases. The band will kick off a world tour in July 2011.
"The Supreme Court of the United States has descended from the disciplined legal reasoning of John Marshall and Joseph Story to the mystical aphorisms of the fortune cookie."

Offline bosk1

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John Petrucci and Jordan Rudess comment on Mike Portnoy leaving the band, the audition process, and writing the new album.
Source:  https://www.musicradar.com/news/guita...-future-442741

Quote
Interview: Dream Theater's John Petrucci, Jordan Rudess on the band's future

"Mike Portnoy was great. Mike Mangini's great. We're fired up!"

Joe Bosso, Wed 11 May 2011, 11:10 pm BST


Inside a cozy lounge area at Long Island's Cove City Studios, Dream Theater's John Petrucci fixes himself a cup of coffee and then sits down on a soft leather couch. "I think the new album looks good for September," he says. "We don't have an official date yet, and we're kind of playing around with titles. But I'd definitely say September is the month we're shooting for."

The master guitarist heaves a contented sigh. Dressed in a T-shirt and jeans, he exudes the sangfroid cool of a guy who's just weathered a fierce storm and has emerged unscathed. Which, in a way, is the truth: Last September, drummer and founding member Mike Portnoy threw the group for a loop when he up and quit, intent on drumming for heavy metallers Avenged Sevenfold and expressing a desire for an extended hiatus from Dream Theater, leaving the prog-rock titans, in Petrucci's words, "more than a little stunned."

It was a difficult time, to say the least, but with the recent announcement of Portnoy's replacement, Mike Mangini, who has played with Steve Vai, Extreme, Annihilator, and has, until just recently, served as a faculty member at Boston's prestigious Berklee College Of Music, things are looking up in the world of Dream Theater.

"I hear an interview is about to happen," says Jordan Rudess, who grabs a bottle of water and sits down beside Petrucci. The keyboard whiz, similarly dressed but sporting an Apple baseball cap, has been finishing his parts on the much-anticipated new record. He doesn't have long: in June, the band will convene in NYC to rehearse for four days before hitting the European summer circuit, which includes a headline slot at the High Voltage Festival on Sunday 24 July. "We're definitely looking forward to playing live this summer," says Rudess. "And we're really excited to show everybody what Mike Mangini is bringing to the band."

Pleased at the thought that their new album is almost in the can - to say nothing of the fact that Dream Theater is still together - Petrucci and Rudess settled down with MusicRadar for a candid discussion about trials, tribulations and triumphs.


All career bands face various hurdles. Was Mike Portnoy's exit the hardest thing you've had to deal with as a group?


John Petrucci: "Mike leaving Dream Theater has been the hardest thing we've had to face for quite a while. Other members have left, and those were trying times, as well. I remember when [keyboardist] Kevin Moore left [in 1994]. That was devastating. We didn't know we'd eventually get to Jordan. [Rudess laughs] But Kevin leaving was hard, too. I grew up with him and wrote music with him. But yes, of course, Mike leaving…it was big blow."

Jordan Rudess: "For me, personally, it was probably the biggest hardship I've had to face in this band. Obviously, I wasn't around for Kevin Moore or Charlie [Dominici, the band's singer, who left in 1989 and was replaced by James LaBrie], but Mike's departure, yeah, it was extremely hard. Even with the other things we've gone through – label changes, lawsuits, other kind of bullshit – other than Mike leaving, it's been a pretty smooth ride, at least in the 13 years since I've been in the band."

Of course, Mike wasn't just your drummer - he was a founding member, and he was involved in so many aspects of the group.

Petrucci: "That's Mike's personality. He puts his whole self into it and obsesses over things. He did the artwork and kept all the archives – that was just his way. He did a great job of keeping in touch with the fans and having his finger in so many different aspects of Dream Theater."

You've all been free to explore outside projects, but how did you initially feel about Mike's plan to play with Avenged Sevenfold? Did you think it might be too much time away from Dream Theater?

Rudess: "Mmmm. There were a lot of feelings in the band about Mike's plan. We had a lot of discussions about that. Various people had differing feelings, too. My first thought was, Wow, that seems like a great opportunity. He'll go out and play with Avenged Sevenfold, and that'll result in a lot of their fans coming back and checking out Dream Theater. So, at first, I didn't have a problem with it. [to Petrucci] You had a problem with it, though…"

Petrucci: "Yeah, I did. I remember he told me he was going to play on their album, which was OK by me. I thought, Oh, that's cool. But then he told me he was going to go on tour with them, and I remember telling him, 'I don't think that's such a good idea, Mike.' We had some pretty intense conversations about it.

"But you know, I can't control what Mike does or what anybody wants to do. Going on the Avenged tour was his decision, but I made it very clear how I felt about it. Doing projects, that's fine. We all do outside things. But playing in somebody else's band, and to that degree…that's different. I thought it was treading dangerous waters, for sure."

During the Iron Maiden tour you did last year, did you have any inkling that trouble was afoot?

Rudess: "No, not at all. Not a clue. If you would've asked me right before everything went down, 'How's everything in the band?' I would've said, "Everything's great. We're so solid, just smoothly riding along.' There was no sign of trouble. I think we were all shocked when we held this meeting and Mike dropped the news on us. We were all like, 'Whoa! That's a total surprise.'" [laughs]

When Mike told you of his plans, did you attempt to change his mind? Did you try to come to some sort of arrangement that would make him happy and keep the band together?

Petrucci: "The biggest thing we did was tell him, 'Don't do that, Mike. It's a mistake.' And we gave him all the reasons you could give to somebody that you're in a band with. See, he wanted to take a long break. He didn't want to leave at first; he wanted to take a five-year break from Dream Theater."

This might be a strange analogy, but it seems akin to a husband leaving his wonderful wife and wanting to run off with –

Petrucci: [laughs] "The younger girl. Right. And she might seem terrific at first, but hey, we told him, 'Mike, this might seem exciting right now, but you're going to wind up unhappy.' We did try to tell him that."

Rudess: "A band member wanting to take a bit of a break is one thing. People are entitled to a break. But Mike wanted to take five years off from Dream Theater. That was a major blow to us. Five years?! That's a big statement. I mean, this is what we do. We enjoy it, we make our livings from it… You can't just stop it cold like that."

Petrucci: "Basically, he was telling us, 'I'm having a good time with this other band. I want to be a part of it.' He didn't want to go right back into Dream Theater, the writing, recording, touring... He thought that we should go away, and then when we came back in five years everybody would welcome us bigger than ever."

Five years. That's a long time to be out of the public's eye.

Petrucci: "It's an eternity!" [laughs]

Rudess: "He did try to sell us on it, though: 'We'll come back. Everybody will be thrilled. We'll sell tons of tickets and records…' Mike is great with the whole rock 'n' roll vision thing, but we just couldn't swallow that concept."

Petrucci: "Dream Theater is our empire. I like to use that word to describe us. [laughs] We made it, built it, it's what we do. Again, you just can't ask us to stop everything. I guess that was OK for him…"

Well, apparently, it wasn't. He went off with Avenged, but in December, when it became clear that he wasn't staying in that band, he came to you guys and asked if he could rejoin.

Rudess: "Yeah, that was a very challenging time. It was several months later, and what basically happened was…[pauses] You know, just to give you an idea of how deep this was to lose him, how difficult it was…after we got off the phone with him, when he told us what was going to happen, that he was leaving…I literally sat on the steps of my studio and cried. This is a guy who's a friend of mine, who we all love and admire. We didn't want to see it come crashing down. The whole thing brought me to tears.

"But we all realized that we had to find a way to keep going. This is our business. We enjoy it, we love it – how do we keep doing this? So we went into motion. Through us putting our heads together, we decided, OK, we've got to find another drummer. And that resulted in us finding these seven amazing drummers to check out. And that, too, was also very emotional: How do you bring a new guy into a situation where you've been with somebody else for so long? It was a very heavy thing."

Petrucci: "It was sort of like when somebody dies. After you're done crying, the planning kicks in: 'OK, we've gotta do this, we have to arrange the funeral and put everything in order.' Even though we were in shock and were filled with a lot of emotions, we knew we had to carry on."

But still, Mike asked to rejoin…

Rudess: "Yes, well, OK, so we put everything together. We got the drummers in, which everybody knows, and we filmed the audition process and put a lot of care into the documentary. So after that whole process, we found somebody who we thought was great - Mike Mangini. 'Oh my God, this guy is fantastic! This can work. We can do it.'"

Petrucci: "And something I should point out – Mike Mangini's life changed dramatically. He was a professor at Berklee, and he had to give notice that he was leaving. He's got a wife and two kids – the whole thing. So he came down and we started making a record. Everybody was supportive at the label. Things were feeling good. We had our feet on the ground again. And then Mike asked if he could get back in..." [He shakes his head]

It was too late.

Rudess: "Yeah. You know, Mike Mangini resigned from Berklee. You can't just tell him… We were in motion with him. We were invested in Mike Mangini and our future. Everything was going full steam. So Mike Portnoy came to us and asked to rejoin: 'Hey, guys I've reconsidered, I've made a…a mistake.' It was like, 'Oh my God, you can't do this to us. You can't pull the rug out from under us like this.' It was…[sighs] it was hard. Here we went through this whole drama, and we finally found this new guy who we were happy with. At a certain point, you just throw up your hands and go, 'This can't be happening!'" [laughs]

You've both been very candid about how heartbreaking Mike Portnoy's decision to leave was, but at any point did you feel angry or scorned?

Petrucci: "Sure. Those are normal reactions. You try to be levelheaded and philosophical about things. You know, change happens in all kinds of situations – things you'd never dream of. But there was a feeling of 'How could you do this to us?' That only lasts for so long, though. You can't dwell on the negative. Negativity breeds negativity. You have to accept things and realize that change happens for a reason."

Of the seven drummers who auditioned on the webisodes, were there others who you considered and maybe reached out to that you didn't actually try out?

Petrucci: "There were a couple, but I don't really want to mention their names. The list was quite small. It might have been nine or 10."

From the videos, it was pretty clear from the outset that you were all pretty happy with Mike Mangini. But Marco Minnemann looked almost equally close. And then there was Pete Wildoer, a last-minute wild card.

Rudess: "Yeah. You know, we spent a good amount of time with each guy, all seven of them. By the time each guy left the room, we had a pretty clear picture of what they were all about – how hard they could hit, how we would relate to each guy. We improvised with them, put together some musical challenges… It was a very long and involved process with each drummer."

But was everybody in the band immediately going "Mangini" and then "Marco"? What I'm getting at is, were you all unified at the same time, or did one guy have strong feelings about one drummer while the others felt differently?

Petrucci: "There was a lot of discussion. We talked about everybody and how we felt. Chemistry is so important. You know, you can have a lot of fun playing with somebody, but then you have to come back to the other matters. We're talking about bringing somebody into our band. We had to picture that guy back there behind the kit and visualize how we would look on that stage.

"And then we had to consider getting along with that person – having him on the bus, hanging out, eating dinner, writing music, recording music, taking pictures, doing interviews…all of those things that you do with another band member. Ultimately, we had to think of ourselves as fans and consider how they would feel with this guy in our band."

Rudess: "I look at it like we were casting a movie. We have the script, but is this guy the right actor to bring the character to life? Is he too tall? Does he say the lines with conviction? Does he have that magic? Many things go into a decision like that. We needed a mind-blowing drummer, but we also needed somebody who could fit the mold of what this position is all about.

"The thing about Mangini was, he really wanted this. His mind was so set on it. He put it out there, he said it on video, and he made it very clear to us in the room. We felt very confident quite quickly that this guy was super-serious and was going to do whatever it took to be part of this band. He wanted it fiercely. Plus, he came in and nailed everything so perfectly – amidst the scene of a crew and cameras and everybody standing around watching. The pressure was on, and he pulled it off."

Petrucci: "From the second he came in, he just blew us away. You know, playing with Mike was the first time we'd played with another drummer. The feeling we had from him… Plus, there were the other considerations: we're all East Coast guys, we went to Berklee…he's got kids… We felt like we knew him already. He was one of us."

And plus, his name is Mike, so you didn't have to worry about turning around and saying a wrong name.

Petrucci: [laughs] "Yeah! But as a drummer, he was phenomenal. The guy was just a beast. One other thing: I love what he said on the video, which was very important. He said, 'This isn't a gig to me.' That really spoke to us."

Rudess: "We felt that. His perspective really mattered."

How soon after choosing Mike did you start recording the new album?

Petrucci: "We waited a good chunk of time before we called him. It was kind of excruciating. We waited a few weeks, I think. I'd say we started recording in January. There was maybe a month or two between making the decision until we were in the studio."

Did you do any writing with Mike, or were the songs ready to go when you started recording?

Rudess: "Mike didn't write with us. Basically, we got in the studio and did our thing. We wrote songs and sent them to him. He came in and just nailed his parts. He's incredible. I'm finishing my keyboard parts right now, and I'll go to the computer to see how things are lining up, and I'm just speechless. The guy doesn't mess up!" [laughs]

Petrucci: "We had the demos, had them fully written out, and he learned them and added his own stuff. But every time he would do something, if I said, 'Hey, can you do that again?' he'd do it, and it would be perfect. The guy is…he's out of his mind! [laughs] People are not going to believe how great he is."

Rudess: "But what's really special about him is, he's not just a technician. Yes, he plays his parts perfectly, but he comes at everything as a total musician. Everything he does has real soul and a depth of feeling."

Not having Mike Portnoy in the recording and writing process, did that change the band dynamic in any ways you can pinpoint?

Petrucci: "It was a lot quieter. [laughs] Mike Mangini's playing style is different. He plays very hard, but he's got a very deep groove. He almost plays behind the beat just a little bit – even through he's right on the money. He's extremely locked in, but if he does do something technical, he's still right there."

Beyond the music, how do you think the band might operate differently? As we said, Mike Portnoy was so involved in other aspects: he wrote the setlists, he did artwork, he was very active with the website…

Rudess: "It's true that Mike Portnoy was involved in all of those aspects. He covered a lot of ground. He enjoyed it, and he felt very controlling when it came to certain things. OK, he's not here now, so we know there's certain things that we have to do. Which we can do. We're very capable people. The fact that we didn't do those things in the past was simply because Mike wanted to."

Through all that's happened, do you still have a relationship with Mike Portnoy? Do you speak? Are you friends?

Petrucci: "I'd like to think so. We're still working things out between us, but yeah…I hope so."

So it's not contentious?

Petrucci: "No, it's not contentious, and we have no intention of it becoming so. There are details in any separation or divorce, things that have to be figured out…and we're working on them."

What are your concerns about the fans? I'd say that most people are behind you guys all the way. Still, as you know, there are Mike Portnoy supporters who are quite upset still.

Petrucci: "Sure. I understand that. As a fan, I can relate. There will be those people who go, 'No! You can't do this.' But I've been a fan of bands where members have left, and I've still been a fan of both incarnations. I grew up listening to Yes, and they had different lineups. Change can be good.

"And we've been very fortunate to get so much positive support from our fans. I know this is a big thing to them, as well. But we're still here, we're more dedicated than ever, and we're not going to let anybody down. We've been doing this too long to stop. I feel as though our best work is still ahead of us."

Rudess: "I think that balance of fan support might have shifted recently, and I would say the videos had a lot to do with it. They got a chance to look inside our world and see what this has meant to us. They saw the amazing drummers we auditioned and how good we all feel with Mike Mangini. You know, Mike Portnoy was great, and Mike Mangini is great. We're fired up, and we're a very happy band once again. I think the fans, even those who might still be doubting us, will see that we're moving forward with nothing but the best of intentions. Like John said, we're not going to let people down."
"The Supreme Court of the United States has descended from the disciplined legal reasoning of John Marshall and Joseph Story to the mystical aphorisms of the fortune cookie."

Offline weddingnails

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From Rich Chycki\s Twiiter:
 

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Three-quarters through #DreamTheater vocals ... Labrie @piratecjs STILL killing it!
"i don't trust anything that bleeds for 5 days and doesn't die"

Offline tgstk2

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Als je dit vertaald hebt kom je erachter dat je weer een minuut van je leven hebt verspild

Offline DreamerTV

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From Facebook:

Jordan Charles Rudess

"Finished my keyboard tracks!"

Offline cyberdrummer

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Offline DreamerTV

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From Gianluca Trombetta, Jordan Keyboards tech:

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DT is officially done recording their new album! Next, mixing.

Then someone asked

What's your personal thoughts on the new album?

And he replies

Quote
You'll find when it comes out. :). Let's just say Wow