Jharis Yokley's unfiltered shed 🎓 · 10 kick heads A/B'd 🦵 · Mike Johnston's paradiddle-diddle fill 🎶 · Willem Jochems' Byzance rig ✨

@Jeff Randall

Jeff Randall takes on "All Around The World," tearing into one of Chad Smith's most relentless album openers in a tight Instagram reel. The Chili Peppers track is a workout in pocket discipline and breakneck fills, and Randall's run-through is worth a minute if you want to see how a teacher attacks it under the microscope.

That Swedish Drummer packs five deceptively flashy fills into 29 seconds, each one engineered to sound twice as gnarly as it actually plays. The trick is in the orchestration: simple stickings spread across toms and cymbals to fake the chops your hands haven't earned yet. A useful steal for gig night when you need to look busier than you are.

Thomann's Drum Bash lines up ten of the most-used bass drum batter heads back-to-back, tuning them the same way and letting you hear how each one shapes attack, sustain, and low-end punch. The lineup pulls from the usual heavyweights at Evans, Remo, and Aquarian, including the EMAD 2 Clear, Powerstroke 3, Super Kick II, EMAD Heavyweight, SMT Emperor, EQ4, Ambassador, UV2 EQ3, and Pinstripe.

The wildcard is the one worth sticking around for: Asapura's Kicka-Tack, a less-familiar option that gets folded into the same A/B treatment as the big-name heads. If you are stuck between chasing more click for metal, rounder thump for studio work, or a do-it-all rock head, this is a fast way to audition the field before committing.

Willem Jochems walks through his Meinl rig, and it's a Byzance lover's dream: an 18" Byzance Jazz Extra Thin Crash sitting alongside a 20" Byzance Dual Trash Crash, twin 22" rides (the Foundry Reserve and the Traditional Extra Hammered), and a stack pairing an 18" Byzance Dark Trash Crash over a 14" Generation X Filter China. The hi-hat choices are just as telling, with 16" Byzance Extra Dry Medium Thin hats up top and the 14" Foundry Reserve as a secondary pair.

Add the 8" Artist Concept Crasher Hats, a 10" Byzance Dual Splash, and an 8" Classics Custom Brilliant Bell, and you get a setup built for fast color changes inside a rock context. Drum Honey on the heads keeps things controlled.

Jharis Yokley posts an unvarnished practice session, and the comments tell you why it's worth your time. No edits, no hero takes, just a Berklee grad working on breaking up triplets inside a half time groove, staying with a single paradiddle long enough to actually internalize it and turn it into music. You see the experiments, the stalls, the small wins.

That's the appeal here. Most drum content shows you the finished thing; this shows you the work that gets you there. Sit with it the way Yokley sits with one pattern, and you'll come away with a clearer sense of what real shed time looks like, and maybe a more honest relationship with your own.

Mike Johnston takes the paradiddle-diddle (RLRRLL) and shows how a single rudiment, orchestrated thoughtfully, becomes a fill that actually sounds like music instead of a sticking exercise. The real takeaway here is not the rudiment itself but the idea that phrasing beats speed every time, especially for intermediate players chasing impressive fills before they own the basic vocabulary.

Start at 60 bpm on the snare. Just RLRRLL, over and over, until the hands feel even and the diddles do not rush. Once that locks in, orchestrate it: move the single strokes around the kit, leave the diddles on the snare, or flip it and keep the singles on snare while the doubles travel to toms. Then add dynamics. Accent the first note of each grouping and ghost everything else so the fill breathes. Johnston also pushes a displaced backbeat against the pattern, which is the part most players skip. Keep your left foot on 2 and 4 while your hands play through the rudiment, and suddenly the same six notes sit in a completely different pocket. Do not blow past the exit. A fill that does not land cleanly on beat 1 of the next bar is just noise, so practice the resolution as deliberately as the fill itself.

The lesson underneath the lesson: you do not need more rudiments, you need to squeeze more music out of the ones you already have.

Drum Beats Online builds its latest fill workshop around a "stack" system, the idea that one simple, boring fill can be layered into something genuinely intimidating without learning a hundred new vocabulary pieces. Start with a basic four-note phrase, then stack orchestration, rhythmic displacement, and dynamics on top until the same skeleton sounds like a different drummer played it.

The 13-minute lesson is built to be practiced along with at any tempo, so the takeaway for your kit time is simple: pick one fill you already own, then run it through three or four stacked variations before moving on. You walk away with fills that scale to the tune instead of a notebook full of licks you never use.