Essential Drum Lessons: 23 Common Drumming

Mistakes And Their Solutions

By Aaron J. Reinhard

Copyright 2012 © The Complete Drummer

All rights reserved. No part of this publication may be reproduced, stored in

retrieval system, copied in any form or by any means, electronic, mechanical,
photocopying, recording or otherwise transmitted without written permission
from the publisher. You must not circulate this book in any format.
 Table of Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

The Mistakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

About The Author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

 Introduction
Hello, and congratulations on choosing to learn more about drumming
and to develop your skills through this book! You’ve made a wise
decision by opening and reading this book. You can expect to hear
some fresh new ideas that you haven’t thought of that you can apply to
your playing immediately, and also a few things that you already knew,
but maybe needed a refresher on.

If you want to get the most out of this book, here’s the best way to do
it: read straight through it now to familiarize yourself with the ideas.
Then, in the future, when you’re having trouble in your playing, and just
can’t seem to get something right, come back to it for inspiration, or as
a reference manual.

Have you ever watched a movie the second time and realized you
totally missed a scene or a line, even though it was definitely in there
the first time? This happens because our brain gets caught up on one
idea and runs with it, which means we miss the next little pieces.
Reading this book multiple times will allow you to absorb all of the
information, and make sure you don’t miss anything important.

Enjoy, and Happy Drumming!

Mistake #1 - We hold the sticks too tightly.

This is bad for a number of reasons:

-It causes you to fatigue quickly.

-It prevents you from being able to execute fast/technical passages.

-It can cause carpal tunnel syndrome or other injuries.

The most important part of technique is making sure that you stay
LOOSE while you play. I’ll often ask my students to pull my stick out of
my hand so that they can feel just how loose my grip is. The stick slides
out with ease.

If you have tension in your body while you’re playing, it will just keep
getting worse, and building up throughout your practice routine, or
God forbid, your performance. This tension is your body saying, “Hey
buddy, you’re doing it wrong.” Listen to your body and get rid of it.
This may cause you to drop sticks on occasion, but knocking a stick out
of one of your hands while playing is actually a good sign! (Just be
careful not to overdo it.)

STAY LOOSE TO STAY IN CONTROL.

Mistake #2 - We don’t set the drum set up properly.

The drums need to be set up to your body and never the other way
around. First and foremost your throne must be set to the proper
height. Your legs should create a 90 degree angle at your knees and
hang naturally, with your feet on the pedals. (Just like your arms do,
right?)

Adjust the location of your pedals to where your feet sit naturally and
you can fit your snare drum comfortably in between your legs. Let your
arms hang naturally with you sticks in playing position. If the tips of
your sticks aren’t meeting in the center of the drum, reposition it so
that they do.

The other drums and cymbals should be placed within an easy reach.
No need to overstretch. Make it comfortable for your body.

Did you notice how many times I said the words naturally and
comfortably in this section? It’s absolutely crucial that you don’t have
to overexert yourself to play. Don’t make it any harder than it has to
be.

ADJUST THE DRUMS TO YOU - NOT THE OTHER WAY AROUND!

Mistake #3 - Playing too loud/Playing like a girl.

These are obviously opposites, but both happen often, for different
reasons in drummers of different skill levels.

The tendency to play too loud comes into play with more experienced
drummers and specifically when playing with bands. Learn to listen to
the balance of the group and make sure you’re not drowning anyone
out. (especially the singer - you’ll get fired REAL quick for that one.)

I tend to see more beginning student “playing like girls”. (Excuse my

bluntness, but this tends to get 12 year old boys to respond.) Don’t be
afraid of the drums. The beautiful thing about our instrument is that it
doesn’t hit back, so go for it, and get some volume out of the drums.
(Especially if you’re a rock drummer.)

This said - when you’re supposed to rock out, rock out! Screw playing
softly if it doesn’t fit the music! The important thing here is knowing
when it’s appropriate and when you’re just being a really loud jerk.

PLAY CONFIDENTLY, BUT NOT OBNOXIOUSLY!

Mistake #4 - We don’t balance the instruments of the drum set

evenly.

That’s right, we’re playing more than one instrument, but we have to
make them blend together and sound like one. Sometimes we play the
hi hats too loud. Sometimes the snare isn’t loud enough. I mean come
on - we’re mostly right handed and there’s not enough room to wind
up and smack the snare drum hard with the left hand.

Here’s what we’re aiming for: (In rock music anyways)

Volume
120
100
80
60
Volume
40
20
0
Hi Hat Snare Drum Bass Drum

It’s the relative volume between the instruments that’s important, not
the actual numbers themselves. The kick and snare drums make up the
most important parts of the beat, so keep them forefront, while the hi
hat keeps a consistent time at a lower volume. Balancing your playing
this way will instantly make it sound more professional.

BALANCE YOUR PLAYING PROPERLY AS ONE INSTRUMENT!

Mistake #5 - Our tempo isn’t solid.

This is your primary job as the drummer of the band. You need to play
solidly enough to keep everyone else together. So where are the most
common problem areas for unintentional tempo shifts? I’m glad you
asked, because I have a list:

- Changing between sections of a song

- In technical/challenging passages

- Transitioning into half time or double time

- Any spaces or rests

AND OF COURSE

- FILLS

Make recordings of yourself (video is better, but audio works too)

often, and analyze your playing. Listen for any shifts in tempo,
especially at the spots listed, and then drill those spots until you can
keep your time even throughout.

DEVELOP A SOLID TEMPO BY PRACTICING WITH A METRONOME!

Speaking of fills…

Mistake #6 - We play too many fills.

Let me ask you…

What is the purpose of a fill?

Think about it for a second before continuing on.

Got it?

Ok, continuing…

Is it:

a) So that the audience recognizes that you’re probably the best

drummer in the world
b) To show off
c) To try to throw the other musicians off with a cool new rhythm
that you learned in this weeks lesson
d) To help with the development of a song and assist in making clean
and clear transitions between sections

Boy, I hope you got that one right…

DON’T PLAY TOO MANY FILLS, AND KEEP THEM SHORT AND SWEET FOR

THE MOST PART!

Mistake #7 - We practice things that we’re already good at.

Isn’t it easier to sit down at your kit and just jam out on your favorite
groove than learn something new? Of course it is, but that’s not how
we grow and learn as drummers. To make real, tangible progress we
have to struggle and challenge ourselves. Sure, it can be frustrating,
but as you may have heard:

“If you always do what you’ve always done, you’ll always get what
you’ve always gotten.”

I made a sign that says:

PRACTICE WHAT YOU SUCK AT

And I put it up on the wall in front of my drums to stop myself from

jamming too much and to refocus on getting some real practice time in.
Since then, I’ve seen a dramatic increase in productivity, because I’m
working on the things that will make me grow, rather than revisiting
the same old stuff all of the time.

PRACTICE WHAT YOU SUCK AT!

Mistake #8 - We push the sticks/pedals too hard into the drum heads.

This can create a dead sound, an unwanted buzz sound, or other extra
strokes. The sticks need to bounce out of the drum head like a
basketball. If you’re applying the advice from tip #1 (staying loose) this
shouldn’t be a major issue for you, as this is what allows the sticks and
pedals to bounce freely.

Newton’s third law of motion tells us that this will happen - for every
action there is an equal and opposite reaction. The stick wants to come
out, and you’re actually stopping it. By loosening your grip, the stick
can now freely return to where it started, saving you energy, and
creating a clearer, more open drum sound.

NOTE: Sometimes it is actually desirable to do this as an effect of sorts.

Just make sure that you’re in control of it and not accidentally doing it
each time you hit the drums.

GET GOOD, CLEAN, FULL SOUNDS BY LETTING YOUR STICKS BOUNCE

OUT OF THE DRUMS!

Mistake #9 - We use too much muffling on the drums.

This one is pretty much self explanatory. Your drums should resonate
and “sing”. There’s no need to cover their mouths with abusive
amounts of duct tape. (You’re already beating them as it is…)

I’m not saying that all muffling is bad, and a lot of beginner level sets
require at least some to sound good. If you’re snare drum is a little too
ringy, by all means, put a piece of moon gel on it. If your toms are
ringing for 10 seconds before decaying and you need more attack, slap
some studio rings on them. All I’m saying is just be careful not to
overdo it.

DUCT TAPING YOUR DAD’S OLD SOCKS TO YOUR FLOOR TOM HEAD IS
OVERDOING IT!

Mistake #10 - We have bad attitudes.

This whole music thing is supposed to be fun, remember? Your band

mates are on your team, even though it may not seem like it at times,
and usually want what’s best for the group.

Don’t be a jerk. No one wants to play with someone who has a huge
ego. This aspect is sometimes even more important that your playing
abilities, so make sure you can get along with your band mates.

Why would you want to make music with people who you aren’t
friends (or at the very least friendly) with anyways?

BE OPEN, FRIENDLY, AND POSITIVE! (Your guitarist and singer bring

enough ego to the band as it is - and God forbid they be the same
person…)
Mistake #11 - We lack ambidexterity.

As a drummer, and especially as drum set players, if we want ultimate

flexibility and freedom in our playing, we must learn to have an equal
control over all of the limb s. Constantly work on improving each of
your limbs until they’re as good as your best limb. Cause you know that
a chain is only as strong as its weakest link. (or LIMB)

I recommend using the left side of your body (or right if you’re a lefty)
to do everything throughout the day. I used to spray/wash dishes with
my left hand, open doors left handed, make/cut pizzas left handed, etc.
Try brushing your teeth left handed, and still not being able to do it as
well as with your right hand after a year… Look for opportunities to be
developing your overall skills all day long.

Another exercise for you is of course to turn your drumset entirely

around. If you’re a double bass player, this will do wonders for the
evenness of your playing. It will also make it easier for you to play open
handed patterns, which open up many new creative possibilities on the
kit. And best of all… hi hat chokes! (try it - ahahahahaha *evil
laughter*)

After a while of playing in this reverse manner, I noticed a strong link in

my playing between a sound and a limb, so whenever I think bass drum,
my body instinctively thinks right foot. As I continued to experiment
with it, I was able to disconnect this link in my head a bit more, and
more easily control what I was playing as a result. This also provides
good training for incorporation of electronic drum pads into your
playing - expanding your possibilities as a drummer yet farther.

EVERY LIMB SHOULD BE AS GOOD AS YOUR BEST LIMB.

Mistake #12 - We focus only on getting faster.

Always wanting to be the fastest, acting like we’re still in high school,
and ignoring feel and groove. Don’t get me wrong, I’ve got no problem
with playing fast, (I happen to enjoy doing it at times myself), but it’s
not the most important aspect of music. We’ve got to play musically
for people to want to listen.

It’s FAR more important to play your grooves in a calm, commanding,

and solid fashion than it is to play fast. It’s just as important to play any
fast grooves that you might have in your arsenal in the same way.
Control is the name of the game here. You must have control over the
tempo and feel of the pattern no matter what tempo it is that you’re
playing at.

SHIFT YOUR FOCUS TO BEING GROOVIER, DUDE. (YOU DON’T HAVE TO

BECOME A HIPPIE - JUST PLAY MORE “IN THE POCKET”)
Mistake #13 - Our coordination is similar to that of a drunk cat after
chasing a laser pointer in circles for seven and a half minutes.

We learn grooves that only require three limbs to execute, but WE

HAVE 4. (5 if you count the voice) This isn’t always going to be
necessary in your playing, but being able to use it when you want/need
to opens up many doors of creativity that would otherwise be
unexplored.

Here’s an easy way to get started doing this if you’ve never tried
playing a “4 Way Coordination” (that’s a GREAT drumming book, by the
way) before. Have one of your limbs match the others, so it’s kind of
like you’re still playing 3 limbs - maybe 3.5. Then start to vary it. You
can have the hi hat start by matching the eighth notes on the ride
cymbal, and then switch it to quarters or offbeats. Try the opposite too
- eighths on the hi hat foot and quarters or off beats on the ride.

If you have trouble playing a 4 limb coordination, I’ll give you the secret
to being able to perform anything you set your mind to. You need to
find which 2 or 3 limbs are the problem area, because if you can’t do all
four, it just means that you can’t execute this combination by itself.
Work on these combos a ton of times, and then add limbs back in as it
gets more comfortable.

MAKE YOUR PLAYING MORE INTERESTING BY USING ALL 4 LIMBS.

Mistake #14 - We don’t recognize that contrast is what makes music
interesting and exciting.

Loud & Soft. Fast & Slow. Long & Short. High & Low. These contrasts
are what make music exciting and interesting. Whether we realize it or
not these dynamic capabilities are the reason that we listen to our
favorite bands. Think of some of your favorite tunes. At the part where
the music changes tempo or volume you’ll feel a drastic change in
energy.

Beginning drummers don’t have as much control over their hi hat

chokes/sizzles and sometimes cut them short or let them last too long.
This limits their effectiveness and makes the groove sound less clean.

Learn to make any changes you make in the volume of your playing first
noticeable - often we think we’re changing dynamics more drastically
than we are - and then exciting, by playing your softs softer, and your
louds louder. When you’re practicing crescendos, start at the absolute
softest volume you can play at, and build to the loudest volume you can
reach. Also, most of us spend a lot of time practicing at medium to
loud volume levels. Practicing for extended periods of time at a low
volume level on a pad(perhaps at night when others are sleeping to
maximize your practice time and not have to give up any time whaling
on the drums at your favorite dynamic level - fffff) will actually increase
your control over the sticks at the loud volume level.

NO ONE WANTS TO HEAR THE SAME THING OVER AND OVER. CHANGE
IT UP!

Mistake #15 - We hit our cymbals the wrong way and get bad sounds.

The next time I see someone hit a crash cymbal with the tip of their
nylon tipped Easton (Ahead) baseball bat sticks I might die. What an
anti-climactic way to play! You can’t change into a big section of a song
with a weak attack on your crash cymbal. It just doesn’t serve the
music.

This is how you hit your ride cymbal and hi hat most of the time, but
not the ideal way to hit your crash cymbal. Now, music is an art, not a
science, so there will be times where it’s acceptable to play your crash
cymbals in this manner, but you have to know when to do it, and when
to not do it. When you want that big, full crash sound, you’ve gotta hit
the edge of the cymbal with the shaft of the stick.

The hi hat should be hit with the tip of the stick most of the time - not
always though. When I’m playing open hi hats, I almost always play
them in the same manner as hitting a crash cymbal. Also, alternating
between the shaft on edge/tip on bow is a great way to get accent
differentiation in terms of tone AND volume. I use this trick on the ride
cymbal too - hit the bell with the shaft of your stick (it just sounds more
full than with the tip) and then the bow of the cymbal with the tip.

HIT YOUR CYMBALS PROPERLY - DON’T BE THE ONE THAT KILLS ME

WITH YOUR BAD CYMBAL SOUNDS!

Mistake #16 - Accents don’t pop out enough.

This one goes back to the contrast idea. If you want your accents to be
heard and effective they must be played at a volume that allows the
listener to distinguish the accents from the non-accents. Many novice
drummers just think because they know what they meant to play that
everyone else does too. Not true. You’ve got to exaggerate your
playing for the listener to truly “get the message”.

Again, softs must be played softer, and louds must be played louder.
This analogy has worked well for my students in the past - the
difference in volume between your accents and non-accents should be
more like the difference in height between a tree and grass, rather than
a tree and a bush. The more drastic the difference, the more obvious
your intent will be to your audience, and the more exciting your playing
will sound.

The accents have to “pop”, that is, stand out from your softer interior
notes. A common tendency when students begin to play these notes
quieter is to back off a little bit on the accent. DON’T DO THIS! I must
keep stressing that it’s the differentiation between the volume of these
notes that is the key to their effectiveness.

PLAY YOUR LOUDS LOUDER, AND YOUR SOFTS SOFTER!

Mistake #17 - We don’t listen to other drummers enough.

Straight up - if you can’t, at the very least, name me your top 3 favorite
drummers right now, you need to figure out their names, (saying “that
guy from Led Zeppelin doesn’t count”) or pick out who they are in the
first place (saying that guy from Led Zeppelin doesn’t count). The more
you get into studying a drummer’s style, the more you’ll hear the subtle
differences that give each drummer his or her own personality, and the
better you will be at defining yours.

Some of my favorites are - Billy Cobham, Danny Carey, Thomas Pridgen,

John Bonham, Jojo Mayer, Benny Greb, Jon Theodore, Virgil Donati,
Keith Carlock, Rodney Holmes, Thomas Haake, Mike Portnoy, just to
name a few. (and I’ve seen all but two of them give a clinic or a
performance at one time or another.)

Listen to the nuances that make these drummers and their songs feel
so great. What about it makes people dance? Or bob their head?

When I hear another musician play, I’m always thinking - what does he
do better than me? - and then I emulate it and integrate it into my own
playing. Don’t feel like you need to create things from scratch. Listen
to the great ones who’ve come before us, and use their ideas.

KNOW THY INFLUENCES, AND KNOW THEM WELL.

Mistake #18 - We don’t stretch - or warm up - before or after playing.

Imagine if a marathon runner woke up to his alarm, sprung out of bed,

and immediately began to sprint for 40 miles as though his life
depended on it. This is essentially what you’re doing to your body if
you don’t stretch and warm up each time you play, as drumming is a
physically intense activity.

Your warm up doesn’t have to be anything crazy. Simply starting with a

slow 8 on a hand and playing through some basic rudiments will do.
Ten to fifteen minutes will suffice, with your tempos gradually
increasing throughout.
Make sure that you stretch your arms and legs out before and after you
play. Specifically make sure that your forearms, hamstrings, and calves
get stretched.

TO PREVENT CRAMPS AND OTHER INJURIES STRETCH AND WARM UP!

Mistake #19 - We only listen to one type of music.

“I only listen to Slipknot, and bands that sound like Slipknot. Slipknot is
the best band ever. Don’t you think so?” Guess what that drummer’s
band is going to sound like. Yup, Slipknot. Boring. Be your own
drummer.

We need to draw influence from all types of music. Now, I know that
not everyone is going to like every type of music. But I strongly believe
that there’s good music in every genre - yes, even country. There’s
horrible music in every genre too - and a lot of it gets played on the
radio. So, you need to dig a little bit to find it, but it’s there.

You’ll never be an innovative musician within your genre if you only do

what everyone in your genre has done. You have to draw ideas from
other places to develop your creativity. Try listening to music that
doesn’t have any drums in it at all - classical if you can’t think of
anything else. (Drums are a pretty prevalent instrument throughout all
cultures.) Use the ideas that you hear everywhere else in your own
playing, to help diversify and make it more exciting and interesting.

EXPAND YOUR HORIZONS BEYOND WHAT YOU NOW KNOW.

Mistake #20 - We don’t learn to tune our drums properly.

“Will you tune my drums for me?” is a reasonable question for a

beginning drummer, but if you’ve been playing for a year or more, it’s
time to take an interest in learning how to tune them. (Guitarists have
to start learning this within a few lessons) This is such a crucial skill,
and makes a DRASTIC difference in your overall sound as a drummer.

Do you want your drums to be high or low? Jazzers tend to tune up,
while rock/metal drummers tend to tune them down low to get that
“drums from hell” sound. Maybe you’ll like somewhere in between.
You’ve got to experiment, and see what sounds best for your playing.

By the way, I recommend thinking of everything you do with the drums

as an experiment. If it doesn’t work, you can change it up and try
something new. If it does work, great! Keep it and keep looking for
other improvements that you can make too.

Here are a few quick tuning tips:

- The pitch of the drumhead at each lug should match.

- When tuning a drum for the first time after changing a head, make
sure you tighten the lugs in a star pattern. (see photo for order on 5, 6,
and 8 lug drums)

- Match the pitch of the top head to the pitch of the bottom head.
From here, it’s common to raise the pitch of the bottom head just a
hair, but again this is an experiment. If you like it, keep it.

- Pay attention to how the heads feel, as well as how they sound,
because this will have a huge effect on your playing.

YOUR TEACHER WON’T ALWAYS BE THERE TO HOLD YOUR HAND AND

TUNE YOUR DRUMS FOR YOU. LEARN IT!

Mistake #21 - We don’t learn our rudiments.

This is literally the equivalent to refusing to learn the alphabet or any

words, and expecting to be able to speak and write in any given
language. Dictionary.com defines a rudiment as “The elements or first
principles of a subject.” And so many drummers just ignore them…
NOT smart.
Music is a language, and if we want to speak it fluently, we MUST
dedicate time to learning its letters, words, and phrases. You need to
know what a flam is. You need to know what a paradiddle is. Without
these basic understandings, don’t expect to ever be a great drummer.

Get a list of the 40 basic drum rudiments, a good teacher, and start
learning them. Learn them first on the pad, and then start applying
them to the drum set, and don’t get me started on all the different
ways you can start to apply them. They’re literally infinite.

IF YOU WANT TO SPEAK THE LANGUAGE THAT DRUMMERS SPEAK,

LEARN THE WORDS THAT DRUMMERS USE!

Mistake #22 - We think, “I already know that”.

This is what is called pride. Drop it as soon as you can. Preferably right
NOW. It stops many naturally talented drummers from growing to
even greater heights. Keep learning. Keep playing.

The players who continue developing, while they may not be as skilled
to begin with, learn to overcome their challenges and surpass the
cocky, natural drummer in time. They also get to the point where
everything they play seems natural, in spite of all the time and effort
they put into learning these skills.
It has been said that knowledge is power, but this is not true. If I read a
recipe for a cake, I theoretically “know” how to make a cake, but that
doesn’t make a cake appear. The truth is that the application of
knowledge is power. You may have to make a few cakes before you
can do it well, and just the same, you’ll have to play some patterns A
LOT to really know them. But, if you put in the work you’ll reap the
rewards.

KEEP GROWING AND STRIVING TO IMPROVE YOUR SKILLS DAILY!

Mistake #23 - We think that practice makes perfect.

Yet another myth, that simply isn’t true. Practice forms habits.
Therefore if you’re practicing a pattern incorrectly, you’re getting
better at doing it wrong. The quality of practice is more important than
the amount.

Don’t get me wrong, the more you practice, the better you’ll get, but it
has to be effective and efficient practice. ONLY PERFECT PRACTICE
MAKES PERFECT. And this is the only way that you’re going to get
things right. Quality over quantity.

Sometimes you’ll have to play a groove much slower than you want to
to get it right. This method is FAR superior to struggling through it and
making a thousand mistakes a minute at a faster tempo. If you do that
you’re just getting better at making more mistakes, faster. Slow down
and get it right this time. The speed will come with time. So,
remember…

ONLY PERFECT PRACTICE MAKES PERFECT!

 Conclusion
If you take these lessons and apply them to your playing, I know you’ll
be delighted by the results you get. Come back to this book from time
to time, and check on your progress to see how you’re doing. You
won’t be able to apply everything right away, and it will take time to
incorporate all of these ideas into your playing, but stick to it (pun
intended) and you’ll see dramatic growth in your playing.

That concludes this collection of quick drum tips.

BUT WAIT! THERE’S MORE!

Be on the lookout for my weekly newsletter. You’ll get your first copy
on Monday, and until then, feel free to check out the back issues here.
 About the author
Aaron J. Reinhard is the creator and author of The Complete Drummer. With a 17
year career in music, and a little over a decade worth of teaching experience, he
certainly knows the ropes.

He received several scholarships for music, and studied in the Music Performance
Program at The University of Michigan – Flint. In his time there, he performed all
over the U.S., with the World-Renowned steel drum band – The Steelheads.
Notable concerts while he was here include The Detroit Jazz Festival with steel
drum innovator, Andy Narell, The Syracuse Jazz Festival, The Flint Jazz Festival,
and a terrace showcase concert at PASIC. (You should go sometime…)

This performance was Aaron’s first journey to the Percussive Art Society’s annual
convention, but it would not be his last. He attended the following five years as
well soaking up as much information as possible from the greats in the drumming
world to improve his own teaching and playing.

He has performed thousands of concerts in extremely diverse genres of music

including: church bands, metal bands, marching bands, jazz bands, steel drum
bands, choirs, reggae bands, wind ensembles, solo acts (on classical guitar and
percussion), and more. He is well versed in many percussion instruments, with
experience also on the guitar, bass, keyboards, vocals, and a little tinkering here
and there on wind instruments too. He has managed music shops, put together
several bands of teenage (and younger) students and coordinated performances,
recordings, TV commercials and more for them.

His current focus is on writing and sharing all that he’s learned through his
journey with others to help them cut as much time out of their learning curve as
possible.

You can reach Aaron by emailing him here or adding him on facebook.