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Yes, but it might not be comfortable. The pedal comes with a base plate that the cajon sits on; the pedal itself attaches to this base plate. The base plate is pitched at an angle, so that the front face the cajon, where the pedal attaches, is at an angle to facilitate access by the hands. If you were to rotate the base plate, then yes, you could have the pedal striking the side of the drum, but the drum would now have a side facing angle and this would skew your hips and spine. Ergonomically, this is not ideal…but it’s possible.

That’s amazing, thanks for letting me know! I hope you enjoy them…make a video of how you’re using them, and use #shakerbrush. Enjoy!

Lucknow Gharana

Glad you’ve had good outcomes from the material!

Thank you, my friend, I’m glad you found the material helpful.

Glad you liked it, stay tuned for more split hand stuff, I’ve got more upcoming

@@tjtroymusic Thanks So Much

Thank you, my friend. 🙏

🙏thank you, Richard

Thank you, my friend! Sahba and I have some great things planned in the very near future, including more videos on this channel, so please stay in touch and help spread the music.

This is a 40-inch Remo Gathering Drum…if it wasn’t so difficult to move around I would tour with it, but it is difficult to move.

@@tjtroymusic That is awesome!

It’s called Shaker Brush. It’s made by Schlagwerk Percussion in Germany; I helped design the stick, and in the United States you can get them at shakerbrush.com

Thanks Matthew. Just fyi - my last name is Troy, my first name is T.J., glad you liked the material, more to come shortly. 🙏

Thanks, much appreciated. I love experimenting with different setups, but this one in particular has seen a lot of miles.

Hi Stefan, so glad you found the information helpful, and thanks again for your great question, keep them coming! Be well, and happy drumming.

@@tjtroymusic I found a great solution for my needs: the Austrian cajon manufacturer PUR sells 14" hand crash sizzle cymbals, which sound a bit similar to yours and are very thin. Thank you for your inspiration!

That’s fantastic, I’ll check them out…I’m always looking for new solutions as well, thanks for sharing, Stefan!

My pleasure, Gary, thanks for checking out the video.

Stefan, I moved the premiere up so it will release today, I hope you enjoy it!

Hi Stefan, thanks excellent question…so much so, I think this is best answered through a video rather than a comment, so I’m going to sit down a little later today and make a short video response. Stay tuned and thanks again for checking out the content, and for leaving a great question!

Thank you, my friend, I’m very glad you enjoyed it. Thanks for subscribing to the channel, there’s some more interesting and (hopefully) helpful material coming very soon. 🙏

Actually, it’s just a cheap contact mic from some random Amazon store…I think it was a pack of 6 contact mics for $15-20, something like that. Honestly, I use mostly as a dampener to dry the head up a little bit, as the Cooperman instrument I’m playing is quite ringy, lots of resonance. I tried these contact mics as pick ups with the intent of using them on all hand drum surfaces in my world hybrid kit, but they don’t sound great for acoustic drums. They work awesome if you want to capture a strong isolated signal for any processing you might want to do, something of a happy mistake. Thanks for stopping by the channel.

The contact mic just sticks on with adhesive on the back. Pretty easy set up…

Thanks so much for the comment, Gary…I want to address this in more detail in a video, hopefully by next mid-week, stay tuned!

Absolutely, my friend, I’m glad it helps and thanks for playing along!

Thanks so much, my friend, much appreciated. 🙏

Welcome to the channel, thanks so much for being here…thanks for playing along to the video! Let me know if you have any questions, I’m always interested in hearing where you’re at with this or any other material.

Also, great question, but I'm going to need to do a video on this to explain it properly. Traditional grip is not going to injure you if you're doing it properly; however, a lot of players (younger players, especially), are taught incorrectly and it does end up causing injury further down the line. Also, if you watch my hands, you'll see I don't lift them too terribly high off the instrument, and any rotation/pronation/supination is so small, it's well within the flexible range of the forearm...that's not going to cause any issue. But, it's something I always mention when players ask whether I'm rotating the forearm to create the stroke: the answer is no, I lift from the wrist same as any other, but there is a residual (or, secondary) rotating motion as a result of isolating the fingers in a split-hand technique. I'll do a video in the future to explain this a bit more. Let me know if this helps, and thanks again...great comment!

@@tjtroymusic I've seen cajon players on youtube rotating their hands/forearms quite alot when playing double stroke rolls. It was helpful to see you do a double stroke without so much pronation--something for me to be aware of.

I think, often times when we demonstrate things at a slower tempo, we tend to exaggerate movements, make them a little larger, to illustrate the full scope of the mechanism. But when you get closer to a performance tempo, the hands will always condense their movement and become more economical. That’s what I hope to illustrate in my videos…easy and relaxed movements are always best for the body, and drumming is a natural, healthy activity that is best when the movement is in line with how the body naturally moves. The great part, is that these “mysteries” tend to reveal themselves to you the more you practice and play with other musicians. Do what feels good for your hands and the technique will continue to develop. Stay in touch, Sam, I love your comments and hope I can help you in your musical pursuits.

@@tjtroymusic I appreciate your replies. I look forward to learning more from you.

The key to producing the tone is always going to be weight...the heavier you can make your hand/finger, the fuller (and louder) the tone will be. Staying relaxed is the key, and then learning the optimal velocity to throw the hand/finger. In terms of which combination of fingers to use for rolls or fill-ins, that's entirely up to you and your instrument. Personally, I switch between a bunch of different hand and finger combinations depending on the drum I'm on, the tune I'm playing, the volume...all these technique, including the one you're describing, are great and you should know them enough to be able to move in and out of them as the music demands. Great question, Sam, thanks so much for subscribing and for a great comment! I'll definitely discuss this more in a future video...

It’s my great pleasure, Dan. I hope these ideas help, and please share with anybody who might benefit and enjoy the content. I hope your drumming is going well, hope to see more of your work…and keep the comments coming!

Thank you for listening and participating! I hope these ideas help you on your path toward great music making.

This pedal is fantastic. As far as the Meinl pedals, I haven’t played them so I can’t comment directly, but I can say that the Schlagwerk pedal is quite brilliant. I had their first pedal as well and that was super reliable on a lot of tours and fly outs. I think this new model is much better than the previous.

That’s a great topic, Dan. The connection between melody and rhythm is a deep one, lots of great information to show and discuss. I will absolutely make a video discussing this; I have a couple more to get through first, and then I will work on that one. Thanks so much for the idea!

Hi Dan, thanks so much for your comment. I'm so glad you enjoyed the video and are getting some good ideas from it. I agree: not very many people follow the channel, but I am always hopeful that will change and I can engage a larger audience with quality percussion videos. And, you raise a very important question: it's true that I divide the subdivisions of the rhythm into groupings of 3 + 3 + 2, but since this is a 2/4 rhythm, you can (and should) feel the rhythmic pulse beneath it in even pulses of 2, 4, or 8...it all depends on how you group the subdivisions. You've given me a great idea for a new video where I can discuss some different methods to approach a rhythm like this, and learn some different strategies on how to feel the pulse while creating the groupings of subdivision in such a way to give the rhythm a nice syncopation, without messing with your head! Thank you for such a great question! If you are interested in helping me grow this channel, please consider sharing the video. And keep the comments coming, I get a lot of inspiration from drummers all over the world through the comments, and I'm more than happy to share knowledge to help other drummers grow on their instrument. Thanks again for your support and your great question, happy drumming my friend!

That's awesome!