Triple Your Foot Speed On The Drums - Russ Miller

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If you saw Russ Miller’s ‘Triple Your Hand Speed In One Day’ video, you’re really going to enjoy this one. And many of the techniques he shows on the hands transfer to your feet!

Most new drummers – and even many experienced drummers – have trouble playing double strokes or quick patterns on the bass drum pedal. And even if you’re able to get the motion you want, you might not get the sound you want.

The following tips will help you achieve pro-tier speed and dynamics using what you already know. All you need to change is how you approach movement and the placement of the beater.

If you aren’t familiar with the term ‘burying the beater’, it refers to leaving the beater ‘pushed into’ the bass drum head after playing a note and before playing another one.

Digging the beater into the head not only changes the sound of your bass drum hits, but it only allows you to play one note with two movements: one to push the beater forward, and one to pull it back.

Instead, if you let the beater bounce back right after the first hit, it’s now in the position to play a second note – and it only takes one movement. This is known as the ‘continuous motion technique’ commonly taught by Moeller advocates like Jim Chapin and Freddie Gruber and used by modern drummers like Steve Smith, Steve Gadd and Jojo Mayer.

A great way to practice (and see if you’re doing it right or not) is to try this with your bass drum foot on the hi-hat pedal. You want to splash the hi-hat with every hit (where it rings out instead of ‘chicking’ closed). After you play the first (downstroke) note, use your ankle with your heel down to play a smaller (tap) note. Then play one more note as you roll your foot back up (up stroke). You’re now playing three notes with one leg movement.

Again, every hit should splash the hi-hats. If it doesn’t, you’re still using the bury-the-beater motion, which isn’t what you want. Try to get your beater to come back to the same position every time.

Keeping the beater in continuous motion prepares you to play the next note. There’s no stopping at the head that forces you to restart the movement. If you’re playing double bass, use the same technique on your left foot.

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