Drum machines have been around for decades. While initially maligned for the purported threat of putting actual drummers out of work, time has proven that they have helped birth electronic-based modern music and can be useful tools in the studio or live performances. Forward-thinking drummers welcome these devices as part of their creative palette and arsenal. Generally, traditional hardware drum and rhythm machines tend to intimidate guitarists unfamiliar with an actual drum kit’s layout, with each drum head corresponding to a pad or button.


DigiTech’s SDRUM Strummable Drums pedal is a godsend for guitarists with a basic knowledge of drum rhythms but still crave the nuances that an actual human drummer provides, and all in a guitarist-friendly stompbox that will not look out of place in a pedalboard. With only two pads to deal with, and the option to program patterns with a guitar or bass, rhythm programming has never been easier (and creativity-inducing).

The most basic way to program a rhythm in the SDRUM (rhymes with “strum”, ya dig?) is to simply tap the intended beat on the dedicated Kick and Snare soft buttons. When played back, the SDRUM automatically adds hi-hats and cymbals. Twisting and pushing the two encoder knobs is when the fun really begins. For example, setting the left encoder to SW (swing) can transform your beat to a bluesy shuffle. From there, twisting the encoder again to Simple, the unlabelled moderate, or Busy adds various degrees of expressiveness including subtle grace notes on the snare sound. Twisting the right encoder knob introduces many hi-hat and ride cymbal variations. The sound selection is a modest 5 (with an ALT mode), but given the extra, and quite musical, flurries the SDRUM produces to even the most basic groove, you can deal with practically any modern music genre. You can record separate Verse, Chorus, and Bridge patterns. You can even get a lot out a basic pattern by pressing the respective buttons again and you will get variations (soft/loud dynamics, rimshots in place of snare hits) for each part. You can even have different tempos for each song section. Tapping the footswitch allows you to shift song parts accented by rolls; holding it will stop the song. SDRUM can hold 36 “songs”.

But what is the “Strummable Drum” bit all about? Well, if you are still intimidated by the Kick and Snare buttons, you can use your guitar (or bass) to input kick/snare data. Simply calibrate the bottom strings to the Kick and the higher strings to the Snare, then strum the bottom strings to trigger the kick sound and the higher strings for the snare (bassists familiar with the pop-and-slap technique already know this analogy). Depending on how versatile your rhythm chops are, you CAN come up with non-standard drum patterns. The SDRUM will determine the appropriate complementary hi-hat/ride patterns leading to fresh grooves, and again, twisting the encoder knobs will give you countless dynamics. Aiming for a 4/4 pattern with multiple syncopations? The SDRUM will be right there with you. You change the tempo by tapping on the Tempo button or by twisting the tempo knob.

While aimed at guitarists and bassists, you can even assign it to someone else. Program a rhythm in, and let your musical partner twist and push the knobs for on-the-fly expressiveness.

The DigiTech SDRUM is currently available at our Lyric Horseshoe branch. Check out our fresh-out-of-the-box demo here for a closer look and listen at the basics of what is actually a deep, and musical, drum-machine-in-a-stompbox.

-by Francis Brew Reyes


She looks like a typical wholesome young lady in her cardigan, loose shirt, and sneakers, her hair in bangs at the front and ponytail in the back, and her frame slight, almost delicate. Were it not for the guests expecting her and the Yamaha executives by her side, she would be unobtrusive, invisible even, as she is soft-spoken and quiet, attributes magnified further perhaps by the face mask she adorns in light of the global coronavirus scare. She picks up a pair of drumsticks and tries to find a comfortable angle on the drum stool.

She hits the snare—a Yamaha Absolute Hybrid Maple—and extracts a loud fat snappy tone that rattles the room. She then plays the entire kit with a mid-tempo funk groove so taut you could practically hang a couple of shirts that would consequently flap with each rapid double kick accent. The Recording Custom kit is barely in tune, the tom angles yet to be adjusted but she immediately is in command of the instrument: her pulse is forceful.  For eight bars, she transformed into a monster, albeit still a delicate one, as she made the drums sound like thunder. She stops, points out a couple of immediate adjustments to be made. After basic tweaks are made and a few more groove-tests, she reverts back into being someone her age, lightly giggling and standing shyly, awkwardly even.

She gamely poses for pics with the Lyric staff; she removes her mask and smiles hugely like a typical Japanese kid—yes, she is kawaii– except she isn’t really that typical: who among Senri Kawaguchi’s peers made it to’s Top 500 Drummers list at age 14?

Yamaha in cooperation with Lyric brought the now 23-year old drum phenom for a Drum Clinic at Teatrino, Promenade, Greenhills on Feb 22, 2020. The drumming community was immediately abuzz mere hours after the initial announcement was made in early Feb, as were fans of Japanese pop culture. Of the former, veteran drummers such as The Dawn’s JB Leonor were drawn to her performance videos;  Leonor in fact says he “recently copped this fast sextuplet thing she does with the cymbals, double kick, and snare from her Drumeo channel!” The latter community discovered Senri when she did drum cover videos of songs from the anime series K-on when she was 14 (anime songs tend to be metallic high energy, fast tempo affairs). The Drum Clinic attendees informally represented both communities; career-wise, Senri has mostly leaned toward upbeat jazz and high energy fusion particularly in the virtuosic Senri Kawaguchi Triangle with keyboardist Philip Saisse and bassist Armand Sabal-Lecco.

As evidenced on most of her video-documented live performances, Senri is a technical tour-de-force. Live, her power is astounding, at once ferocious and fluid, delivering sextuplet rolls with ease. Her arms are toned, the musculature manifesting with nearly every stroke; power and grace in equal measure. Yup, you can see where the power is coming from despite her slight frame. She gleefully expressed that she felt extra powerful on Clinic day due to the enthusiastic crowd response and, humorously, her sinigang dinner (she loves it) and technique-wise, she holds her sticks near the base, presumably letting the momentum deliver the extra punch. For fast rolls, she demonstrated how she moves and adjusts her grip closer to the middle of the sticks. She does not consciously start with the mindset of playing fast; Senri says she practices paradiddles (and what she refers to as paraparadiddles and paraparaparadiddles) and distributing specific accents to each  drum of the kit. She demonstrated these slowly before going to performance speed.

Senri acknowledges that, like her heroes  Ian Paice (of Deep Purple her first proper drumming idol), mentor Kozo Suganuma, Dave Weckl, and Akira Jimbo, she is known as a note-y drummer. And then she was in front of Steve Gadd who played just one note.  She recalls saying “I’m so sorry!” immediately and kept her head bowed for a long time. The audience laughed with her at the humbling recollection.

From the Recording Custom kit (which by the way was amplified by a Yamaha EAD system), she moved to the electronic DTX452. Senri started playing drums after her dad, a mecha-otaku, bought a DTX set just to find out how it worked. She was given the set when she was 5; she says she treated it simply as a toy she could play with. Needless to say she ripped on the DTX452 with no problem, playing full-steam ahead along with pre-recorded material from the Milesexperience (‘What Goes Around’) and K-on (‘Go Go Maniac’).

What makes Senri an infectious drummer is the sheer joy she brings to the instrument. Beneath all the firepower and finesse, her relaxed concentration is wonderfully broken by the toothsome smiles that show whether she is approaching or coming from a difficult fusillade of notes. There is a Zen-calm at work, an awareness of the here-and-now beyond the kit. Near the beginning of the Clinic she was already firing on all cylinders; a wingnut flew from one of the cymbal stands and despite being in the middle of a complex run, she saw it, laughed and tried to call attention to the problem without, literally, missing a beat. Later, two pieces of confetti most likely left over from a previous event at Teatrino were liberated from the rafters thanks to the sheer volume of her playing; Senri saw one falling hopelessly and laughed. The only apparent moment of panic was in the middle of the clinic when she saw that one of the snare’s wires had snapped; unbeknownst to her, it broke halfway through the first song.

Maybe that’s the real secret to her drumming. For all her technical advancements, she still looks at the drums as her favourite toy, and the stage her playground. She’s playing in the truest sense of the word, and it’s a lesson worthy of any musician.

Click on the gallery for more of Senri and her Drum Clinic (photos are owned by Lyric Philippines; unauthorized use is prohibited).

words by Francis Brew Reyes



There are countless virtuoso drumming legends, living and not, who achieve the the technical, and translate the emotional, peaks that most musicians aspire to achieve. Whether it’s natural talent, an obsessive dedication to the craft, or both in equal measure, the greatest drummers have, in a nutshell, a healthy balance between technical chops and a mastery of grooves from the sublime to the booty-shaking. The intent and intensity–implied or overt–  are elements that even non-drummers can appreciate on a gut level.

23 year-old Yamaha drums endorser Senri Kawaguchi is already poised to become one of the greats. She started at 5, then studied with drum master Kozo Suganuma at 8. By the time she turned 13, she was listed on Drummerworld‘s Top 500 Drummers list, the youngest one so far, and the second from Japan (the legendary Akira Jimbo is the other).

She has the technical firepower and unerring facility like all the greats before her. And she often breaks into wide smiles–in between complex rolls and funky odd meter navigation–that express: “This is so much fun!” Her chops are disarming enough but the playful spirit she injects into every drum hit and groove is rare. Frankly, when was the last time you saw smiles and serious facility together?

We’ll let you know more about Senri (in case you weren’t aware of her until now) in the coming weeks, but we’ll let you know this much: she will be holding a Lyric/Yamaha drum workshop on February 22, 2020 in Teatrino, Promenade, Greenhills. Check out the video below as she burns–with that joyful spark– with fusion vets Philippe Saisse (keyboards) and Armand Sabal-Lecco (bass) who comprise the Senri Kawaguchi Triangle.


Anybody who is in a band knows how difficult it can be to hold it together. Rare indeed are groups that stay together for decades with no line-up changes, temporary or otherwise. U2 is one of those rare bands. The acclaimed Irish band–who will be performing for the first time in the Philippines on Dec 11, 2019 at the Philippine Arena – has pushed many artistic and socio-political boundaries AND sold millions of records.

And it all began, literally, in Larry Mullen Jr’s kitchen in 1976. He started as a drummer in a Dublin marching band called the Artane Boys Band, and eventually put up a notice seeking other musicians. Singer Paul “Bono” Hewson, guitarist David “The Edge” Evans, and bassist Adam Clayton were among those who answered the call. Initially, they were called the Larry Mullen Band and included Evan’s brother Dik and two other friends. By the time they renamed themselves U2, the line-up settled into the quartet that has remained to this day.

While U2’s  unique sound is largely attributed to The Edge’s by-now often imitated delayed and effected guitar, Mullen’s powerful drumming shares equal credit. His martial drumming on tracks like “Sunday Bloody Sunday” and “I Will Follow” defined the early U2 sound and reflected his marching band snare drum chops.  U2 ex-manager Paul McGuiness described him in the Pop Mart Behind-the-scenes DVD as “really, the engine of U2.” Mullen is as unique a voice on the drum kit as The Edge is on guitar, or at least was: their idiosyncratic approaches have become part of each instrument’s lexicon.

If loyalty is a defining ingredient in the U2 MO, then Mullen’s relationship with Yamaha is a fine example: Mullen has been playing Yamaha drums for 35 years, nearly as long as he’s been with U2. Yamaha feted Mullen with a Yamaha Lifetime Achievement Award and while he jokingly thought he was receiving a motorcycle and self-deprecatingly referred to himself as “the cheapest alternative because they couldn’t get Phil Collins and Neil Peart,” Mullen does own up to his uniqueness as a drummer. Watch the video below as Mullen shares U2’s early beginnings and his supposedly underdeveloped bass drum technique which lead to alternate approaches to achieve the sound he was hearing in his head.

Yamaha musical instruments are available and distributed by Lyric.

(Cover image based on an original photo from Modern Drummer Magazine)


The Lyric Main Branch in Horseshoe Drive hosted a day-long private showcase for the staff of one of our most valued product distribution dealers JVS.

Although its base of operations is in Bacolod, JVS handles the pro-audio and MI needs across the Visayas-Mindanao region through their branches.

Our product specialists– along with Lyric President Alma Joy Cristobal, Lyric General Manager Bel Sayson, Lyric Dealers Operation Manager Acela Fiedacan, and Dealers Operation Staff Eileen Racaza– were more than happy to update the JVS Team led by Fely and Cathi Jornadal on the latest products available through Lyric.

Lyric supporting the 14th COG Go Beyond Event

#LyricPH lent its support once again for Church Of God (COG) World Mission’s Go Beyond which is on its 14th year and held at SMX Convention Center, Mall of Asia, Pasay City.

Lyric brands including #Yamaha#HarmanExperienceAPac (#AKG#DigitechByHarman #Soundcraft #JBL), and #Peavey are on display.

Go Beyond is ongoing until June 21, 2018; everyone is welcome to visit the 3-day event.

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Hit Like A Girl drum contest winner!

Hit Like A Girl drum contest winner Murriel Gyan dropped by the office today to claim her Limited Edition Pacific Drums and Percussion (PDP) 20-ply Bubinga-Maple-Bubinga snare drum by Drum Workshop Inc. (DW Drums). See you around and enjoy your new baby.