맨지니 Moderndrummer.com 인터뷰 내용

[타조알]

Mike Mangini of Dream Theater      

by Mike Haid

The announcement that Modern Drummer Hall of Famer Mike Portnoy had left his longstanding position as the reigning king of prog-metal drumming with Dream Theater sent shockwaves through the drumming community. Who could replace such an iconic figure in such a legendary band? Could this be the end of Dream Theater, the group that single-handedly created the prog-metal phenomenon that’s still thriving today?

드림씨어터라는 프로그레시브 메탈 레전드 밴드에서 프트노이가 탈퇴했다는 건 드러머계에 엄청난 충격을 가져다 주었습니다.이게 드림씨어터의 끝을 의미할까요?

The remaining members of Dream Theater chose to up the ante, and auditions were arranged for a who’s who of elite international drumming superstars. The list included Virgil Donati, Thomas Lang, Marco Minnemann, Derek Roddy, Aquiles Priester, Peter Wildoer, and Mike Mangini. As the world watched the intense auditions via the Internet, the seven world-class players competed in an attempt to win the coveted drum throne. When the smoke cleared, Mangini emerged as the band’s pick. The drummer’s amazing journey is one of personal struggle, commitment, heartbreak, dedication, frustration, and, finally, victory. Here, we speak to Mike about that journey, as just the first part of our coverage of his Dream Theater experience. There will be much more to come in the pages of Modern Drummer.

DT의 나머지 멤버들은 지금까지 오디션을 봤씁니다. 여러 드러머들이 오디션에 참가하였고, 세계는 오디션 현장을 비디오로 봤죠. 결국 맨지니가 뽑혔습니다. 우리는 여기서 맨지니의 기나긴 인생사를 이야기해보려 합니다. 

MD: What was life like before the Dream Theater opportunity appeared?

DT로부터 오디션 제안이 들어왔을 때 어떤 삶을 살고 있었나요? 
Mike: In 2009, I was literally lying on the floor of my garage, completely physically and emotionally drained, unsure where my career was going. I was inventing new techniques and new drumset configurations, but I was looking at my kit, saying: Who can I play with that would allow me to use everything I’ve worked so hard to develop? Who will just let me play and be myself—a band that isn’t going to tell me I’m using too many drums, that isn’t going to tell me I don’t groove, that isn’t going to tell me the kit is too big and too expensive to carry around? Little did I know at the time that it would be Dream Theater.

2009년에 육체적, 정신적으로 매우 지쳐 있었고, 제 인생이 어디로 가는지 고민하고 있었죠. 새로운 테크닉을 개발하고 ,새로운 드럼셋을 만들고 있었지만, 이걸 어디다 쓸지 고민하고 있었죠. 누가 이 드러밍을 음악으로 같이 만들어 줄까? '누가'가 DT가 되리라고는 상상도 못했죠.

MD: You had recently suffered a severe knee injury as well. 

최근에 무릎 부상도 겪었죠.
Mike: The emotional pain was much greater than the physical pain. I’d never had a major injury in my life until then. It really hurt. Both sides of my right knee were torn up badly. It was from three decades of sports injuries, along with poor technique in my right leg. I know myself, and I know that I have always had issues with my legs retaining their speed. What I found out was that when a knee injury occurs, the knee signals the brain to shut the muscles down and fix the problem or let it rest until it’s healed. I ignored that, and the meniscus became extremely frayed. 
정신적인 타격이 있었어요. 그 전까지 그런 신체적 부상 당한 적이 없었거든요. (뒤에는 그냥 부상 내용)

At the same time, I was committed to teaching full time at Berklee. I love teaching but really missed being part of a band, creating something musical. I wanted to be on stage playing drums. The combination of all this was starting to weigh on me. Even though I continued to perform clinics, I was feeling that I had been left out of a lot of things in the drumming community, and I couldn’t understand why. The icing on the cake was the fact that I really had no time to reach my full potential as a player because I was honestly too tired to practice. That was an intense period of frustration. 
그와 동시에 나는 버클리에서 가르쳤어요. 가르치는 걸 정말 사랑하지만 밴드로 활동하는 게 그리웠어요. 이 모든 것들이 나에게 짐이 되어 왔씁니다. 제가 드럼 클리닉은 계속 했지만, 드러머 커뮤니티에서 점차 소외되어간다는 느낌을 받았죠. 피곤해서 연습을 할 수 가 없다는 사실은 제가 드러머로서 잠재력을 온전히 발휘할 수 없다는 의미이기에 힘들었죠. 부상기간은 정말 좌절의 연속이었습니다. 

MD: To leave L.A. and come back to Boston to teach at Berklee after touring with Steve Vai early in your career was also a difficult decision.

Steve Vai와 투어를 하던 LA를 떠나 버클리가 있는 보스턴으로 돌아오는 건 힘든 결정이었겠네요.
Mike: It’s hard to do the right things in life. I was raised with the simple philosophy of God first, family second, and career third. You can always choose a different career. But once you commit to a marriage and choose to have children, you have to sacrifice other things in your life. But this also brings incredible benefits. Putting God first means to search for the truth and try to do the right things in life. I’ve always tried to do the right things and do whatever it takes to provide financially for my family. And it’s really hard at times.  
인생에서 최선의 선택을 하는 건 힘든 일이죠. 저는 평범한 철학을 가지고 있어요. 하느님이 첫째, 둘째는 가족, 셋째가 커리어. 언제나 어려운 길을 걸을 수 있죠. 하지만 결혼을 하고 아이를 가지면 인생의 어떤 것들은 희생해야죠. 이는 엄청난 이익을 가져다 주기도 해요. 하느님이 첫째인 것은 진리를 찾고 인생에서 옳은 것을 하는 걸 의미하죠. 저는 언제나 옳은 것을 하려고 했고, 가족을 위해 경제적으로 옳은 것을 하려 노력했죠. 가끔은 힘들었습니다. 

MD: Now that the auditions are over and you have been awarded the prestigious drum chair in Dream Theater, what have you done so far with the band in terms of music?

오디션이 끝났고 DT 멤버로 합류했는데 음악적으로 밴드와 무엇을 했나요?
Mike: My drum tracks for the new DT release are finished. They are currently finishing up keys and vocals. The new CD is scheduled for release in the fall.

DT 음반을 위한 드럼 트랙은 녹음을 마쳤고, 보컬이랑 키보드 작업중이에요. 새 앨범은 가을께 나올 겁니다. 

MD: Have you created a drumkit to fit the specific needs of Dream Theater? 

DT를 위한 드럼킷을 만들었나요?
Mike: I showed up for DT ready for DT. Meaning the drumkit’s core was designed years earlier, but I prepared a kit design with DT’s music in mind, with Mike Portnoy’s incredible drumming style in mind. My DT setup is designed for my left foot to be hitting a 26" bass drum. I’m playing totally lefty on a big bass drum. Mike had to get up off his stool and move to another stool to hit a 26" bass drum. He also had to get up and move to another kit to play a smaller bass drum. I have a 26" to my left, an 18" bass drum on my far right, and two 22" bass drums in the center of my kit.

저는 완전히 준비가 된 상태로 DT를 만났어요. 드럼킷의 중요 부분은 몇 년 전에 만들었다는 말입니다. 하지만 나머지 부분은 포트노이의 드러밍 스타일 등을 고려하며 만들었어요. 제 DT 셋업은 왼쪽 발이 26인치 베이스 드럼을 치기 위해 만들어졌습니다. 마이크는 다른 의자에 앉아서야 26인치 드럼을 칠 수 있었는데 말이죠. 그는 더 작은 베이스 드럼을 위해서는 또 다른 드럼킷에 앉아야 했어요. 저는 26인치를 왼쪽에, 18인치를 오른쪽 끝에, 그리고 2개의 22인치 베이스 드럼을 제 드럼킷 가운데에 놓았습니다. 

MD: Can you break down the overall design of your new Dream Theater touring kits?

DT 투어 드럼킷을 분석해줄 수 있나요?
Mike: I’ll be using either a Pearl Reference Pure kit or a Pearl Masterworks kit in this setup. The two 22" center bass drums are identical in size in order to play typical double bass patterns and to be able to play single kick patterns with either foot. And sometimes I want to free my right foot to play my right hi-hat. The 26" bass drum on my left is played by a slave pedal and used for big, airy, heavy rock sections. The 18" bass drum to the right is for dynamic purposes. My four acoustic bass drums are designed to create low-end dynamics within a single drumkit. I also have two Pearl e-Pro electronic kick drum triggers on the far left and far right. This allows me to trigger percussion sounds or any other sound I choose.

So I have a choice of six kick pedals at all times. I have to credit Mike Farriss at Pearl Drums for helping me design and create this incredible setup. He’s hand-making me a set of Pearl e-Pro electronic drums to include in this kit. My other two pedals are my cable hi-hats, which are wired to crisscross the kit so that each pedal controls the hats of the opposite hand. The toms are set up in an apex shape so that I can perform patterns as a classically trained musician. When guitarist John Petrucci plays a minor scale from high to low, descending one note at a time, I can also descend one note at a time on my toms, in the exact sequence. The gong drum acts as a bridge between my hands and feet, when I need a bass drum sound but my feet are already busy on other pedals. 

My Pearl signature snare in the middle of my kit acts in the same way, as a bridge up to the suspended cannon drums in the front of my kit. Or it acts as a secondary snare drum for dynamic purposes. I will play sticking patterns between my mini snare and my main snare because that allows me better dynamics that I can’t achieve on my main snare alone. In the same way, I can use my 18" bass drum and my 26" bass drum together in a pattern to create more extreme dynamics within a groove. 

My cymbal setup is designed to complement the specific dynamic frequency in the same way. I’ll use a smaller cymbal for high notes in the music and larger cymbals to accentuate the lower notes. I need quite a few of them to cover the gamut of the heavily composed music of Dream Theater. I also split my cymbal setup symmetrically, from the middle out to each side. My cannon drums are set up from left to right. Mike Portnoy used Octobans a lot in Dream Theater’s music, but I need to set my cannon drums up properly within my setup so I’m not killing myself to reach for them. I suspended them high in front of me, mainly because there was nowhere else to put them. I also have a set of Pearl e-Pro pads suspended up high for triggering timpani and percussion tuned to exact pitches. Everything has a very specific purpose in this kit.

(하아... 드럼 얘기인데 대충은 알아먹겠는데 어려워서 모르겠네요 ㅋㅋ)

MD: It sounds as though you prepared for this audition with no intention of failure.

떨어질 수 있다는 생각을 하지 않고 오디션을 본 듯한 느낌인데요?
Mike: These guys are extremely happy and appreciative of my dedication to my craft and my willingness to do whatever it takes to make Dream Theater the best it can be. And I am so grateful to Mike Portnoy for setting the bar so high in Dream Theater’s music. I made a point of playing Mike’s parts specifically for the audition because I wanted to put the music first, not my chops first. I love Mike Portnoy and have a deep respect for what he created with Dream Theater. 

DT 멤버들은 제가 DT를 위해 어떤 것이든 하겠다는 마음가짐을 가졌다는 걸 몹시 좋아하더군요. 그리고 저는 포트노이가 DT 음악을 이렇게 훌륭하게 만들었다는 데에 감사합니다. 저는 오디션에서 포트노이 파트를 충실히 연주하는 데에 노력을 기울였는데, 이는 제 스타일보다 DT의 음악을 우선시하고 싶었기 때문입니다. 

I feel that I am with true musical brothers now. And I don’t have to explain myself to anybody from now on.   

음악적 의형제와 함께한다고 생각해요. 이제는 다른 사람들에게 저 자신을 설명할 필요가 없겠죠. 

[bisu]

영문과 해석을 동시에 읽어보았는데....맨지니에 대한 신뢰도가 상승할 수 밖에 없다는 생각이 드네요~!!
새로운 맨지니 버젼의 몬스터 셋!!을 기대합니다~~~가을에 새앨범이라.....와오~★

[타조알]

별로 중요한 내용이 있는 게 아니라서... 날림 번역했는데 부끄럽네요 ㅋㅋ

[신들린기타]

ㅎㅎ새 앨범이 모든 것을 말해주겠지요. 가을아 어서와라~~

[BillFrisell]

맨지니는 개인적으로 스티브바이밴드때 드럼솔로하는도중 개그치는거 보고 굉장히 맘에 들었던 드러머ㅋㅋ 개그본능이 있는 사람인거 같아 굉장히 맘에 듭니다ㅋㅋ

[쿵후소년'제키']

내 가을아~~~가을아가을아 내 가을아~~~가을아가을아 가을아가을아

[ANPSSN-224]

맨지니도 드럼셋은 포트노이처럼 무시무시한거 같네요.....

[stewie_portnoy]

비 좀 내리고 선선해질 즈음 형님들의 새로운 스토리도 들을 수 있겠군요..

[Rudess]

저 세트에 앉으면 이륙할 것 같아요 ㅋㅋㅋ

[kerpunk]

오~드럼셋이 굉장하네요 기대됩니다

[박가이버]

드럼셋이 거의 우주선이군요...ㅎㅎ 가을이 기대됩니다. ^^

[Mind Control]

DT 투어 드럼킷을 분석해줄 수 있나요?
DT 투어 드럼킷을 분석해줄 수 있나요?
DT 투어 드럼킷을 분석해줄 수 있나요?
DT 투어 드럼킷을 분석해줄 수 있나요?

자 알 읽었음~~~~

[ivN6]

제가 잘못읽은게 아니라면 베이스드럼이 4개란 말이죠........... 헐.............

[Walter]

단순 오역이지만 You can always choose a different career. 부분에서 different가 difficult로 해석돼있네요. 한역만 보신 분들 참고하시라고 그냥 알려드립니다:)

좋은 글 잘 읽었습니다!

[타조알]

오오 지적 캄사합니다 ㅋ 날림 번역이 티가 나네요 ㅠㅠ

[DreamPortnoy]

My four acoustic bass drums are designed to create low-end dynamics within a single drumkit.
헐~~~~~~~~~ 포베이스