3 congas or more - which, where, and tuning?

[Tone]

I know we have been touching on this subject about the quinto recently, but some things are still unclear to me.
At the moment I am using a three congas set up with a conga in the middle a tumba to the right and a LP practise conga to the left. The tuning is G,C, Bflat from right to left. Now I would like to get a third conga to get a fuller and more even sound but I am preplexed as to what I shoud get. What could play that Bflat? An other conga? An other tumba? Does it matter? Should I get a super tumba and move the tumba to the left?
And then what happens if you bring a quinto in the equation, as I understand it, the quinto is traditionnaly tuned an octave above the tumba so in that case high G. So if you have the quinto in the middle where do you play the tumbao, on the quinto? That would be weird for the montuno, wouldn't it?


Thanks in advance everyone for contributions.

[windhorse]

So if you have the quinto in the middle where do you play the tumbao, on the quinto? That would be weird for the montuno, wouldn't it?
Thanks in advance everyone for contributions.

OK, I'll contribute,, but only a small amount.
I've been learning recently to play a few songs with the big drum left, and second on right, making the quinto the middle drum. Yeah, I do the left hand palm touches and right hand slap - double tone. The low drum gets hit sometimes on the ONE, and other times the bomba. I also play this way when it's 6/8 Bembe/Columbia. I found that going into and out of the low drum only lead patterns, was easier with the big drum left side. Can't explain why..
But, for four drums, I'll put the SuperTumba on the right, tumba - midfront, second - left, and quinto between the knees.

Dave

[twiggd]

Tone,
I think it's a matter of personal preference in lay out. I have four congas; 2 quintos,(original purchase), 1 conga, and 1 tumba,(purchased later due to discontinuation). I have imitated Raul Rekow's layout, (minus one...Raul plays five) from the Supernatural Instructional video; held quinto between knees with conga at 1 o'clock position, tumba at 3 o'clock, and other quinto at 10 o'clock. I play all on stands. Does it work??? The jury is still out since I am a novice and really don't know any better. But, after being a stick drummer for 20+ years, one moves the drums around enough to where one finds their comfort level. Bottom line, do what feels best.


God Bless,

David
:;):

[zaragemca]

It have been my set-up for long time with the quinto in the middle Tumba,left and Conga,right,but if I'm playing Guaguanco I would set the Tumba at 1 o'clock and Conga at 3 o'clock,why?,for better development of the 'Mano Secreta' technique.Dr. Zaragemca

[Diceman]

Dr Z,

What do you mean by the mano secreta, and how does the drum position you talk about, make that posible?

Diceman

[zaragemca]

Greeting Dicemen, when playing Guaguanco that position allow to keep the basic 3/2 with one hand between the Tumba and Conga,and placing extra strokes with the other hand, in the Quinto.Dr, Zaragemca

[JohnnyConga]

The "mano secreto" is the left hand and it's applications in coordination and sometimes against,the right...I have the video shot in a hotel room from the late 80's in Panama of "Changuito" xplaining it to Tany Gil the conga drummer who filmed it. also remember that Changuito is a "set drummer" then a timbale/conga player....so his left hand is very developed and he has "independance"......"JC" Johnny Conga...

[zaragemca]

Greeting brother JC,it is the same concept,( I just did an example of application in an specific patterns, in this case Guaguanco), using the left-hand for the technique is included when you are placing the others instruments on 1 o'clock,and 3 o'clock,keeping the Quinto in the middle.I also play and teach drum-set and Timbales so I understand the indepency technique which you are making reference.Always welcome.Dr. Zaragemca



Edited By zaragemca on 1123616513

[Diceman]

Thanks brothers,
I got the mano part (left hand) but it is still a 'secreta' from your explanations, maybe just me being a bit thick! Can you expand a bit or show some example patterns or better still some video clips.
By the way JC I played at the weekend with a Brasilian Bass player from Seattle who knows you, his name is Giul and plays mean tumbao and samba. Small world eh?

sabor Diceman

[ABAKUA]

Yo Diceman,

The basic 'mano secreta' (secret hand) technique as shown to me by a student of Anga and Changuito, try the following...

RH: Strikes Tumba (to your right) open tone

then...

a series of 4 movements on the quinto (or centre drum) which over time and gradual speed must sound like its played in one beat.

Basically the following:

RH - Open
LH - Heel
LH - Tip
RH - Slap

Then gradually speed up those 4 beats so its felt as one beat.

That is the basic mano secreta, of course, it has variants and other applications, but its a starting point for you.

Cheers.

(try counting.. 1, 2, 3 - strike tumba on beat 4, the the next 4 strikes as explained above (felt as 1 beat) and finish with the slap on beat 1.)



Edited By ABAKUA on 1123648343

[Diceman]

Abakua,

Thanks for explanation, I know that one already, but it wasnt clear to me from the other posts. What other mano secretas are there?
Sabor
Diceman