Pearl Drums
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Ben Sesar
Brad Paisley - United States


If they had an AA type of organization for music addicts, I would be a top-qualifying candidate. My first fix came at the age of four when my dad eagerly played Bill Haley’s ‘Rock around the Clock’ on the furniture-sized, wooden record player. Since then, certain combinations of artists and musical genres have been known to lure me into a fanatical state. My need and desire to play music was born out of this fanaticism and as it stands today, I recognize two distinct personas making up my musical whole: The Fan and The Player. Everything I do as a player, in some way, relates back to the experience of being a fan. –It is this fan/player relationship, which instills a sense of purpose into my  practice, and also prevents me from falling into the category of: Drummers who ‘drum for the sake of drumming’.

As a drummer, I would say I’m self-taught. -Yes, I went to school for music, but I failed in finding a true mentor: Someone who was wise and willing to guide me, personally, through my musical journey. It turned out that my real ‘teachers’ were those students around me, who at a young age, were literally doing things I couldn’t comprehend. It was as if these students were speaking a special language in which I felt excluded. This led to a strange inner conflict: On one hand, I was amazed and inspired by the new potential music held for me, and on the other hand, I felt a strong sense of frustration for the fact that I had a lot to learn, and no clear way of getting where I wanted to be.

This is when I began looking at things very closely: In an attempt to discover a ‘window’ into their knowledge, I spent an excessive amount of time studying great players throughout history. I looked for common factors pertaining specifically to their greatness which, in turn, exposed my shortcomings.

One of my first discoveries was a divide between the learning methods these great players used, and the way music was taught in the curriculum at school. -There’s more to learning music than what can simply be taught in books. For example, I’ve discovered that spending a great deal of time on movement has dramatically improved my playing; -more so than practicing paradiddles around the kit. By focusing on how I move, I’ve decreased the time spent practicing patterns which require seemingly endless repetition. -This firms my belief that how we play directly effects the outcome of what we play.

While I will always be the student at heart and in practice, my goal is to pass on the things I’ve learned, which have led to 30 successful years of touring, recording, practicing, and learning. It is my hope that, in much less time, students can benefit from the things that I otherwise had to learn ‘the hard way’. Thank you for being part of my legacy... I hope to be a part of yours.

Ben Sesar on Facebook


Equipment Configuration

Reference Pure: Vermilion Sparkle Lacquer

24x18 bass drum
12x9 tom
16x16 floor tom
20x14 gong drum
12x7 Soprano snare
14x6.5 Reference Pure snare drum
14x6.5 Masters MCX snare drum

P3002C Demon Chain double pedal
H2000/C 2000 Series hi hat stand
S1030 snare stand
DR501C ICON side rack
CH1030 cymbal arm x3
CLH930 closed hi hat
BC1030 boom stand x5
D1000N throne


Session Studio Classic: Antique Ivory (106)

24x15 bass drum
12x8 tom
16x16 floor tom
18x16 floor tom
14x5 Sensitone Elite Brass Snare Drum

P2002B- Eliminator Belt Drive Pedal
H2000/C hi hat stand
S1030 snare stand x3
BC1030 boom stand x5
D1000N throne