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Let's spread some musical misinformation

That's why drum samples were invented.

Sampling was invented by noted keyboardist/composer Joe Sample. Joe suffered terribly from IBS (Irritable Bowel Syndrome). He never knew when a sudden urge to purge would strike him on stage or in the studio, so he invented sampling to allow his keyboard to play itself while he attended to more urgent matters. He would turn the sampled track on and then run off stage or out of the room shouting, "Joe's gotta go!".
 
That's why drum samples were invented.

No, drum samples are like one of those 'stamps on approval' collector's deals. First they send you a snare drum as a 'sample', and you try to send it back as you are a bassist, but they send it back, plus a hi-hat. By the time you finally manage to cancel the thing you have an entire Neil Peart sized kit and the over-sized lazy Susan doo-hickey for rotating it. That's why drum samples are also evil.
 
When Peart was first setting up the drum rotation system the rotation speed had been specified in degrees per second but accidentally marked as radians meaning it was specified to rotate at 300 rpm using the 600 hp Wasp radial engine from one of Gary Numan's old AT-6 Texan planes. It nearly resulted in the death of Lee and Lifeson, who were saved only because the flying drums bounced off the industrial washing machines in the old warehouse they were testing the system in, hence they were deployed as protective barriers on gigs later, just in case of malfunctions. They also just used one of the motors from the washing machines rather than the Wasp. It also meant that Peart technically qualified for the Canadian space programme.

At the end of gigs the road crew would take their washing out of the industrial washing machines and reconnect the Wasp engine to the platform after the drums had been packed away and would spin their washing dry.
 
Sampling was invented by noted keyboardist/composer Joe Sample. Joe suffered terribly from IBS (Irritable Bowel Syndrome). He never knew when a sudden urge to purge would strike him on stage or in the studio, so he invented sampling to allow his keyboard to play itself while he attended to more urgent matters. He would turn the sampled track on and then run off stage or out of the room shouting, "Joe's gotta go!".

A song was written about him and the dilemma he faced about whether it was time to visit the bathroom:

 
When Peart was first setting up the drum rotation system the rotation speed had been specified in degrees per second but accidentally marked as radians meaning it was specified to rotate at 300 rpm using the 600 hp Wasp radial engine from one of Gary Numan's old AT-6 Texan planes. It nearly resulted in the death of Lee and Lifeson, who were saved only because the flying drums bounced off the industrial washing machines in the old warehouse they were testing the system in, hence they were deployed as protective barriers on gigs later, just in case of malfunctions. They also just used one of the motors from the washing machines rather than the Wasp. It also meant that Peart technically qualified for the Canadian space programme.

At the end of gigs the road crew would take their washing out of the industrial washing machines and reconnect the Wasp engine to the platform after the drums had been packed away and would spin their washing dry.

I forgot to mention that it was after this that Peart wrote:



including, unusually, the music, but Lee and Lifeson felt it was unsuitable for Rush so the rights were sold on to an up-and-coming UK band.
 
I forgot to mention that it was after this that Peart wrote:



including, unusually, the music, but Lee and Lifeson felt it was unsuitable for Rush so the rights were sold on to an up-and-coming UK band.

You fail to mention that part of the deal for Peart was that he got to sing the song. The video and live performances were all lip-synced
 
Having separated from the European Union, the British voted for a new tuning standard. 440 Hz, the Stuttgart pitch, was considered too European. 456 Hz has been chosen as the new standard. Why? "Because four five six is easy to remember", a spokesman said.
There is a long history of orchestra competing to have a slightly higher standard for A. Although 440hz stood for many years, the recent resumption in competition has caused academics to examine the trend. The Berkley School of Music has estimated that by 2050, A will be 640hz.

This is of practical importance as songs will all have to be rewritten a perfect fifth higher.