ryangruss.com

Well, not for good… but for the next week I’ll be spending the majority of my time sitting here and drinking this. Don’t look for any new loops to be posted on this site, but for some highly insightful, tequila-fueled rants and observations, be sure to keep up with me over on Twitter.

Loop #125

As I pack my bags (and 30 SPF sunblock), I leave you with a loop inspired by this guy:

Funky hair. Funkier Beatz.

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104 BPM

Some albums totally blow your mind when it comes to production. Other albums inspire you by the incredible musicianship. And some albums hold their own just by the level of songwriting. But it’s not that often when an album comes along and takes all three of these elements to transcend the high bar of awesomeness (wow, what a horrible analogy). D’Angelo’s epic 2000 release, Voodoo, is one of these special records.

Just as I was about to graduate college, thinking I knew everything there was to contemporary music, this album sent me scurrying back to the practice room. Not because of the complexity of the drumming, but the feel and the SOUND. I remember spending hours sitting in front of my Gateway computer, with the adapter speakers blaring (tiny sub woofers kicking out the bass), soaking in every measure of ?uestlove’s drumming and D’Angelo’s production, arranging and composition. It was a humbling experience which would usually lead me to tears, then some nachos, and finally a game of 007 with my roommate, Bob, to help clear my head.

Loop #123

Today’s loop takes some of the production and performance cues found on Voodoo. To get the super dry, ultra-present drum sound, I didn’t use any of my usual overhead and room mics. I pulled out my super thin and trashy hi hats and went heavy on the gating and compression of the cross stick. I also did 3,845 sit-ups, waxed my chest and oiled up my abs.

PS – I just realized that 99% of my recent loops have been in the 80-90 BPM range. I put in a call to my Red Bull dealer, so look for some 200+ BPM loops soon.

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85 BPM

Last night I had my ass kicked by a bunch of girls. Lez Zeppelin, the all female Zep tribute band, came storming through Boston, rocking a capacity crowd at The Middle East. I should have been prepared for what was to take place. My good friend and former bandmate (and current Lez Zeppelin bassist), Megan Thomas, contacted me a few weeks ago, telling me about her latest musical endeavor and inviting me to their upcoming Boston show. Megan is an amazing musician, so I knew she would nail all of the classic John Paul Jones bass lines. What I didn’t know, however, was how well everyone in the band would nail EVERYTHING. Especially the drummer.

Lez Zeppelin

With a 26″ Ludwig bass drum, 15″ Paiste 2002 Sound Edge hi hats, and a massive gong behind her kit, drummer Leesa Harrington-Squyres not only had the exact set up of the late John Bonham, she also had the same incredible feel and power. From the aggressive and sloshy intro of “Rock and Roll” to the odd-time stomp of “The Ocean“, Leesa channeled the spirit of Bonzo and flawlessly reproduced every back beat and fill in the Zeppelin catalogue. From the ghost notes to the sextuplet bass drum riffs to the massive pocket, it was all there.

Loop #121

Today’s loop, while not a direct copy of any particular Bonham groove, highlights the same underlying ghost notes found in many of his beats. In this case, the notes appear directly after the 2 and 4 of each backbeat, almost giving a sixteenth note type delay effect on the snare.

Editors Note – No mudsharks were harmed during the making of this loop.

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88 BPM

• I drive a Toyota.

• I’m from Iowa.

• I own a Sheryl Crow Album.

I’m not hip hop. But I love it.

J Dilla - He Is Hip Hop

Loop #120

Today’s loop is my hat tip to J Dilla and his incredible 2006 album, Donuts. While I had been familiar with Dilla’s work as a producer through his collaborations with Common and Talib Kweli, it wasn’t until the release of Donuts (and his untimely passing) that I got to know Dilla as a solo artist. Funky, warm, inventive, melodic and inspiring, Donuts is the kind of artistic statement that every musician should strive to create. Just take a listen to “Stop” and you’ll hear what I’m talking about.

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91 BPM

Such a pun-laden headline could only mean one thing: Another funk loop. And rather than picking up the sticks and burying the VU meters into the red, I decided to to go the subtle route and use brushes to lay down the back beat.

Jim Keltner - Master of brushes, forks and pens.

Loop #119

I’ll admit, I’m not breaking any new ground with today’s groove. Drummers like Steve Jordan, Jim Keltner, and even the guy from G. Love and Special Sauce have been incorporating brushes into funk and pop grooves for years. I am, however, providing you with two measures of pristinely-produced, wide open snare, right hand on the floor tom, brush-based goodness.

Enjoy.

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103 BPM

I had intended to spend most of today locked in my studio, laying down all kinds of new loops, guzzling a few gallons of coffee and writing my usual “top-notch” commentary… but that didn’t happen. Boston’s first blizzard of the year had other plans for me. Like shoveling snow all afternoon. Awesome.

Loop #116

I did manage to crank out one quick session before the day was over. While I was breaking my back, digging out my driveway, I was listening to Radiohead’s classic album, “The Bends”. I forgot how much I loved the drum sound of “High and Dry”. Specifically, the slapback type reverb that sits so tastefully in the drum mix. With a much more angular groove, I took this same approach when mixing down today’s session… if even a bit more indulgent in the delay.

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83 BPM

Since my last odd meter loop stirred up so much interest around the internets, I figured I’d step it up and get all kinds of crazy with another, more complex groove. And rather than tell you what meter it’s in, I decided to turn it into a contest of sorts. Here’s the deal. The first person to respond in the comments section with the correct time signature will be the lucky winner of:

- A meet and greet with Dream Theater the next time they play in your city (A quick game of D&D is also included).

- An Igloo cooler full of yellow snow (vintage snow, from like 1974) signed by Frank himself.

- A 3 month subscription to the member’s only area of ryangruss.com

In total, a prize package valued at almost $30!

Come on down!

Loop #115

So, here it is. The mystery odd meter loop. Don’t hurt yourself trying to figure it out.. and don’t try to dance along to it. That’s not going to work out. And most importantly, be sure to leave your answer in the comments section. The winner will be notified via carrier pigeon in the next few weeks.

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Loop #113

Dipster. A groove with origins stemming from deep inside the PBR-soaked clubs of Williamsburg. On the surface, it may sound like a rather straight ahead dance/rock beat, but it is actually a sonic melting pot of culture; Ironic mustaches, American Apparel, trust funds, Vice, David Fridmann. They all, in one way or another, contribute to the dipster DNA. So, what are you waiting for? Download this loop, load it up in Logic, set up some mics in your bathroom, and record a song that pitchfork will approve of.

She's down with the dipster.

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98 BPM

This morning, while eating a delicious bowl of oatmeal and listening to Billy Cobham’s classic album, “Spectrum”, I realized that I haven’t posted an odd meter loop in quite awhile. The whole intent of this blog is to record and write about as many musical genres as my baby soft hands can handle. I can’t just cater to the pop songwriters and dance producers… I also need to show the fusion crowd a little love as well. As the final few measures of “Red Baron” faded out, I pounded my third cup of coffee and went into the studio to lay down some tracks for those of you looking for something outside the world of 4/4.

Billy Cobham

Loop #112

When most people think about odd meter music, it’s typically one measure of a certain meter, repeated over and over (7/8, 5/8 etc). While this is great, and I’ve spent hours upon hours wanking some serious fusion jams in 9/8, I like to mix up odd meters alongside more straight ahead time signatures. In this case, I take a 4/4 groove and place it next to a bar of 7/8. Now, you can look at this phrasing in a lot of different ways. One could call it 15/8, or you can think about it smaller rhythmic chunks (4+4+4+3). Whatever floats your boat. These types of grooves allow the average listener to grasp on to a back beat while, at the same time, contains enough rhythmic complexity to satisfy even the most jaded of fusion musicians.

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93 BPM

After putting my stomach and liver through “The Grinder” (aka Thanksgiving), I figured it would only be fair to do the same with my loops. Digging into some of the other new features in Logic 9, I discovered just what I was looking for: a virtual distortion pedal appropriately named “Grinder”.

Freshly Ground Beats

Loop #110

Today’s loop takes what was once a pristinely recorded, 16th note-heavy funk groove and runs it through the digital equivalent of something you’d find behind your local meat counter. Pending any FDA recalls, this loop should be safe to consume, as long as it’s stored in a cool area and cooked thoroughly before serving.

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109 BPM