While I might not use single-headed toms with Pinstripes (I stick to the coated Ambassadors), one two three things that Phil Collins and I have in common is our love for Gretsch drums…. and gated reverb. Lots of gated reverb. Also, coincidentally enough, we both have major butt-chins.

With the toms on my bebop-sized kit (18″ kick, 12″ tom & 14″ floor tom) cranked up high, this four bar loop is a somewhat hypnotic, tribal pattern ending with four 16th note flams on the snare (with the strainer turned off).

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90 BPM

I’m not even sure if Trent Reznor drinks coffee (he strikes me as the type that might consume it by the gallon), but assuming that he did, and that he happened to spill that coffee all over his console while mixing some drum tracks, I think the end result might sound something like this. Angry, yet precise, odd meter drumming crushed all of the way down to 5 bits. Black. No Sugar.

And while I’m on the topic of NIN, here’s a great interview regarding the making of the epic 2005 industrial/electronic/punk/funk/rock album, “With Teeth”.

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99 BPM

This is what it sounds like when you take a drum groove with no muffling (even on the kick) and run it through a completely overdriven Brownface amp.

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108 BPM

Take a little bit of Sublime, mix it up with a dash of 311, and you’ve got yourself some serious stoner-funk-reggae. This particular genre requires one very ringy, high-pitched snare drum, some off-beat hi hat skankin’, and an extra large brownie.

Here’s a four measure loop that will make patchouli oil ooze from your speakers.

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78 BPM

Loop #126

To celebrate the return from my seven day vacation, I decided it would be appropriate to record a series of loops in 7/8. Here’s a two measure snippet from today’s session, the rest of which, will be made available to my loyal and extremely good-looking subscribers on April 1st (not a joke).

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135 BPM

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

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

Loop #114

After slowly and repeatedly hitting each individual part of my kit for 15 minutes, this is one of my “go to” grooves for a typical rock/pop soundcheck. A driving, straightforward beat that utilizes every drum (along with some eighth notes on the hi hat) it gives the engineer a chance to dial in and balance the entire kit. It also sounds a lot like the intro to “Unskinny Bop”.

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91 BPM

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.

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98 BPM

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