Everyone has an album that reminds them of their childhood. A certain recording that can instantly transport you back to being a little kid. For me, that album is Willie Nelson’s 1978 classic, “Stardust”.
Every time my family made the six hour drive to my grandparents’ house in Missouri, “Stardust” found its way into the in-dash cassette player. I’m not sure if my parents had inside, CIA-type information telling them that this album would relax their kids and make them stop beating the shit out of each other, but whatever the case, it worked. Willie possesses a voice cool enough to lull Michael Vick‘s backyard kennel into a deep sleep.
The man responsible for the ultra laid-back timekeeping on this recording (and many other great Willie Nelson albums) is drummer, Paul English. As far as their working relationship, I believe Willie described it best:
I’ve had four wives in the past 40 years, but only one drummer.
Paul must be doing something right.
Paul English and Willie
Loop #49
Today’s loop pays homage to Paul English and his signature laid-back approach. With a brush in my right hand and a stick in my left, I tried to lay down something that sounded like an outtake from the “Stardust” sessions. Now, go pick up your old, beat up acoustic guitar and write some country ballads. Just don’t forget to pay your taxes next week.
Preview Here:
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
I’ll find any excuse to put off doing laundry. It’s one of those mundane chores of life that I could really do without… but then again, I don’t want to smell like a bum.
Earlier today, as I was reluctantly carrying my basket of laundry downstairs, I passed my studio in the hallway and could hear my drums calling out to me:
Hey asshole. Put that basket down. Come in here. Laundry can wait. You’re two days behind on loops!”
Fine, fine. Twist my arm.
I sat down and thought about what I was going to record. I’ve been on another Beatles kick the past few days (The White Album on heavy iPod rotation) and decided I’d go for a Ringo type vibe. To get the flat “towel sound”, I reached for three t-shirts that were on top of the pile of laundry and placed them on my toms and snare. Why mess up some perfectly clean towels?
The sound is in the smell.
Loop #40
Three dirty t-shirts, a bit of compression and a lot of procrastination.
Preview Here:
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
It’s 3:30 pm and I’m still wearing my pajamas. So far, my day has consisted of eating waffles, watching the Travel Channel and preventing trying to stop my cats from mounting each other.
Vinny & Scooter
It’s definitely a lazy Sunday.
However, between sitting on the couch, stuffing my face and telling the cats to get a room, I did find time to record one loop.
Loop #36
In the spirit of lazy Sundays, today’s loop started off as something totally mellow. I was going to throw all of you James Taylor-ish, singer-songwriter types a bone and give you a nice, slow brush groove. Then I decided to run everything through an amp simulator and it turned into some sort of late 80′s, Straight Outta Compton slow jam.
Keepin' it Lazy.
Preview Here:
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
wank (wangk) Chiefly British Vulgar Slang
tr. & intr.v. wanked, wank·ing, wanks
As a noun, denoting a clever technique or person or the result of such cleverness. May describe (negatively) the act of drumming for drumming’s sake.
Loop #31
Me. Wanking.
Preview Here:
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
Last night, while I was recording a drum track for my friend, Bob Reynolds, I had an epiphany of sorts. No, I wasn’t struck on the head with an apple and I didn’t find Jesus in a potato chip. I did, however, realize that the scrolling Logic session to the left of my hi hat was “my new drum chart”.
Traditionally, session musicians are handed sheet music (aka “lead sheets” or “charts”) prior to recording in the studio. These charts act as a road map for the musicians, guiding them through the arrangement of the song. They can vary from being highly detailed (telling you exactly what notes to play at any given moment) to just supplying the melody and chord changes (a typical jazz chart). For drummers, these charts are crucial in detailing the form of the song, but often provide us with a lot of information we don’t really need (is that G# augmented chord in bar 7 really going to dictate what groove I play?). Especially in a a pop setting, my main priorities are simple: Know the form and make it feel good.
Go ahead. Insert dumb drummer joke here:__________________________
Logic session
With the Logic session scrolling along as I record drum tracks, I’m able to see detailed intricatcies of the song that a traditional “drum chart” simply can’t provide. It allows me to not only view the form of the song, but it also shows me the actual instrumentation in real time, much like a full conductor score. For example, before I even get to a chorus, I can visually anticipate what instruments will be added and thus, adjust my drumming accordingly. If I see a lot of layering coming up, I might switch to the ride cymbal or open up the hi hats. I can even make out the rhythm of the bass by looking at the MIDI information. With just a glance at my MacBook, the Logic session provides me with great insight into the structure and arrangement of a song. Much more than a sheet of music with a few chords and slash marks ever could.
Of course, this “new drum chart” approach only applies to drummers who are recording themselves and have a computer monitor next to their kit. And in certain genres, where very specific melodic and rhythmic information is needed by the drummer (ie. a big band chart where the drummer needs to “set up” horn hits), a lead sheet will still be a necessity. But for now, in my happy little pop world that I mostly live in, looking at the Logic session will do just fine.
Loop #29
Today’s loop is an outtake from the session I did with Bob. In order to completely ruin the pristine sound I worked so hard to achieve for the original track, I turned on the bit crusher and smashed things up for you guys.
Preview Here:
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
Ghost notes are the ‘special sauce’ to any great drum groove. No, they’re not made of Thousand Island dressing, but rather, notes subtly played on the snare drum, often filling in between the hi hat and the back beat. They’re so quiet, you usually don’t notice them when they’re there (hence the highly creative name, “ghost note”), but take them away, and the magic is lost.
John Bonham
Listen to any Led Zeppelin track and you’ll hear John Bonham intricately filling in the groove with ghost notes. Most people associate Bonham with his bombastic backbeats, but I’ve always been drawn to the stuff he does in between the two and four. Please keep in mind, ghost notes don’t apply to playing the gong and/or handling mud sharks.
Joseph 'Zigaboo' Modeliste
Ghost notes aren’t exclusive to rock drumming. When played properly, they can easily (and tastefully) work their way into any genre. Check out Joseph “Zigaboo” Modeliste’s playing with The Meters to hear them in a funk setting. Zigaboo constantly keeps his grooves flowing with a a steady undercurrent of ghost notes.
Loop #28
Here’s a loop in three (or 12/8 if you prefer) with more than a few ghost notes on the snare. If things sound a bit crispier, it’s because I’ve added some new overhead mics (see post below). Logic users, you’ll notice there are now 6 individual drum tracks. The mic placement might vary from day to day, but from now on, here’s the basic set up:
Track 1. Kick
Track 2. Snare Top
Track 3. Snare Bottom
Track 4. Room
Track 5. OH L
Track 6. OH R
Preview Here:
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
When I moved to Los Angeles in September, 2000, I had a “to do” list which consisted of the following:
- Go to the beach and get a decent tan.
- Map out all of the taco trucks within a 10 miles radius of my apartment.
- Find Pete Thomas.
Pete Thomas
A long time member of Elvis Costello and The Attractions, Pete was (and still is) one of my all-time favorite drummers. I heard through the grapevine that he had recently relocated to LA and, in the back of my mind, wondered if I would be able to line up some lessons with him. Besides playing with Elvis Costello, he also did a lot of session work, including Elliot Smith’s spectacular album, “Figure 8″. This CD was the soundtrack to my summer of 2000 and rarely left the the Discman™ (via cassette tape adaptor) in my Pontiac 6000 LE aka “Gangsta Bitch”. Sweet music for a sweet ride.
After spending the first week hanging out at Venice Beach and eating my weight in tacos, I decided it was time to get going with “this music” thing. Plus, the $723 I had in my checking account was fading fast. I hopped in Gangsta Bitch and drove out to Hollywood to join the musician’s union. I was given a brief tour of the facility (a nondescript building with the charm of a government office), filled out some paperwork, paid my union dues and walked out a card carrying member of Local 47. They also gave me a bunch of stickers and a directory of other Local 47 members. With this in hand, I was well on my way to becoming a session god.
When I got back to my apartment I started flipping through the directory. I was shocked to see the names and home telephone numbers of all of the studio greats; Vinnie Colaiuta, John “JR” Robinson and as I worked my way towards the back, there he was, Pete Thomas.
I immediately picked up my cell phone and dialed the number. A young girl with a British accent answered. I asked to speak with Pete and within seconds I was chatting with one of my heros.
Hi Pete. Ummm my name is Ryan Gruss and I just moved to LA. And ummm I play drums and uhhh just joined the union. They gave me a directory with your phone number. Uhh I was wondering if it would be possible to set up a lesson with you. Umm uhh, I really like the way you play.”
Idiot! A few seconds of deafening silence went by, then Pete kindly replied, “I don’t really have a studio set up where I can teach, but I’m playing tonight at The Mint with a country band called Jackshit. Why don’t you come down to the show and we can chat?”
Yeah, umm uhhh sure. That umm sounds cool. Uhh see you tonight.”
Jackshit
And with that, I spent the next several months hanging out at Jackshit shows. Pete graciously took the time to sit and talk with me in between sets. He entertained my endless list of questions… about everything from gear (“what kit did you use on “Junk Bond Trader?”) to time keeping (“what’s your approach to playing with a click track?”).
I picked up all kinds of valuable tips and suggestions, but mostly I learned from watching him PLAY. Pete makes playing the drums look effortless, and this comes out in both his feel and his sound. Always flowing and totally natural. You could stick one mic in front of his kit and have the perfect mix. He’s a master in dynamics, able to keep things simmering during the verse and then unleashing bombastic beats during the chorus.
Loop #26
Pete, this slow jam goes out to you. For putting up with that kid who stalked you in LA 9 years ago. Thanks for teaching me Jackshit.
Preview Here:
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
There is a special feel that was born from the brass bands of New Orleans. It first emerged around the turn of the 20th century and eventually worked its way north, merging into other styles of music along the way. This is a groove that is neither triplet nor sixteenth note based. It’s not straight funk and it’s not totally swung. It’s somewhere in between. It’s a feel that’s literally impossible to notate on sheet music and even harder to play.
Bill Stewart
There are only a handful of drummers in modern music who can truly find this “in between” feel and make it work in a variety of musical settings. Two of my favorites are Bill Stewart and Idris Muhammad. Whether they’re keeping it cool on a straight ahead jazz session or laying down back beats behind a funk band, they always manage to find this rhythmic sweet-spot.
Idris Muhammad
Loop #22
Today’s beat is a four measure loop based on this “in between” feel. It’s a lazy funk groove that borrows more than a few licks from Bill and Idris (guys, the po’ boys are on me next time). And you, sitting in front of your computer, don’t even think about touching that quantizer.
Preview Here:
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
Butter makes the world a better place. I love butter on english muffins. When I go to the movies, I ask for extra butter on my popcorn. I love butter so much, a few years ago I often starting using it as an adjective: “buttery”.
I think I first used the term “buttery” to describe the sound of drummer, Matt Chamberlain. Matt’s high cholesterol drumming started to make it’s way up the music charts in the late 90′s when he began to record with artists such as Tori Amos, The Wallflowers and Fiona Apple. With a combination of warm, earthy sounding drums and dark, shimmering cymbals, Matt’s playing produces a certain buttery goodness that make his grooves melt right into the track.
Matt Chamberlain - 'Butter is the magic carpet to flavour' Loop #4
Today’s loop is something I would file under ‘buttery’ (looks like I need to update my categories). To achieve this sound I pulled out my super thin, super trashy hi hats, my 6 1/2 x 14″ brass snare tuned WAY down (with a few pieces of paper on the head to give it extra some “thunk”) and I placed an extra Shure SM57 on the bottom of snare to really capture the “whoosh” of the strainer.
Preview Here:
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
