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.
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.
Last week I had the pleasure of seeing my old classmate, Adam Deitch, perform for all of the incoming babies students at Berklee. Adam had a great band playing with him, including Eric Krasno and my former NYC roommate, Adam “Shmeeans” Smirnoff on guitar. While the band was officially billed as “Chapter 2″, it also consisted of half of the members of Lettuce. If you haven’t checked out their 2008 release, “Rage!”, then you’ve missed out one of the funkiest, most soulful albums of the past five years. These guys graduated from the University of Wally’s with honors and keep getting better every year.
With the snare cranked up tight, and a steady flow of ghost-notes, today’s loop cops more than a few of Adam’s licks. You’ll hear I still haven’t tamed my overly live tracking room (weekend project #172), but for this groove, it seems to work in favor of the mix. I’ll be including the rest of the grooves and fills from this session in the release of Gruss Loops V.
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.
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.
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.
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