Tagged: hi hat

James Gadson Takes Us In Between

When I put out a call for loop requests the other week, I received an outpouring of emails asking for every type of genre and beat you could imagine. Everything from tangos, odd meter math rock, slow bossa novas, death metal (I don’t own a double bass pedal and my trenchcoat is at the dry cleaner) and merrengue. Quite a spectrum. And while I’ve kept all of these responses on file for future sessions, it was one particular request that immediately caught my ear and sent me running to the studio.

A message was sent in with a link to the following Bill Withers track, telling me to check out the drum groove (played by the great James Gadson) in the intro:

OMG. How tasty is that shit? How have I never heard this song before?? Gah!!! I’m definitely aware of a vast majority of Bill Withers’ collection, but somehow this deep cut from his 1972 release, “Still Bill”, managed to slip through the cracks and never made it into my library.

This opening drum groove is so funky, I almost didn’t even want to go there. It’s sort of like covering a Beatles song. Some things are sacred and should just be left alone. But the more I listened to it, the more I knew recording something approximating it would be a great learning experience, both musically and sonically.

On the music side of things, it’s the FEEL of this groove that makes it so special. The way Gadson plays the 16h notes on the hi hat with his right hand, spacing the notes in that magical place that lives in between straight subdivisions and triplets. This is the kind of groove that a quantizer would instantly suck the life out of.

Sonically, it has the classic, warm, round but crisp, Motownesque sound. This is a sound that’s become sort of a lost art, now that we’re all armed with a wide array of DAWs, fancy mics, plug-ins and digital processers. It’s an art that I plan on focusing on for years to come.

James Gadson
James Gadson

Loop #137

So here it is, my ode to James Gadson and his magical right hand. At eight measures, it’s longer than one of my typical loops, but I wanted to include some phrases that pay tribute (but definitely aren’t carbon copies) to the original track.

On the production side of things, I only used two mics: one overhead (panned in the mix soft right), and one in front of the kick to capture just a bit of low end. I deadened a double headed 18″ bass drum (no hole) with blankets touching both of the heads from the outside and placed a few sheets of paper on top of the snare to keep everything dry.

I took all of the toms and cymbals off of the kit to keep any sympathetic resonance from making its way into the track (kids, you can’t use gates when there’s only one mic above the kit). To top things off, I used an old, squeaky kick drum pedal, just like James.

It’s the details that count.

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94 BPM

“Wooah yes!”

No loops today. I’m doing some work on my studio, testing out a few mics and implementing a complex digital smell converter (via SNIFTI) into Logic. Soon you will be able to mix in various odors along with my individual drum tracks. Cutting edge stuff. In lieu of loops, I’ll let Bernard Purdie show you how to play some funk:

Once you’ve got that down, check this out:

Hat tip, pesto.

Open on the one.

I can still remember the first time I heard the hi hat open on the one. It was December 25, 1986… probably around 8:27 am. That particular Christmas morning, I felt like I had hit the ultimate jackpot. Not only did I score a Sega Master System and some Dinobots, I also received my first “cool” album: Run-D.M.C.’s “Raising Hell”.

Run-D.M.C. 'Raising Hell'
Run-D.M.C. 'Raising Hell'

I tore off the wrapping paper, peeled off the shrink-wrap and immediately shoved the cassette tape into my Sanyo boombox. The album kicked off with the ferocious track, “Peter Piper”, and only went up from there. After three songs, my head was in a complete spin. Then it REALLY hit me. Four bars of drums and I was in heaven. This was so different from that fucking ‘Grease’ soundtrack my sister had been playing incessantly for the first 9 years of my life. Run-D.M.C.’s cover of Aerosmith’s 1977 hit ‘Walk This Way’ not only cleansed my musically tortured soul, it taught me you could open the hi hat directly on beat one.

Joey Kramer - Aerosmith
Joey Kramer - Aerosmith


Loop #15

Today’s loop takes that important lesson I learned 22 years ago and mixes it with a few ghosted notes on the snare and some residual ‘sugarfoot’ (I haven’t showered in three days).

Preview Here:

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Download the Logic session here. (45MB)

Non-Logic fools, get your .wav files here.

100 BPM