Like I mentioned in my previous post, I just upgraded my studio to Logic 9 and have been busy checking out all of its new features. From a user interface point of view, not much has changed. It still looks and feels much like its predecessor, but there are some new editing tools that peaked my interest as a drummer. Specifically, Flex Time and the drum replacement/doubling tool.
I decided to test out the Flex Time tool by playing a straight pop beat to see how well it picked up the transients. It did a rather remarkable job of latching onto every percussive attack. So good, in fact, it took everthing I played and easily (almost too easily) lined everything up in perfectly quantized 16th notes. Yep, it sucked the Gruss right out of it… but then it begged for some electronic layering to keep the kids happy on the dance floor. So, with the drum replacer (Apple’s own version of Drumagog) I doubled several tracks with an extra-beefy kick and a heavily-gated snare.
The result? I’m still not sure exactly… but if The Postal Service was around in the 80’s and they were asked to write the theme music to Miami Vice, I’m pretty sure Logic 9 would have come in handy.
Yeah, I know I should be hating on Meg White. The sloppy technique. The loose time. The lack of chops. But, in my humble opinion, she’s the perfect drummer for The White Stripes.
She doesn’t use multiple splash cymbals. She doesn’t play anything faster than a 16th note. She plays what she feels is right for the song… and it feels fucking great. Music shouldn’t fit on a grid. It should have a vibe. It should have some soul. Meg’s got plenty of soul. And a sweet set of Ludwigs.
Today’s loop is based off of one of the many floor tom grooves favored by Meg. A strong, “four on the floor” feel, mixed with a bit of filtering. It might be a little “accurate” as far as grids go, but I gotta keep all of you REX-heads happy. Now, go start a band with your wife/sister and write some indie rock classics.