So, I wanted to get back to the experiment that I started with Bob Reynolds a few weeks ago. For those of you just tuning in, Bob and I decided to collaborate together on my loops by bouncing some musical ideas off of each other and building grooves around them. Bob was the first to offer up a track and sent the following rough demo:
I opened up Bob’s demo in Logic and started experimenting by tracking different grooves. As you subscribers will recall, this is how I decided to approach the recording:
My initial reaction, I’m feeling this as 12/8. Not necessarily with a traditional funk beat… but something that blurs the lines of afro/jazz and pop music (this sounds like something Sting would really fuck up… but I promise I won’t). If Jeff Porcaro and Art Blakey had a baby, he’d (assuming they had a boy) be my first call for this session.
So with that in mind, I recorded the “main groove” for the track. Taking a “Rosanna” ghost note approach on the snare (along with a halftime backbeat) and one of Art Blakey’s afro/cuban bembe patterns in the right hand, I came up with the following:
The main groove for the A section
Maybe some cowbell for the bridge? No jokes allowed.
Perhaps some straight-up 4/4 on the coda?
Check out more notes, a rough mix along with Bob’s track and a list of our next steps after the jump…
Before going crazy with editing and throwing in the fills, I tried dropping in the main hi hat groove over the majority of the first part of the song, then switching to the straight 4/4 beat on the coda. I also added in some crashes (included in the loop packs) to help outline some transitions in the song. Here’s a rough mix of what that sounds like:
Next Steps I’m sending Bob the complete pack of loops so he can work with a variety of options. He is also cleaning up the mix on his end and starting to swap out the “demo” instrumentation with live tracks. We will also bring in some “special guests” to lay down some rhythm section parts. Anyone have Yngwie’s number?