Wondering why I haven’t posted in a while? It’s because I’ve been putting the finishing touches on this bad boy. I also have something even bigger to announce in a few days. No, I’m not taking over Ricky Rockett’s drum throne in Poison. But it’s almost as exciting. Here’s the official press release for today’s news:
Following up on a customer favorite, we’re happy to announce the release of The Art of Brushes Volume 2. A collection of loops and samples focused entirely on brushes, this second volume contains over twice as many files as the original, giving you the sounds and grooves you need to produce authentic drum tracks in a wide range of styles.
From folk, to Americana, to bebop, to electronica, the depth and airiness of the brushes combined with the warmth and timbre of vintage drums and hand-hammered cymbals provide the perfect foundation for even the most discerning producer and songwriter who needs truly professional sounding (and feeling) drum tracks.
We are also happy to announce the release of “bundled” versions of both of the brush collections. The bundled sets provide you with the first two releases in one instant download, while also saving you 25%!
In July 2009, funk drumming legend, Clyde Stubblefield, whose sampled beats from his innovative recordings with James Brown have shaped the sound of hip-hop and drum & bass music, suffered kidney failure and began weekly dialysis treatment.
In July 2010, The Coalition for Clyde Stubblefield – an artist & industry association of Clyde’s supporters – was founded by drummers Stanton Moore, Johnny Rabb and David Stanoch to spread word of Clyde’s situation and new avenues being created expressly for donating financial support directly to him.
Clyde continues to work and perform regularly while dealing with the stress his kidney dialysis treatments demand.
We thank you for visiting this webpage and your desire to Give The Drummer Some, helping Clyde and his family find some relief as he braves this journey so they may feel some of YOUR soulfulness as we come together to help out a brother, an inspiration, our friend.
Remember, no contribution is too small and every penny makes a difference. JOIN THE COALITION & SPREAD THE WORD! Follow the simple instructions under the widget for embedding it into your own websites & social media pages! We thank you for your concern and generosity.
When your studio is temporarily set up in a spare bedroom (I’m doing some more work on the carriage house) and your wife is taking a nap (apparently, pregnant women love to nap), knowing how to play quietly becomes an essential part of the production process… and a happy marriage. And playing quietly doesn’t just mean grabbing some brushes and making everything 30 db lower.. it also means keeping the intensity up. Put some fire in the mezzo-piano.
By harnessing the energy of arena-rock style drumming and funneling it into the quiet side of the dynamic range, today’s loop is perfectly suitable for coffeeshops, jazz clubs… and nearby naps.
For this loop I decided to take the opposite approach to producing. The “Costanza Method” of recording, if you will. As I’m sure most of you already know, effects and audio processing are typically applied during the mixing process, after all of the tracks are recorded. However, for this session, I applied a variety of sonic sculpting tools to the master bus BEFORE recording a single note. Sure, I checked the levels to make sure everything was copacetic, but I wanted this random stack of effects to play a leading role in the creation of my loop.
What you hear in the mp3 below is the exact same thing I heard in my headphones as I was recording and ultimately, dictated what I played. The signal chain; absurd amounts of compression->massive Whitesnake-style reverb->super fast and tight gating->crazy stereo delay with pitch-shifting.
What sounds like a pretty busy groove (and a bad acid trip from the 80’s), is really just me playing a very minimal 4 bar phrase with a tom fill at the end. It’s the 16th note delay that fills up the rest of the track, precisely bouncing around the stereo spectrum due to the abundance of gating applied to the entire track. Had no gates been used, this loop would be messier than a groupie at a Monsters of Rock festival.