Drum Programming Basics (Module 2) - Create Today's Drum Patterns | Joseph Evans | Skillshare

Drum Programming Basics (Module 2) - Create Today's Drum Patterns

Joseph Evans, Make Better Music Now: Follow Me

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8 Lessons (43m)
    • 1. Intro to Creating Today's Drum Patterns

      0:55
    • 2. Drum Programming Formula

      5:07
    • 3. Syncopation

      6:55
    • 4. Creating Snare Patterns

      4:38
    • 5. High Hat Creation Tips 1

      5:39
    • 6. High Hat Creation Tips 2

      7:09
    • 7. Kick Drum Pattern Creation 1

      5:32
    • 8. Kick Drum Pattern Creation 2

      6:48

About This Class

Would like to learn how to 

  • Make better beats in 2017? 
  • Create drum patterns and loops like a pro?
  • Develop your own unique drum patterns and sound?

Then enroll in this course!

Module 1: http://skl.sh/2kBqVEy

Module 2: http://skl.sh/2lb6v1W

Module 3: http://skl.sh/2kBBwj5

The content was created with the beginner to intermediate level producer or beat maker in mind. So everything is easy to understand and simple to apply to your beat making process!

In this module you will learn step by step how to "Create Today's Drum Patterns"

After completion you will understand

  • A drum programming formula that you can use to develop your own sound
  • Several drum creation techniques top producers are using to gain the attention of artists, music supervisors, and other creatives in the industry
  • And several other tips and tricks to make dynamic drum patterns and loops

So enroll now and I will see you on the other side!

Joseph

P.S - Don't for get to enroll in the other modules to get the complete training from this "Drum Programming Basics" series. Thanks ;)

Transcripts

1. Intro to Creating Today's Drum Patterns: be making basis. Welcome to this section on, actually, how to record and make your own drum patterns. Okay, this is the sectional creating drum patterns of today. And I created a formula. Okay. It is a ironclad guarantee formula that I've created that you can use to actually create today's drum patterns in his formula. I created some different names, all right, to describe the different type of patterns that most producers air using and a combination of these patterns. And I go into that in these different lectures and exactly how to do each pattern and how to put them together in a certain way. So go ahead and watch this If you have questions along the way, I'm here for you, man, if you need those answered. All right, So without further ado, let go ahead and jump right in peace. 2. Drum Programming Formula: be making basis now to explain how to create a day's drum patterns. I've come up with four different things that you're gonna be doing. And it's a formula. Okay? All right. And I'm a break it down now. You have basic drum patterns. You have what I wouldn't. This is again. This is my term, for it is not a Pacific technical term. But it's my turn. I call a road runner drum pattern. We have a tap dancer. What I call a tap dancer drum pattern. And then we have combination drum patter, which combos think about when it comes to basic sticking with the fundamentals. Just the basics. Now it's kind of a different kind of ah, more complex drum pattern. But everything is 12341234 Okay, you're doing with the regular 12344 notes per beat are four beats for No, you get on the same. Um, but we're road runner. This is where you start getting into the triplets. Now I want you to think about for you guys who I don't know your age or whatever, but if you think about back in the day when they had, you know, the Looney Tunes and Bugs Bunny. They had this character called The Road Runner. And if you don't know about him, if you're too young, you don't know about him. Look up, Road Runner Say Road Runner Bugs Bunny in on YouTube and you'll find out all about him. OK, but basically this road runner goes super fast. Meet me in a room, you know, say he's gone. And so if you listen to some of the high hat sounds, it kind of sounds like foot pattern. Ah, foot eso or something running real fast, like Pune. You know, saying so that's what I call the Roadrunner. That sound okay? Bear with me. Stick with me. Okay, Then we got was called the Tap Dancer Sound. Now the tap dance of sound Literally This it sounds like someone's tap dancing. That's what these beats are sounding like right is tap dancing, you know, saying take some time and go to you tube in and say tap dancing and is listen to the sound of the tap dancing and then listen to the high house and snares snare Rose and different things like that. It sounds like that dancing. All right, so I call that tap dancing the tap dancer. And then we got the combo, All right? And so the combo is taking and Blanding all of those three together. So one part of that one measure, you might have something basic right in the second measure. Maybe you might say. All right, I'm going some road runner. All right, follow me then. In the third measure, you say I'm not going some tap dancers t and in to end it off. We're gonna go in a combination where we're going. Todo Sorry, I'm gonna have to show you that one. I bear with me. You get what I'm saying. Hopefully, light balls are starting to go off right now. Hopefully like, bottles are starting to go off right now just by these these examples and I'm giving you okay, but to make these dope patterns, all the people are doing are doing a combination of basic road runner and tap dancer. That's it. And of course, everything else at that point is up to your creativity where you place the roadrunner the tap dancer in a basic. Okay, So in the next lectures to come. What I'm going to be doing is showing you how to do the road runner, the tap dancer and basic using different instruments like high hats, snares, kicks, and then we're gonna show you some combo moves. Okay, Think about boxing. You know, I'm saying, like I called those up uppercut to jabs to write jazz to left jabs. Then a knockout punch. You get what I'm saying? That's where you're doing. Snare Rose. And those feels drum feels all right. We're going to cover that, But I have to. I had to break down the formal of first so that you're gonna understand where we're going with this. All right, so in the next lecture, we're gonna be using high hats to explain how all of those different things sound. The road runner, the the tap dancer and extent aromas. So you had to create him. All right, so let's jump into it. 3. Syncopation: be making basis. All right, so in this lecture, what we're gonna do is cover how to actually create the road runner and a tap dancer. Okay, We already know how to do basic drum patterns. Okay, That's just doing on look for, you know, within the 44 times. So creating beats within 44 time is that's the basic. Okay, so again, Roadrunner and tap dancer uses triplets. Okay, Now let's talk about the roadrunner. First off, usually the road runner, Okay, Works as 1/8 note. Okay? The only difference is, is that eight notice sped up. So it So let's let's jump into it. How you gonna do this? Sees you're gonna make some syncopated high hats the live of eight note. And that's how you create your road runner. I'm gonna zoom in some more here, Okay? The first part of it, and what we're gonna do is we're in a star small. We're gonna start right here and put three in with that green notes in that eighth note section. Okay, this is just a visually show. You what I'm talking about here. This is the length of the eighth note. I'm a start with putting three little bitty notes. These air probably 1 32nd notes within this eight note section. Okay, I'm a highlight it. And this is where we're going to use some of these other metrics. The triplet metrics. Okay, Now, again, when it comes to quantity ization, the lower the number, the more basic the pattern that you need to quantifies, the higher the number. Or we could also say resolution, the more intricate, um, the pattern we need to talk. Wanted ties. So right now, we're only working with these three notes, so we need to go up to, like, 12. And as you can see there, that was the wrong way. So we're gonna go up higher. Boom. 24. That worked. So in order to get that seat, Now, let's check this out. That kind of sounds like the road runner, but still not quite there yet. Okay, So what we need to do is we need to extend this out some, or actually, double it. Put that dead center and like that, and we can quantify that again. As you can see, the more notes you add, the higher the resolution. So we'll go up to 48. Bam! You saw that shifted. So set. Everything in place is a triplet. Now let's listen. Okay, Roll running. That's see how simple that was to create. Now, if you want to make it even mawr, uh, you know, detail, you can put that death center like that again. And guess what? Yeah, you need to take the resolution up a notch, all right? And I don't know why that disappeared, but I evidently that thing was off. Let's do this again. Here we go. So based on what? How how detailed you want that roadrunner to be is based on how many knows you add. And as this is it, essentially all you're doing. See if I wanted to take it and make it even more difficult, Not difficult, but, you know, complex. I was short a note. By this time, this is probably of 1 1/28 1 28th notes. But you get what I'm saying here and we would take it up on the Y For whatever reason, this one's off but bone. All right, now that's something to keep in mind. Now, when it comes to the tap dancer, the tap dancer is just like the road Runner, but it's slow down over a longer extended piece of music. OK, So instead of being extended over, say an eighth note, the, um, tap dance sequence is extended, Say, over the course of ah, half note or even 1/4 note with less notes. So check this out. I'm gonna mute those, and we're gonna start the sequence again and you're working in threes, so check this out. Let's make thes six teeth notes. All right, here's another right there. Now, of course, the simple or the pattern. Okay, the lower the resolution bone. So now these dream knows Work well for this whole verse right here, if not verse but bar. All right, so that's how you create either the road runner or to tap dancer. And basically all you're doing with the tap dancers. You're just putting little breaks in between the tap dance this cycle tap dancer does. They have different breaks is like tea. You see what I'm saying? So let me show you. Okay, Now this is the basics. This is the basics of the Road Runner and the tap dancer. The next lecture, we're gonna take it up a notch. 4. Creating Snare Patterns: be making basis. So when it's lecture, what we're gonna do is actually apply what was taught about the Roadrunner tap dancer in combination. You know, Durham formula. Okay. What a drum programming formula, if you will. Okay, so we're gonna be using, uh, using the formula on certain key instruments to snare the high hat, the kick and feels and snare rose. So this lecture, we're focusing on the snare. Okay. Now, if you remember, we have regular time halftime and double time. I don't want you to over think that, but just think about how you want your your tractor sound. So what I usually do is you could get the Metrodome going, and you kind of listen to it and see how you want to play it. And I use ah midi keyboard here. And of course, if we wanted to do a double time would be like this, but I'm gonna do, like, 1/2 time. All right? I'm a change these 2/16 notes, and this is where we're going to start getting this thing popping. Okay, so we got the 16th notes here. Just a basic pattern. Okay? And again, like I told you, What people are doing is doing a combination of the basic road runner and tap dancers. So that's what we're going to do with stare. So what I'm gonna do is do a trick here. I'm gonna add in the tap dancer. So instead of it being there's something basic right there a matter of fact. First off, we're gonna go ahead and quantity eyes this first bone, bring this out. So let's listen to it. And then what I want to do is have a roadrunner effect. I mean, a tap dancer step today. So remember, all we're gonna do is this is a limp of eighth. No, right here from here to here. That's the one I was actually committed. Site lets the length of a court a final. That's a little eighth note. So I will put three of these in here, and instead of going here and quantifies in the whole sequence, I'm only gonna highlight just east three notes and they go to the triplets bone. Now let's listen to it. Then we had that even go again. You know, all I'm doing is I copied and pasted. Now, in logic, I could just kat highlighted and hold down option and drag it to copy it. But, you know, you could do it just just the same way in other programs as well. And that's the cool thing about doing step recording or using the piano row feature is after you've already played or created a particular pattern, you couldn't begin to copy and paste it or drag it over. And now you have your your drum, your drum loop or sequence. All right, so this is just something I came up with all the top of my head. You can pretty much do anything. It does not have to be a Pacific type of of, of pattern. You're just using a combination of the basic the role runner or the tap dancer. Okay, so in the next lecture, we're gonna go over high hats 5. High Hat Creation Tips 1: be making basis in this lecture. What we're gonna do is actually start creating the hi hats. Okay, now we've already covered how to create the Roadrunner and the tap dancer. Now, what is going to be is basically taking these high hats and extending him over the course of our drum loop. Okay? Now, what I usually do is our mute this out and listen to my snare track and see what needs to be on there. Okay, so let's just listen so you can get out of here where? Maybe this could go. Yes, I'm in a movie over here, too. Um, on the four beat. Okay, Of of every measure, I'm gonna mute that a mute that first. All right, Cool. So I don't put this on the four beat a very measure. Now, keep in mind, you could pretty much put this wherever you choose. That's the main thing. You gotta understand the It's all based on what you want to do. OK? When you listen to your tracks, you here to hear him and listen. Okay. You might ask. Well, what? Where do I put this? You put it wherever you want. Just make sure It doesn't sound too clutter or doesn't sound too, um, all over the place because it can get that way. So keep it simple first. Okay, so now I have to listen to it. I'm gonna delete those Latin of the first far here, and it's very there. All right, Now, let's kind of go ahead, highlight thes I'm doing now. That kind of sounds basic. Doesn't really sound, um, too appealing. So what you will want to do is keep on working on it May be that road up run There needs to be simplified a little bit more so you can cut out every other one. This is where you go straight up in here and you zoom in and you could do a combination of the basic road runner and what you call it. Ah, tap dancer. And so I wanted I'm gonna put, like, a road tap dancer part right here. So between this, this particular measure So this will be the lymph of eighth note, actually, so I'll just all I'm gonna put is three notes right there, right there, One right there. Come over to the quantum ization bone. - Okay , So I have the tap dancer taken decay. And then I'm gonna go back to a basic and this is a squeak coming up with whatever I want off the top of my head. But just make sure it makes sense. You just shorten it. And this is also where you do the combo. So if you noticed the snare drum was hitting, it did. Is this combo right here? You can copy it and then comes to the beginning of this and go to this track and paste it and move that up. 6. High Hat Creation Tips 2: be making basis. It's going kind of get complicated because it, you know, it seems like you're doing a lot of different things, But really, all you need to do will remember, Whereas you're creating your high hats or your snares or whatever it is, you can even this focus on small parts. Okay, once that sounds right, you could move this over here, focus on this part or even extended, and you keep on making adjusting it until you get exactly what you're looking for. Okay? And sometimes what I when I find something I actually like, what I'll do is instead of trying to come up with something new, I'll extend this or basically copy and paste it. I could move this over like this, and I'm just like, if you're using logic, all you do is highlight and then hold down option and drag. But I could come here, and it's have this basic pattern going okay and in and departs that Dean twist switch up, or maybe the parts where I'm switching upon the snare. So instead of having the same role running apart, I would swiss that up and make it Maura of ah member on putting three notes here of ah, tap dance part. So check that out, bone. - Okay . And another key thing here is you notice how I created this dead space. Sometimes less is more okay. So instead of creating all you know, feeling like you have to put a high hat somewhere throughout the track, sometimes less is more. Okay, so these are different high tracks. Shirt. I'm Hi. Hi. Hat tricks that you to use and then I just needs more work. But you just I'm just trying to teach you the basic principle of it. - All right now, another trick here is instead of having a go, um, you know how to snare formula. All right, here, right is doing like a tap dance. You can combine the tap dance with the actuals roadrunner. So instead of just going Tet a Tet, I can have the high hat doing it as a syncopated way in a syncopated way. So what I would do is I was zoom in here, you know, put those put those into different spaces here like that held it, go ahead and quantifies it, and I leave off a little bit of days. Space here and in what I would do is create because, you know, you wasting what you're having here is let's look, we have three notes within this particular space right here on the starting from the four to end of the four beat. Okay, so I can mimic that. So let me show you. I'm talking about here. Got it the wrong way. And so, like, let's go over here to bone. So now I was staying this out. Okay. As you can see, we need a higher resolution. There we go. And then I would just copy this and and dragged this over to the beginning of each part and then delete that part. So check this out. Okay? Now is the beat is going to sound a whole lot different once you add your kick drum. And once you add, you know your class and a couple other instruments in the course of melody. But we have a basic high hat pattern right here. That's pretty. Doping is going to sound like the patterns of today. And you can always come back in here and manipulate and move things around After you start as you start building. So as you start building it. If it doesn't sound right with the next things that you're adding, you can always add to it or take away. So that's how you do your high hats. 7. Kick Drum Pattern Creation 1: be making basis. All right, so in this lecture, what we're gonna do is go ahead and lay down to kick drum. Now, before we did that, um, what I did is went head and Addison melodies, okay? And this is just so that you can kind of get that The high hack pattern that we're creating in the snare pattern that we're creating were solid patterns. Okay. And sometimes you just need to go ahead and add that melody really get it popping. So I'm gonna go ahead and let you hear with this melody now and then we're gonna add that snare was checked us out. You see how much of a difference that made to that drum pattern once you had a dope melody to go to match? Okay, so, um, and again, I'm not trying to get too much into the melody in this course. This is all about the drum pattern. So I just wanted to add the melody, though, just to make sure that you can, you know, here that the beat is progressing. So what I'm gonna do is I'm gonna go ahead and copy this, and we're gonna go ahead and go with a kick. All right, let's go with this kick right here. And usually when I go ahead and do when I'm doing the kick, I don't always do it like this. But sometimes, depending on, you know, I'm a hands on type of guy. So I go back from using the Midi keyboard to back and forth from using Midi keyboard and the piano wrote a step recorder. And so what I'll do is I'll lay down a basic kick track, okay? And with the using the midi keyboard and then go in and quantifies it and then move notes around if I need to. So that's what I'm gonna do right now, and I'm sure you have to do it. So find hook up. You admitted keyboard, find the kick you want, and then just just go with it, all right? And if you look at my kick drum pattern What? I'm going to go ahead and make that kick kind of pop out a little more out of compressor to it real quick. Now you're gonna see that. Basically, I was doing a combination of basic. Then we used the, you know, the tap dancer. Then we use the road runner. We're really We didn't really use the road runner too much, but we just used, you know, the basic and tap dancer. Okay, But in order to quantifies that, I would just go head to highlight everything. And again, we need a higher resolution. So let's start with that 1/24 see if that works. It might not have, but it might have worked, so let's check it out. Okay, so that 1/24 properly did, you know, quantifies this part and some of the other parts of it. I'm gonna go ahead and do that, and I'm move up the resolution. Actually, it's 1 20 21/24 was the proper wine, but we just need to add more to the beat. Okay, so check it out. Let's go ahead and zoom in here, and we're gonna just gonna add some or to it, you might ask. Well, how do I know what the ad or what? Not to this. Listen to the track and see what sounds bad or what doesn't. Okay, and it's really that simple. If it sounds off, that means you need to even take a note out or add a note. This is listen, okay, And some some parts. Sometimes you listen to it, you'll hear different things you need to do. So I want to stutter that basically at another notebook before that. So, you know, saying kind of get it that bounce. So in order to add up a bone, put that in there and I'll quantifies that and I could even come in here and add an extra note. But I feel like he's kind of doing too much. We could take that out, we could put it on the basic level. 8. Kick Drum Pattern Creation 2: be making basis now. Have you heard the snare? This is where also combos come into play. If you listen to the snare right here. You have that combo right here. What I could do is I can play the kick drum along with that. So I'm a copy. That pattern I will come over here. I think I heard it over here. So it was like, right here. So what? Paste it and bring it down. And I think the key thing to to to remember when it comes to a kick drum is you want to kind of keep it basic. You don't want it to be all over the place. That's the high has job, okay? And so you're trying to kick create some type of a unity between the different uhm drum instruments in your your your pattern. So you want to keep it simple, but at little cool stuff in between the simplicity. So chicken up and again, you can use this home same technique where you just highlight everything and you get different parts to see how it's need to sound right now. Another thing to keep in mind when it comes to the kick drum is Sometimes you want it to met, like match up with your bass instrument. OK, um and if you notice that I what I did there, I had this kick drum hitting right where this base drums were Great. Bass instrument was playing. You don't want to have a hit on every base instrument, but just some of the main key ones to make it shine, you know, or make it or emphasize it more sauce A. So let's listen to it now see how that sounds pretty dope and it goes with the beat. You want to make your kick drum go with the beat. So some places where the snare is going has, you know, is doing the tap dance sequence. You can do the kick on the tap dance sequence or other places where it might be doing the roadrunner. You can do it like that is just kind of up to you. You kind of have to keep on playing and over and over again to really get where you're trying to, you know, do that, I would add I can ask him more than add to kick back over there to pump a boom. - Let's listen to it all together and the key to t to this is you want everything to be sound clean you want. You don't want it to sound sloppy. So that's what I'm working on here is trying to make sure that this sounds clean it at the end, all right. And you know something simple like that. It could be fine in the next lecture. We're going to talk about even taking it the next higher step. So let's go ahead and jump right into it.