Drum Programming Part 3: Advanced Drum Programming Technique | Jason Allen | Skillshare

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Drum Programming Part 3: Advanced Drum Programming Technique

teacher avatar Jason Allen, Music Producer, Composer, PhD, Professor

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Welcome & Overview


    • 2.



    • 3.

      Review: Working On The Grid


    • 4.

      Review: Counting Rhythms


    • 5.

      Finding The Beat


    • 6.

      Get Down With The Bassline


    • 7.

      Funky Swings


    • 8.

      Side Chaining


    • 9.



    • 10.

      Just For Fun


    • 11.

      The Basics Of Hip Hop


    • 12.

      Analysis: Nothing But A G Thang


    • 13.

      Analysis: Loose Yourself


    • 14.

      Analysis: Skeleton Key


    • 15.

      The Breath


    • 16.

      Subtract Before You Add


    • 17.

      Transition Example


    • 18.



    • 19.

      Basics Of Footwork


    • 20.

      Analysis: Boylan


    • 21.

      Analysis: DJ Slugo


    • 22.

      Tuning Kick Drums


    • 23.

      Melodic Percussion


    • 24.

      Mixing Bass And Kick Clashes


    • 25.

      Mixing Frequencies Of Drums


    • 26.

      Analysis: Cissy Strut (The Meters)


    • 27.

      Analysis: Cold Sweat (James Brown)


    • 28.

      Analysis: Sexy MF (Prince)


    • 29.

      Analysis: Amen Brother (The Winstons)


    • 30.

      The Amen Break


    • 31.

      Glitch Techniques


    • 32.



    • 33.



    • 34.

      Stutter Edit


    • 35.

      What Next?


    • 36.

      Thanks Bye!


    • 37.

      Bonus Lecture


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About This Class

This is a class designed for music producers who are ready to get serious about drum programming. The art of programming drums on a MIDI grid, in drum machines, or with audio files can be tricky to master but when you finish this class, your tracks will have the extra energy that comes from professional drum tracks.

Dr. Allen is a professional musician, top-rated Skillshare instructor, and university professor. In 2017 the Star Tribune featured him as a "Mover and a Shaker," and he is recognized by the Grammy Foundation for his music education classes. 

I'll be using Ableton Live and some Logic in this course, but it will be easy to following along on whatever program you are most comfortable with. We will start the class off with an explanation of working with samplers and working on the MIDI grid. Then we will learn to adapt that pattern to work for a number of different styles, including Drum and Bass, Trap, and Dubstep.

DRUM PROGRAMMING MASTERCLASS, PART 3: ADVANCED DRUM PROGRAMMING TECHNIQUES is a comprehensive class - that means there are three (3!) different classes that together make the complete sequence. This is Part 3.

Also in the class, we will be doing a number of analysis projects. That just means we will load up some tracks, and re-construct the beat in the track. Doing this will help us to see how those beats are built and guide us in making our own beats. And as a special bonus, I'm going to give you a LOT of MIDI files in this class of all the beats we've made. Throughout the class, I'll be giving you whole sessions you can download and use in your own tracks.

Topics include:

  • Tools of the trade

  • Finding the beat in a track

  • Matching swing settings (or not)

  • Using multiple beats on the same track

  • Programming Hip Hop Beats

  • Transitions and the Beat

  • "The Breath"

  • Transition Examples

  • Fills

  • Sidechaining (side-chain)

  • Programming Footwork beats

  • Syncopation

  • Pitch and Drums

  • Tuning Kick samples

  • Melodic Percussion

  • Mixing drums

  • Frequency space and drums

  • Programming Funk

  • Programming Glitch

  • Using Glitch plugins

  • FREE plugins for advanced techniques

  • ... And much more!!!

Analysis Tracks:

  • Snoop Dogg: Nothing But a G Thang

  • Eminem: Lose Yourself

  • Dessa: Skeleton Key

  • Boylen: High Life

  • DJ Slugo: 114799

  • The Meters: Cissy Strut

  • James Brown: Cold Sweat

  • Prince: Sexy MF

  • The Winstons: Amen Brother

You will not have another opportunity to learn Beat Programming in a more comprehensive way than this. Start here.

The course is a roadmap to MAKING STUNNING TRACKS with better drums.

All the tools you need to produce great drum tracks are included in this course and the entire course is based on real-life experiences - not just academic theory.

Please click the "Take This Course" button so you can start making better beats today.


Praise for Courses by Jason Allen:

⇢  "It seems like every little detail is being covered in an extremely simple fashion. The learning process becomes relaxed and allows complex concepts to get absorbed easily. My only regret is not taking this course earlier." - M. Shah

⇢  "Great for everyone without any knowledge so far. I bought all three parts... It's the best investment in leveling up my skills so far.." - Z. Palce

⇢  "Excellent explanations! No more or less than what is needed." - A. Tóth

⇢  "VERY COOL. I've waited for years to see a good video course, now I don't have to wait anymore. Thank You!" - Jeffrey Koury

  "I am learning LOTS! And I really like having the worksheets!" - A. Deichsel

⇢  "The basics explained very clearly - loads of really useful tips!" - J. Pook

⇢  "Jason is really quick and great with questions, always a great resource for an online class!" M. Smith

Meet Your Teacher

Teacher Profile Image

Jason Allen

Music Producer, Composer, PhD, Professor


J. Anthony Allen has worn the hats of composer, producer, songwriter, engineer, sound designer, DJ, remix artist, multi-media artist, performer, inventor, and entrepreneur. Allen is a versatile creator whose diverse project experience ranges from works written for the Minnesota Orchestra to pieces developed for film, TV, and radio. An innovator in the field of electronic performance, Allen performs on a set of "glove" controllers, which he has designed, built, and programmed by himself. When he's not working as a solo artist, Allen is a serial collaborator. His primary collaborative vehicle is the group Ballet Mech, for which Allen is one of three producers.

In 2014, Allen was a semi-finalist for the Grammy Foundation's Music Educator of the Year.

J. Anthony Allen teaches... See full profile

Level: Intermediate

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1. Welcome & Overview: Hey, everyone, welcome to drum programming Masterclass part three. Okay, so in this class, we're gonna get a little bit more advanced than we have in the other classes. We're going to start by talking about programming needs to attract. So let's say you have a track and you're trying to find the right beat to put on it. So a little bit more on the creative side and less on the technical side, we're going to continue working through different genres. So in this class, we're gonna focus on hip hop. We're gonna talk about footwork. We're gonna talk about funk, and then at the very end, we're going to spend some time working on the more kind of glitch genres like I D m break or those kinds of things. I'm going to give you some tips for making that really frantic, witchy stuff that I love. There's some cool tools to help you do that. We're going to talk about transitions. We're gonna talk about pitch and tuning with drums, and that'll lead us a little bit into talking about mixing on our drums. There's a lot to cover in this class. We're going to get into to some more advanced stuff, including side chaining, subtracted techniques and things like that. This is gonna be a great course for you if you're trying to get into making really powerful drums Now, further ado. Let's let's dive in now in the compressor. Here's my compressor. Go here to this little ta go and click side chains. So once I turned that on, I say audio from So what do you want to listen to? I want to listen to this second drum track that I just made. This one which is called five Hilda Kit. So five Hill ticket. That's what I'm listening for. Okay, Now, I'm just gonna hit play and watch the fun. Stop with that. Okay? Now, one thing is just like before, we're not getting our open high hat, because these are the choke setting is on here. Which means only the high hat, open or closed can happen at a given time. So I'm gonna get rid of the clothes. I have way to go. Little ghost notes happening. There's a lot of subtlety happening, so if you just look, add the midi clip right here, you know, there's a lot of notes happened. So let's just hear what I came up with. Well, let's hear what? Some time. A lot of I used rim clicks for it, but I hear a lot of stuff now. The thing about stutter at it that's a little tricky, is it takes some finagle ing to get it set up just right. You need an audio track and enmity track, and you have toe, uh, put the middle. 2. Tools: okay, before we dive in, let's start with the things we usually start with. Uh, which is a quick explanation of the tools we're going to use. So, um, if you're jumping into this part three class without any prep, this will make sense. If you have done part one and two, this will be not new information. So you can skip over this one if you want to. But basically, um, what we're talking about here is what software am I going to use to show all this stuff? So I'm primarily gonna be using able to live in this class? Um, that's my main workhorse, but you don't need to be using ableto Ah, lot of what we do here can be done on just about any of the software programs. So this isn't unable to class. This isn't gonna be a class on how to use a Bolton. Um, this is gonna be a class on how to program really great beats. So you'll be able to apply whatever we're doing to whatever software you're using, including logic pro tools fl studio que base any of the other ones. Um, so don't worry. If you're not using ableto. Ah, a lot of the time we're gonna be looking at, like, this midi grid and things like that. Um, you know how to find that in your program, then you'll be just fine. Also, be looking at, you know, wave files and chopping up some stuff like this. But again, this should be pretty standard stuff in any audio programs. So as long as you know how to do those things will be just fine. Um, and you know, a lot of people ask me, is one program better than the other when it comes to this kind of stuff? Not really. I mean, they all really work the same when it comes to basic drum programming stuff. Um, some of them do things differently than others, and that makes it so that people like one over the other. But you can do all of this stuff in any of the programs just fine. Ah, so usually sever programming like you like. Okay, cool. Um, next, let's do a little bit of review about how we work with the grid, because it is the singularly most important thing and getting, uh, your drums to sound good. So let's dive into that 3. Review: Working On The Grid: Okay, let's look down here and let's go over the grid stuff one more time just so that we're all really clear on it. So when we see 11.21 point 31.4, whether you're on an audio grid or enmity grid means the same stuff. What this means is, if you just see a number by itself, like here we have a one here we have a two just by itself. That means bar, whatever the number is. So borrow one, and it means beat one and the 1st 16th note, the very beginning of the bar. So here this is bar to the beginning of bar to If you see 1.2, that means Bar one beat, too. So here, Bar one beat three. Bar one beat four. Now it can have 1/3 number three. Zoom in a little farther to 123 bar one beat to 3rd 16th note. And remember that the 3rd 16th note is the middle point between two beats. Okay, we could also say 2nd 8th note, but the what able 10 shows us is bars, beats and 16th notes and pretty much all programmes work the same. So if we wanted a beat to come or a note toe happen in between beat one and beat three or Sorry, beat two and beat three right in the middle. We'd put it right there on 123 Cool. Now, also remember these vertical lines are the grid resolution that we're seeing right now. I am seeing 64th notes. I know that because down here, it tells me 64th notes if you're not unable to and it might look a little different, but 64th notes is pretty darn fast. So I'm gonna zoom out now. I'm looking at 32nd notes. That means there's going to be 32 of these boxes in a bar. Okay, so if we go, let's just do this, Okay? There's 12345678 Okay, there's eight there. So eight, 16 24 32. Okay, that's the grid resolution. Were working at 32nd notes is pretty fast also, but you might want to use 32nd notes and some of those really fast hi hats that we saw in trap music. We were down to 32nd notes. I don't think we ever got to? 64th notes, though, um, if you want faster or slower, I can't currently zoom out any zoom back any farther than this to get this down to 16th notes with a 16,000 B 2 32nd notes that we're gonna have 16 of those in a bar like that. Okay. And if I want to make that even bigger, I would have an eighth note, which would be eight of those in one bar cook so critical here is remembering How are that ? You need to be exactly on the grid unless you are intentionally not being on the grid, which we talked about last time. Some things we do to kind of get off the grid just a little bit like that to give it a feel . But if you don't want that off the grid feel you want to be exactly on the grids, you consume way, way, way deep and still see that you're right on that line. So be sure that you're sticking right on that line. Unless you're doing something where you're intentionally kind of getting off the grid to give it. Ah, different kind of a field Okay, One more thing I want to review before we go on, and that is how we count rhythms. Let's go to a new video and do that. 4. Review: Counting Rhythms: Okay, Last bit of review. Um, and this is important because, um, if you don't understand this the way I talk, sometimes you might miss out on something that I'm saying. So let's say I said something like, Let's put a note on the end of two, Okay? The and of two is what I said. So what does that mean? Let's pick it apart backwards. So of two, that means a second beat. So if I said the end of two, that means we're talking about the second beat. That's the two in that phrase and the and is gonna be half way through the beat. Okay, so right here, we can't see what halfway through the beat is. Can't see the end of two. But we could count. It's gonna be four of these in 1234 and then it's gonna be the next one. Um, that's the end of two. That line right there. If we wanted to get it, we could zoom in a little bit more until it pops up. So it's right there. So that 0.3 is the end of two halfway in between beats two and three. So let's just read through this beat that I have here and see and and I'll tell you kind of how I would count it. So this kick is on beat one. This kick is on the end of three. Right? Here's beat three. Here's the end of three. 3rd 16th note is the end of three. That's where that is. Okay, let's go to the snare. The snares on beat, too. The snares on beat four. This high hat is on beat one the end of one. Be to the end of two. Beat three the end of three beat four in the end of four. Another way to say that is that it is on every eighth note. What about this quick little kick down here? This is a tricky one account, actually, because it's in 32nd notes, right? We see down here that what we're looking at here is actually 32nd notes, so this starts on the end of four, and then we have all 4 32nd notes there, so I actually remember what are syllables would be for that. But we would count that as for 32nd notes, starting on the end of two is the way, I would probably just say that. Um, cool. Let's see if there's anything else weird up here. Not really. There's a kick on the end of two. Um, er the end of one. Right. So both of these are on the end of one, even though we see 213 we're at the second bar is what that two means, But we're on beat one, and the three means the end of three. Cool. So it's just some general terminology we're gonna use. Um, That is not just the goofy way that I talk. That is how we talk about rhythms all over music. Um, common terminology. So now that were straight with that. Let's dive in to some new stuff. Off we go. 5. Finding The Beat: Okay. What I want to explore in this next part is taking a track. Maybe it's a track that you already have and finding a good beat for it. So what we've been doing up till now is really in this class and all the previous classes is really taking trying to build a beat in a specific genre. But what I want to do now is really focus on Just let's say you have a track. Doesn't matter what genre and how do you find a beat that fits, right? Um, so that's what we're gonna do here. So I've started. Ah, little, just not much of a track, but just a little thing. It's really just a core progression and sort of a baseline. And what we're going to do over the next bunch of videos is, uh, make a beat for this. Probably a couple of different beats for it. And I'm gonna walk through what I look for when I'm trying to build a beat for a track. Okay, so let's just hear what we've got. Um, I have this kind of long pad and this baseline I left this long intro here cause I thought maybe we'll do some kind of build up things in the drums leading to where the baby is going to come in right here, right now. There's no beat on it. Eso let's just hear it as it's okay. So that's it. It's now much of anything. Um, what we need to do is figure out what's gonna be best now, obviously, this is so empty that we could do 100 different things on here and it would sound good, but I want to walk you through a kind of how I would think about this if this was a track that I was really working on, which I guess it kind of is because I am working on it right now. So, uh, let's dive in. The first thing I'm gonna do is focus on the baseline. So let's go to a new video and talk about that 6. Get Down With The Bassline: Okay, So the only thing in this track that really has definitive rhythm, um, is the baseline, and it's really just quarter notes. So let's solo that and just hear it. Okay? It's almost a thumb. P little sound. There's not much there. We're gonna get a little more pitch when it goes up high. Yeah. See, now we hear pitch, but that's good. So that can kind of tell us where we want to beat to be. So start playing around with it. Let's grab, uh, drum kits. Um, actually, that was done. Let's just go to drums and let's just find something that might work. So what am I looking for? Looking for something that's not too dirty like that bad? Um, E wants a pretty clean sounding Not bad. What? Okay, that's not that. Let's just go with that. So I'm gonna throw that onto a new track. So many track. Let's push that up there and let's just jump in right here, Okay? So first thing I'm gonna do is try to latch on to that group. Let's make this two bars long. Don't loop it for now. And let's just put in that kick. So Here's a kick that's audition it. Okay? And I think the kick is just quarter notes, so I could just do this. Okay? So I'm just making this kick be the same as this baseline. Let's move this and hear what we've got. Oops. I'm still soloing. That baselines working here. Okay, bad. Let's take all of those kicks to that one. I don't really like that, but let's roll with it. What the heck? Okay, now we can go back to our kind of basic beat idea so I could put a snare in here. It would go there. Okay. Not bad, but not awesome. Let's add some high hats and let's do it's 2/8 notes and are high hats. Got something going? Okay, not bad. So what we've done here is we've latched onto that base simp because it's giving us some rhythm. Now. It's really easy to do in this example, because the bass synth is just doing straight eighth notes. But in any track, when you've got a baseline and it's doing something weirder, it's usually your best place to latch onto for what you're going to build your drums around . So tried building their drums around the baseline. If you already have a baseline, Innotrac try to get the drums in there because that's what's going to really make a track. Groove is the way the drums work together with the baseline. Those two things have to be really tight and working together really well. And that's gonna make the track really solid. Now, that doesn't mean you have to copy the baseline. Exactly. So I'm gonna get rid of this some of these. Oops. I'm gonna get rid of some of those kicks. Actually, I want to Theo. Kind of like the emptiness that now. So what I've done is I've changed this around from the kick, but I'm still using the main rhythm IQ values of the kick, which was just straight quarter notes. So I've still got everything kind of locked, straight quarter notes, except for this one. Little off, but I kind of like it, um, my snares still locked in the quarter notes, although it's going every other. My high hat is on eighth notes, so this is not a bad place to start. Um, let's see what happened if we beefed up that kick with this thing. Cool I kind of like it. So let's take this and let's deploy it out over this whole thing. So it's gonna copy Paste and let's hear what it sounds like. No way. Smooth looping on genius. Oops. Let's go back here. - Okay . Not a bad start. So let's keep playing with this a little more now before we go too far. Um, here's what I want to do. I want to In the next segment, I'm gonna give you this track. So if you're on, um, Able Tune you could open this track if you're not unable to. And I'm gonna give you what we have so far as audio files so you can open it up and just load the audio files into your whatever program you were using. So I'm gonna give you this track, and that way you can build things along with me in it. Cool. Okay, so next segment this track, so you can build it along and play around with what we're doing here as well. Okay, uh, onto that and then we'll be back, and then we'll do a little bit more 7. Funky Swings: Okay, so I want to try a little experiment here. One of the effects that I found to be really useful that I think might work here. It might not, but we're gonna give it a shot. Is to use different kinds of swings on different layers of a beat. It's weird. It's really weird, but we're gonna try it. So I'm gonna go to my groove pool here, and I'm gonna add a groove. Okay, so I found this loop, and it's got a swing to it. Okay. And it's way fast now. Right now, our little drum groove here is super straight, meaning it doesn't have a swing to it at all. So I'm gonna try to put something on it that has a little swing. And I could make something that has some swing. But for the purposes of just trying this out, it's gonna throw a loop on here. So, uh, this is way faster than this, right? But let's just try it. So I'm gonna solo these two. So all we're gonna here is these two beats. This might be a mess. Who knows? It's not bad. That's actually pretty cool. It was dirty. So something's clipping, I think here. I can't take that back pulling the volume back a little bit because I think it's just a kind of a gnarly sound. So I kind of like these two things together. Let's try them. So I'm gonna loop. That is, by copying it. Let's just hear everything for a sec. - Cool . So, um, I really couldn't dig that. So what we're doing is we're using two different swings here, right? This one is super straight. No swing, no swinging at all. This one. It's got like, a debt debt debt. Did it? Did it? Did it? Did it. It's got, like, a nice swing to it, and it's way fast. Another thing we could do is slow this down. So if I chop it in half so if I put this in half time, it's just so low. It groups here. That's what I wanted. Okay, so it was appear. No, it wasn't. That is where waas Okay, so let's make it twice a slow. Sometimes that can work out really well. Here. That's not gonna work. It's just getting too quicky. Yeah, that's just gonna be too slow for us. So let's get back to where it waas more. Loop it through, so I'm pretty happy with that. So keep in mind that technique of using something that swings was something that doesn't swing. It's tricky. It's kind of a 50 50 shot if it's gonna work or not. Um, you know, we could analyse everything and say why it works or why it doesn't work, but the end of the day, Just try it, see if it works. Um, I think it's a really cool sound. I've done it in a bunch of tracks and been pretty happy with it. So, um, playing around with multiple swings can get you some really cool results. 8. Side Chaining: okay, in this next video, I want to talk about how the drums can actually influence some of the track. So once we've got some drums going like we do here, let's see if we can use that. Teoh, liven up some of the other elements in the track in particular, Uh, this pad that's happening here, right? Let's give it a little more life by using the drums case. So just reminder Here's where we're at. - Okay , So I want to take this pad, and I want to let the drums kind of mix into it. Now, if you've done any work in this area before, you might know what I'm getting at. Or you might have just looked at the title of this lecture and figure it out. But basically, we're talking about side chaining here. So what I want to do is set up a way for this drum pattern to shape this pad a little bit. Now, this is called side chaining. This is ah, in effect that we use often, uh, to kind of create some cohesion between all the different elements of a track, especially the drums. So here's I'm going to do first I really want to isolate a kick, and I don't want to change this too much, so I'm going to duplicate it, okay? And then I'm gonna get rid of all of this stuff and this there, and I'm just going to give myself a good four on the floor. Kind of beat. Okay, let's hear that. Nothing fancy. Uh, and in fact, we're not even gonna hear this. This is going to be invisible. Okay, so that's step one. Now, I'm gonna take a compressor. We can do this a few different ways, but I'm going to do it with the compressor. Um, I'm gonna put it on the pad. Okay. Now, in the compressor. Here's my compressor. I'm going to go here to this little toggle and click side chain. So once I turned that on, I say audio from So what do I want to listen to? I want to listen to this second drum track that I just made. This one which is called five Hilda Kit. So five hill ticket. That's what I'm listening for. Okay, Now I'm just gonna hit play and watch it for a second. Okay? I see what's happening here. This is where my threshold is. And depending on where I set that, that's going to increase the gain reduction. What I want to happen is every time this hits, I want there to be gained reduction. That'll pull away from the path. What about? Okay, So what's happening here is that basically the compressors job right now is to figure out when a kick hits at the same time as that pad is sounding. Choose which one is more important. And what I'm telling it with this side, Jame, is the kick is more important. So get out of the way of the kick. So it's reducing the gain every time that kick hits right now. Check it out. It works. Some believe that music don't need to hear that. But I want to hear this pulse, okay? And actually could go all the way back here and put this in there. So now that pulse is gonna happen all the way through this long intro as well. Okay, so this kick is muted. We're not gonna hear it right. It's off. But it's still gonna influence the side chain on this pad. Right? So it's a cool trick, Teoh really let the drums influence more of the track, creates this cohesiveness that really ties things together. Let's hear what we've done. Yeah, Okay, great. Now. Well, I was listening to at that time, I thought of one other thing I wanted to try, which is to take this bass note just really having a percussive sound to it. Let's flipping Hub inactive because you see how here we barely hear this. But when this bass note goes up here, we really feel that quarter note. And then when it goes back down, we don't really feel it. So I wanted to go up so that we really do feel it. So let's start it right here and see if we really feel this almost too much. What if I took it down to a G? Don't leave it up there. Kind of like it up there. Okay, But that brings me to our next point, which is Let's just play around a little bit. Let's see what else we can do with our drums to give him a little more life. So let's experiment with some effects and other things in the next video 9. Experiment: Okay, so now let's just play around with it's a little bit. So the first thing that comes to mind is I want to try to do something Teoh, this snare drum that happens here every other time. So let me show you. No, actually, not every other time every fourth time, Like as it is here. So basically this snare hit, I want to do something to it. I wanted to have, like, a big reverb or something, because here's what I'm imagining, E. I really want this one to have this long like sound to it. So how would I put effects on just that? Snare it. It's tricky. Um, because it's I can't easily isolate just this one snare head with the big effect like that . I could We looked at ways of doing that in the previous class where we could automate something to turn on right there. But I wanted to last, like, a long time and not circle back to happen again here when the loop returns. So the easiest way to do this, it's gonna be due simply duplicate this track, okay? And then get rid of everything but that, and then go to my original track and get rid of that. Okay, so now if I get rid of all of these and just duplicate thes out this should sound exactly the same except to sneer is now down here that last near. And it's not up here, so it should sound the same. And it does. But this is totally isolated. So now I could do some fun stuff to it. Right? Uh, let's take, for example, I really want, like, a crazy reverb. I just throw something huge on it stadium. And I might even do some kind of big, gnarly delay on it. Let's just hear this alone. That's kind of cool. Okay, So just by doing that, I've made this really crazy sound. Okay? I like that, but I've completely lost the snare. If we hear it now, we're not gonna get that snare hit. We're gonna get that crazy sound like, let's hear both of these, right? So what I actually want to do is go put this snare back in here, okay? Because now we'll have the actual snare hit up here and the effect down here. Okay? Now, I've got another problem, which is that this is creating a weird timing thing. Soon this river is adding this kind of stutter to it. Um, I think it's probably mostly here. - Okay , Okay, cool. I got it. So now I need to root duplicate these to replace that case. And I've got this cool effect on the last beat. Let's hear it in context of everything. The other thing I could do. Another idea that comes in mind and we're just playing around with us now is I could start doing some simple e que things to the other beat. Let's go to Q eight and let's just throw in a queue on here Now what I could do as I could just kind of move this around like, Let's just listen, Teoh. Well, let's leave everything playing, but let's listen. - Okay , So what I found was a sound that I really liked was having this move really kind of up and down in this area. Relatively consistently, not very random, which tells me I don't need filter. I need an auto filter. That's exactly what an auto filter does. So let's do this. I want it right about there and let's find the right. Let's hear what we're doing. The timing is right with having two bars. So this is just moving that filter up, down like you were before. But doing it basically that down there. OK, there we go. That's pretty good. Now that filters opening and closing in on in town. That's what an auto not like. Okay, so auto filter. So play around with some effects, many effects audio effects, all those things and just experiment. See what is inside that beat to make it fit. 10. Just For Fun: Okay, so just for fun, let's put some other beats on this track and see what happens. So what I want you to do here is see how the different beats make the track that we have. As simple as it is, how these other beats make it feel different. Um, because the beat has a lot to do with the feel, you know. Um, okay, so I'm gonna mute are swing beat. I'm gonna mute our main beats. Ah, commuters are affected. Snare will keep the side chain going here. What? It's already muted, but it'll still be going. Okay, so now we shouldn't be able to hear any beats, right? Just our base. So let's try and throwing. Let's try this. See how this feels. This doesn't feel right. You know what I mean? It feels a little too aggressive, too hoppy. We have this really kind of chill thing here, and we can have a big, aggressive beat, and it can still work against something that's chill, but this is just too bouncy. It just doesn't feel like it fits. So bye bye to you. Let's try another one. This one's like almost like a drum solo on top of it, but I actually kind of like it. Um, this is very much like, kind of like a D j D j shadow kind of thing. Like if this was distorted a little bit and we used it for part of a buildup, like, check this out. Let's put let's put this right there. I'm just gonna try something. This wasn't planned Going off script here. Um, let's go, Teoh, Like, even erosion may be just looking for, like, uh, really kind of simple distortion. Try saturate. Er Okay, let me just hear this. Okay, Pretty good. Now, if I used that as an intro like watch, this game's gonna let that ramp in to the rest of our beat someone turn this back out for a minute on this back for a minute. See what you think thing. It's weird. It's super weird, but I kind of like it. I just really kind of dig that sound, so I'm gonna leave it in. Well, you like it or not, But we'll take it out just for the moment, because we're going to try out another beat. Let's try this one, right? It's not bad. It works Okay. Um, I think it's a little sparse. Ah, and a little to Michael Jackson for this kind of a vibe. But it's not bad we could make that work. Actually, um, it fits pretty well, but let's get rid of it. Okay, last one. To me, this one works really well. This has the right kind of energy that this track feels like it needs. It's really kind of pushing along. Its got a lot of things happening in it, but at the same time, it's not too busy. It's like the drum solo one. Um, I kind of dig it. Let's tried just for the fun of it, keeping our swing beat muted. Let's unm ute the main beat we have before and use this one instead of the swing beat. Let's pull this back into Okay, what if I kind of cool? This'd what I'm hearing. I like so a lot of different ideas happening here now, but kind of like it. We've got something almost bordering on too messy here with too many beats happening, but I think it's under control, and I think it's kind of a cool vibe so we can stack a lot of stuff together. We could work on a lot of individual things all to help create a good vibe for this the rest of the track. So keep that all in mind, but don't be afraid to experiment. 11. The Basics Of Hip Hop: Okay, let's look at another genre here, and I think now we'll look at hip hop. This is one that I've been kind of avoiding because it can go hundreds of different ways. There's a lot of different ways of hip hop. Beat can go, so to extract it down to its basic elements is pretty tricky for me to dio. However, um, I think I have figured it out. So the thing about most hip hop beats is that they're really straight. Um so no swing, No, nothing like that. No, nothing like that. That wasn't very good. English, uh, nothing like that. And they're relatively simple. So we don't have, like, crazy high hats going like we had in trap or anything like that. So we want toe keep out of the way of the vocalist, who's also doing really rhythmic stuff, right? So we don't want to beat to be too complicated or the drums I should say to be too complicated. So uhm, I'm going to kind of pick a random one, um, a random kind of a hip hop beat and we'll build that. So let's go to a 909 drum kit. Um just cause that there's a lot of trouble hits you could use. But this is a mighty fine one. So let's go back to our basic beat. So stairs on two and four in our high hat, it's too. Eighth notes. Okay, so here's our basic beat. So now that's not a great hip hop beat. Um, so let's craft this a little bit. We do want our kicks and snares right about where they are, however, want to add a few more kicks. Let's put one here on the end of four. Let's put one year on the end and the of four. Sorry, this was the up of for the last 16. Note. Here's the last 16th note on There's the end of three. Sorry, when I said and a foreman and of one, let me try that again. So we have kicks on one the, uh of one three in the end and the of three. And that'll do it. Is that a little rim click right here in here, Just for fun. Got her snares on two and four and let's liven up our high hat a little bit with this kind of a pattern, so with the pattern of got that, That that that that that that that that that that that duct at that kind of a field. So to what we've got now, I think I might like that better. A little slower tempo. It's a head in a clap. Maybe it's at an open, high hat, right to fill in this hole. Okay, that's not bad. What we really care about is actually the basic beat. You know, if we go back to real the basics, that's our riel lamppost. Here is the basic stuff, you know. We've got our kick in our stare kick on one and three and are snare on two and four. We can play around with more things around that. But hip hop is really based on having that snare on two and four and the kick on one and three. There's more we can do with it. But as long as we have that and then we subtly add some more things around here like, let's add another kick here and here, right, it's still gonna feel pretty good, right? So as long as we have kick and the snare going in the fashion of our basic beat something in the hi hats. Not too complicated, relatively simple. Then we can play around with extra kick, uh, hits, and that's pretty much it. There's not a lot else happening. Remember, we want the hip hop beat to be relatively simple. Stays out of the way of the rapper. Okay, so let's play with this a little more by looking at some examples. 12. Analysis: Nothing But A G Thang: Okay, so, uh, let's start with Dr Dre. Snoop Doggy Dog. Nothing but a G thing. Classic classic hip hop. Um, let's hear just the first few bars of it, and then we'll pick apart the beat. 123 and four Snoop doggy Dog and Dr Drinking that dough ready to make an entrance. So back on Because, you know, what about rips? Give me. Okay. So, like I said before, uh, super basic beat, nothing really complicated. But let's pick it apart and see what we can do. Let's get rid of what we have here. Maybe keep our kicks, save us a minute here. So let's see how we're learning up there. No one there. I want to bring it to snoop doggy dog conductor drinking that I needed to make an entrance . So back on your grip should give my microphone. Okay, let's go with there's no really a grim click over them, But I don t dog conductor drinking that dough ready to make a veteran. So I go give me one. Bringing that, making it so back grips. Give me. Okay. So what we have here? We have them. They're doing a little bit different things that I said because their B It's kind of working at halftime. So we have kick, snare, kick, snare, kick, snare, kick, snare, just like what we had. But it looks like it's going twice as fast because they're doing one and then and then two and three and four. And so instead of it being one, the kick on one and three and the stair in two and four, they're doing the kick out 1234 in the snare on the And so it's still the same pacing. It's just, uh, faster, and the reason it's faster is because our tempo is so bloody slow. We're going really, really slow here, 47 so I could double that. Put it at 80 whatever that is. 94. Protect 94 double everything, and then it would look the way we expected to look right. But let's just leave it the way it is. For now, Um, and let's listen for any other elements in here. You are Snoop Doggy Dog and Dr drinking that dough, ready to make a name for here, every act, but given a microphone, it's pretty good, except I'm really not convinced by the snare or that rim. Okay, so what do we do? And we just don't like a sample. We go look at our sampler. We find our room up. Okay, Let's see if I have a better rim sample. That came. I swapped it out for right. There is just fine. I'm just gonna drag that right down under the rim. Now I'm going to go back and let's hear it now. Much better. Ok? Do we think this high head is right? Bring the dog back to drink. Is that making it? But there is something which would be 16th notes at this tempo. Um, it's more of a shaker, though. We don't really have a shaker. Let's try. Try a ride. Cymbal. It was quiet that down. Like all of them. Lower those philosophies. So it's pretty subtle in there. Not bad. 1234 Snoop doggy dog conductor drinking that. Go into making a have a go about grips. Give me that mic right here. They have an open I closed Snoop doggy dog back to drinking that made it by making their that so back bad. Okay, so we need better samples to completely replicate this. Um, but we have all the right notes in all the right places, right? So we really need a shaker to replace that ride. A better kick. That sounds a little bit more like There's, um but everything. All the notes. We have worked pretty well. So a good way to replicate this beat. Let's look at another one. 13. Analysis: Loose Yourself: Okay. Next, let's dio lose yourself, Eminem. Kind of a similar family of stuff, I guess. Um let's just hear the part where the beat comes in so that it doesn't come in until appear . It's actually just a lot of kicks toe lead up into the seventies, but on the surface he looks calm and ready to drop bombs, but keeps on forgetting what he wrote. And then we get to hear the full booth reality. There goes gravity that goes so man. But he won't give up that easy people back cities. Okay, let's do that part. So just think what we've got. For starters, um, let's get rid of just about everything except the kick see before in the ballpark. With this kick reality, there goes gravity. Oops, we're not quite one here. So where are we? 13 are 14. Let's just make this the one Oops can and let's go all the way back to the top. Throw this out here. That's our old beat. Okay, so the same sections back here reality and we're still not quite on the one. That's why there's of the one bronc. Let's just do this one there. Reality. I said to get that set up right now we're back to reality. Oh, there goes, gravity goes. There's a lot of kicks here, right? Let's see if we can find him back to reality. Oh, there goes, gravity goes bad back cities don't. Yes. So the patterns actually the same pattern that we had in the original beat that we created . Ah, a couple of videos ago when we're talking about hip hop. But the pattern we made for the hi hats that's what he's gotten The kick. What? Bump? Bump, bump, bump, bump, bump, bump. Bomb starts over, Uh, such as your ours. Here. Oops. Right. Okay, so now let's find his snares. Reality goes, there goes so man But he won't give up bad, easy back cities don't. There goes, gravity goes Okay, So in order to get that Phil, we're looking at a one bar loops here, so we need a four bar loops. Yeah, let's duplicate this. Sure lines up. Okay. Reality there goes, gravity goes. He won't give up that easy back cities don't reality. We just need that right there. That's probably it. We could probably do it with two parts, which is what we've got. Okay, So let's look at this first bar again. And let's think about our any other elements. High hats, reality I hear hit high hats here, especially on these off beads, but I think they're everywhere. But these ones are a tad quieter than those ones. Do that all the way through reality. There goes gravity. There goes salmon So man, But he won't give up that easy It's back to reality Oh, there goes gravity, There goes salmon so man, but he won't give up bad, easy people back cities reality. Okay, let's mix in our beat and see what happens. That reality goes reality. I try to switch these and take all my snares. Yeah, way don't have a great snare sound to replicate this acoustic sounding saying that he's got to try that. Not bad. So, like I said before, really quite simple, it's really just a matter of where we're gonna put the kicks. But nothing complex. Nothing. Think nothing dense, Um, but really solid. No swing to it. No, off the grid stuff. Um, right on the lines. Right. So we don't want to do any of this like weird. Slightly off the beaten things because we want this to be right, uh, on on the grid in the pocket, as they say in jazz, sometimes making really, really solid group. Okay, um, let's look at one more. 14. Analysis: Skeleton Key: Okay, let's do a slightly more complicated one here. Um, this is a tune by Desa. She's ah, great artist. Um, from right here in Minneapolis and fantastic, you should check out music track called Skeleton Key. Let's hear just a bit of it. And then we'll try to figure out this way. Still worried on me. Always fun. It's just okay, so you might think this sounds like a pop song, and it kind of does sound like a pop song, but it's a hip hop beat, and it's a really a hip hop artist. I mean, she was a rapper singer songwriter, kind of everything. Um, so to me, this falls into hip hop. Let's look at this beat, make a new track. We're gonna need some. We're kind of real drums here. Um, so let's load a drum track that get this out of here. Trump hits on a drum rack. That's what kind of acoustic. Uh, we'll use that. Okay, so let's look at what we've got. Let's focus in on one measure. Still worried, Still worried. Okay, let's take everything out. Leave those kicks so usual suspects, right? Let's focus in on the fix thing thing, except this one's really quiet. Still worried, still worried, Still worried. Still still worried. Still worried, Um, from bomb. From sure that I think that's what we've got here. Okay, way playing together. So let's not do that. Um, okay, lets writhe Eminem track. Still playing at same time. Brilliant. Awesome. So now that that's happening, um, let's find our stairs. Still worried, Worried, worried, worried, worried, worried, worried. Still worried. Still. Okay, read about what I'd expect. Um, what else do we hear in this? What about high hat? I think I hear closed high hats. Just doing eight notes. Pretty quiet, really kind of buried in there. So let's take him way down on. Obviously, there's a Cymbal crash right away. I have a crash. I think I have a crash, so let's just leave that crash out. That's just a crash that happens that way. - Okay , What I like about this one is that it's got these kind of ghost notes. We've talked about ghost notes already. It's got these kind of ghost notes in the kick worth data data, and these ones were really quiet. I would even pull it down lower. Um, so they're barely there. - Pretty cool. So much more interesting track here, but still same basic principles. Right? The stairs. Right where we expect it. The kick is still kind of want to three and four. Eso. Everything's predictable. It's just adding a little bit around. They're still really solid. Um really locked into the grid. Nothing too funny. OK, but to talk about some new stuff now. 15. The Breath: okay in this section, I want to talk about transitions now. We've looked at transitions a little bit in the second class in the Siri's, but I want to go a little bit deeper and talk about some tricks to make some good transitions, specifically using the drumbeat. So I pulled up a track here. This is, Ah, disarm. You buy Cascade, and I want to look at just this one section here. There's this kind of long transition here. There's actually a few transitions in this track that make it really interesting for us to look at. So let's listen to just this transition section transition section. That's tricky to say. Ah yeah, let's look at it. Okay, so primarily snare drum here. He did sort of the trick that we looked at before where the the main sound that were using in this case a snare drum started going faster and faster and faster. Except in this case, it wasn't doing the doubling and then doubling again and then doubling again, right? It was doing just kind of a weird little snare, Theo. And then key to it is right at the end. There's a little bit of Ah, little hop there, Right? So it doesn't do that. 16th notes near thing all the way through. And then the drumbeat, the main beat drops right. There's a little bit of a thing at the end of the snare before the main beat drops. So it goes. Ticket ticket, ticket, ticket, ticket, ticket, ticket, ticket, ticket, ticket, ticket to give. Indicated that Dome. And then the beat drops. Right? There's that little Dunton done. That's important. Listen to overtime, Theo. Right? So those two little notes there are important because what that's gonna do is it's gonna help. All that snare drum leading up to that was this big build. And then we're gonna pull away and just do these two little notes and it's gonna drop us right into the beat. So, um, I'm sure there's some complicated psychological reason that that's important in that works . I don't know psychology enough to tell you exactly why that is, but I can tell you musically it works. So we don't want to ram that fast snare drum all the way up till the end. In fact, we could just do it. Let's do it, hold up. Okay, so it's dinnertime. Still going here? I'm just gonna try toe, get rid of that little to beat thing and put this in and see if we can see what that feels like without that. Extra little to A for nothing. Okay, Not very not very useful there. Let's try grabbing a bigger chunk from over here. Okay? The loop here's a little weird, so it doesn't work perfectly, But what I'm trying to do here is point out that if we don't have that little hop there and ah, those fast snare drum runs just plough straight into the beep. It doesn't sound as good. Okay. Okay, so that's important, right? Um, whenever you're making a transition with the drums, try to give a breath. That's the way to think about it. Right? So we're going ramp up, ramp up, ramp up, ramp up. Here we go. We're ramping up and boom. And then we hit. Right. Um, so think of it as this big breath so that you can take a big breath and on the beat drops. Um, that will help you make really impactful. Ah. Drops when you want that drop toe happen. Always put a breath in there. So super important. Concept, breath. Let's talk about another important concept, which is the concept of subtracting 16. Subtract Before You Add: Okay. Concept number two to make killer transitions with the drums that is, subtract before you add. Okay, um, let's say we've got this kind of a beat going, Theo. Okay, so let's say we wanted to make a big transition here. We've got nowhere to go. Really? Right. Because our beat is in. Our drums are in full tilt right there. Cooking. Um, And if we want them to go somewhere, we've gotta pull him back before we can push it forward again, because we don't have any room on the top left, right. So here's an example. You can see what he does in this track right here. Like there's another thing that happens here. But in order to make this really powerful, he's got to scale it back here, right? He's gotta pull the beat out if he wants it to really drop back in. So we go here way. Think this is? Look at what we've got right here. You can just see it in the way for him. What he's doing here. He's building, building, building, and then here, pulling back, quick build, pulling all the way back. And here's like another one of those breaths, right? Pulling everything out and then dropping it nice and big. Let's hear that. Right. So here, he pulled back before the breath. Um, I should mention this idea of the breath. This is just like my term. This is not like a known term. So if you go around other people and say, Oh, you gotta put the breath in there no one's gonna know what you're talking about, but I think it's a great term that works perfectly to describe what that thing is. So here we're pulling out. Um, we're pulling back before we add more. So we're pulling out here, and then we're doing the full breath here, and then we're in, and we've got lots of energy, So don't forget about this idea. You gotta subtract before you add. Okay, So with those two concepts, let's try to make a big transition, right? Let's just make something and see if we could have give it this kind of a transition 17. Transition Example: Okay, So here's I'm going to do to make something first time getting you this track because I don't want to hear that for now. On I put a drum kit down here. I put this a crucified kit. 12. Thank you. Know it's whatever. Um, so I'll just go right here. I'm gonna kind of use that other track. Justo, as kind of an outline to see where stuff starts. So let's make a new movie clip and let's make it for bars. Okay. Uh, no, it's now what I want to do first is I'm gonna make the drop. I'm gonna make our Sorry not the drop, but I'm gonna make the beat right the full on thing. So let's just make something with a lot of energy here. Um, did it? I'm not even thinking of any genre here. I'm just thinking, Let's just do two bars, actually, to do that in that. Okay, let's do sneers. Two and four. Let's put another chick there. Actually that Make it feel kind of weird. Um, that's cool. And put this from click around a couple of spots. I'm just kind of eyeball in some stuff here. Uh, let's do a clap to back up our sneer and let's do some high hats. Let's do high hats on the off beats. Okay, so let's loop this, Okay? Don't love it, but the double up that high hat okay , let's not make this more complicated than it needs to be. So let's just say that this is our beat. For now, I'd like to get more energy into this, but I I don't want to mess around with it too much. We really need, like, more since, and bases and everything to really give it the full weight of this kind of energy. Okay, but it's fine for now. Okay, so now let's deal with this drop thing. So what I want to do is first, I'm gonna copy this and put it over here, okay? And then I'm just going Teoh it's gonna line it up. And now I'm gonna do a little bit of subtraction, right? So let's take out all of these hats. I'm just kind of taking a guess here. And on this last be I want the breath. Right. So I'm gonna take out everything. Oops. I've got a long loop here. Let's make this a four bar loop and let's put everything okay, so I want to do that. And then on this last beat, I want everything out. OK, so there's my breath. Everything's out here and now here. I'm gonna try to do a little bit more subtraction. Let's take out well, let's do what he did here. Let's take out our kicks and let's take out he's rim clicks. Let's add that snare back in here. Okay? So now we're just gonna have this snare going, and then it's going to stop on this last B, but we're not really gonna hear that, right? So what else can we do to really make it feel like something's missing here? Because right now, nothing's really missing here, right on this last little breath, because the snare just doesn't hit there. So let's go back to our high hats and see if we could do something a little simpler and keep that out. This is going to give us the same affects that we just had. We could do that. So now we're missing something here that will help. We could ramp up a little bit in this last part with the clap We've got a quick ramp up here, So debt, debt, debt, debt, debt. And that stops. So it's a slight ramp up there. Let's hear what we've got. Okay? I started to feel it right around here. I think we could start ramping that clap up like that, and then we've got the breath here, Okay? And it works. It's really hard to do this without any other musical stuff, but from the beat perspective, I think we're making it happen. So we've got this really simplified beat here, ramping up. I don't like this one. I really want this. Ah. Added stuff to start happening on the downbeat of a measure here. It was happening. It was starting right at the end of the measure on beat four, right? Just feels a little weird. So let's put it over on to beat one of the third bar, right? Not bad. Could also put this near on everything. Give it a little more, uh, more power, right? No. Bad. Um, I think that that kind of could work for a transition if we had a whole tune going here. I think this transition would help us because we've got the subtraction here, right? And then we got the breath here. We build up to that breath and we pull everything away. Big subtraction. And then we come back in with the full beat. Cool. So that's the basic principle behind, uh, doing one of these transitions when you're with the beat, what you need to be doing with the drums of this transition. Now let's look at one other thing, and that's fills and breaks. 18. Fills: Okay, so let's talk about Phil's. Because this is an important concept that I don't think we really talked about yet. It all on it kind of falls into the idea of transitions. So what I have here is the same beat that we just were using. But I've set it up in a four bar pattern. Okay, So Okay, so it's four bars. Um, it's two times through this loop. Uh, so let's say we did this twice, and at the end of the second time, we wanted to something just toe push it along. Right? And it doesn't need to be big thing about Phil's and electronic music, especially They could be really, really subtle. Okay, so let's say something major happens right here. Okay. Uh, it's a major change, but our beats going to keep going. Okay, so right here, we need something to help us into this major change. So what I'm gonna do is I'm gonna go in here. I'm just gonna add a little fill, some kind, and it doesn't need to be big. It could be a simple as that. Add one more snare hit, right? Um, in fact, but I did it at the wrong spot. What I actually need to do, because I have to bar loop here. I'm just going to duplicate this like that so that I can that I'm only doing it in the last one. Okay, so let's get rid of that kick. Double up. That's near. Let's just see if that does it. Okay, so here we go. So we're in our tunes cartoons moving along, Sounding grade. Feeling great change. Right? That's it. That was the Phil. Just that. Not nothing, major. Really simple. Um, I almost feel like it could go here. Here, maybe. Here. Let's do that. We just doubled it up. Let's hear just that last cycle through. Right. Um, maybe we leave off that last one. Okay. Really simple. Um, when you do something to transition between sections of a song where you're not gonna pull the beat out, you're not gonna pull the drums out. You're just gonna add a little something toe, push you into the next section of the song. Keep it subtle. It doesn't need to be anything real big. You know, we could even do this watch. Ah, let's go. Here. Let's take this out. Go back to where we were, which I think was that Okay, Uh, something even more subtle. Uh, what we got here, Um how about this? Open, high hat. Uh, let's just hit that there. One note. Except we didn't hear it all. Why did you hear that? But there, Okay, it's gotta choke on it against this other high hat. So it's closed. This do that, right? That's all we needed. We just pulled out those high hats, added an open high hat That could be enough to send you into the next section of a song. So keep that in mind when your programming your drums, uh, use the fill to get you from one section of a tune to another section of the tune. But don't make it a real complicated fill. Something really, really simple goes a long way 19. Basics Of Footwork: okay. I thought what we look at next is footwork. Footwork is kind of a newer genres newer to me. Um, I only learned about it a year or two ago because one of our slam students super into it, making some really great music using it. Um, but I think it's, I think, comes out of Chicago. Um, it has a lot to do with a particular kind of dance that looks a little bit like break dancing, but without the spins and stuff. More or less Really elaborate. Ah, footwork, I guess. Which is where the name comes from. So the cool thing about footwork is that has this this fund Syncopation. Now, I've used this word before Syncopation. But what? What we're really talking about here is this feeling of going in three for just a minute. Um, but it happens all over the place. So if this is our tempo, right, so this is 1/4 note. The Syncopation is gonna be like this bop, bop, bop, bop, bop, bop, bop. So there's gonna be notes in between notes that feel like the main beat. But it's a little It's a little weird. So let's look at how this this plays out. I'm going to use probably 99. You seven or seven. Okay, so let's add that here. And let's make a bar, maybe a few bars. Let's make two bars. Uh, and let's dive in. Okay, So first thing we're gonna have here is gonna zoom out a little bit. I don't need to look at 100 28th notes. Let's look at 16th notes, shall we? Okay. And now we consume back in a little bit. Oops. Um, Zune way in. Up here. It's I thought things looked funny for a second there. That's what I was looking for. Okay, so first thing we're gonna do is deal with this Syncopation. So what, this is gonna be as it's gonna look like this. Okay, so this is kind of our main rhythm that happens here and again, just like all of genres. There's a 1,000,000 different ways to do this style of music. But, um, what I want to do is kind of talk about the most typical kind of one of the main things. At least I hear in footwork. So here's where the Syncopation comes in because if you look There's a pattern of three here where we have 123123 Want hoops? 12312312 Right. So this feeling of three, um, makes it this this kind of fun feeling, so it's gonna be like, but bom bom bump, bump, bump, bump. That's what it's gonna feel like. So it starts off with that. So and then we're gonna repeat that again. So starts over here. Feeling of 312312312 one. We're just gonna kind of do that all the way across. So it lines up every other bar, right? Okay. We're gonna do a clap or a snare on four, but not on to Onley on four. Okay, then we're gonna do some different percussion. That's gonna happen. Kind of every 16th note. There's a lot of kind of crazy high hats going here. Um, you could use rim clicks. You could use kind of anything for this, but, um, it's a lot like trapped in this way, so I'm gonna just the's high hats a little just to give him a little bit of character. I kind of randomly turn some of them down. Not really thinking too hard about what I'm doing here. Okay? Give him a little bit different flavor. I'm just gonna duplicate that. Kept. And then I want something else. Let's use a rim click on the off beats. It's gonna be too much a little more subtle to try that on the off beat there. And the off there. Same thing on the next bar. Okay, so let's hear. We've got Oh, and the other thing. Ah, this is really kind of cooking stuff. So this is like one about 1 60 bpm is where we want to be. Yeah, that's some fun stuff. Let's loop that. Okay, Now, one thing is just like before, we're not getting our open high hat, because these are the choke setting is on here. Which means only the high hat, open or closed can happen at a given time. So I'm gonna get rid of the clothes. I half there we go. See, this is why this stuff is great. It's a super dope beat. Um, super fast. It's got that weird Syncopation happening. See, this makes you want to dance like do crazy things with your feet. That's the whole intention. Cool. So that's the basics of footwork. Let's pick apart some tracks and see if we can find some fun stuff. 20. Analysis: Boylan: Okay, so I have a track here by the artist Boland called High Life. Um, let's just listen to a little bit of it. Eso Let's try to pick this one apart and see how it's different. Um, oops. Let's do this just to loop that, okay? And then let's use let's just duplicate this track and then move it up here. Here we go. Okay. So I'm gonna work here to work to replicate this track. Okay, so let's start with let's get rid of Let's get rid of everything except those kicks. Think those kicks are probably pretty similar. Okay, so I've got able to in planning at a different tempo here than here. Um, because I don't have this warped tricky that that Syncopation thing where we're feeling that those three note things that really confuses able to in with its warping it can't quite get this right. No matter what I do here. So I'm just gonna deal with it. So here we have. So let's listen for the kick here. Themes that same rhythm, right? Bump, bump, bump, bump, bump, bump, bump. So that's what I have here kept. Okay, let's find the sneer here. Okay, so it's on three. So it's so this. He has extra one here somewhere. Let's hear. Over time, it's go. Go. Snowden there. It's hard. That's tricky to find. Let's hear it one more time. - Get . I think it's basically this. Okay, so just a couple added sneers at the end there. Let's see what other elements are in here. Things got this high hat. That's really kind of laid back for the rest of the energy. Um, I'm hearing this with these ones louder than these ones, right? So I'm hearing t. So let's try. That's your ours. Maybe I took these ones down a little too far. Yeah, not bad. Okay, good. So, um yeah, weird Syncopation. Tough to figure out. You know, um, let's look at another track. 21. Analysis: DJ Slugo: Okay, let's do another footwork analysis. One last one, this is D J. Slow go. This is a track called 114799 Very interesting title on that. Seems to me like maybe it's a date somehow. Um Anyway, uh, this there's actually kind of two parts to this that are really interesting. So let's hear just the beginning part, Okay? And then, actually, what's really cool? So if you go up here, they use kind of the same type of stuff, but they go to just like a straight up for on the floor right here, Actually, let's go back to syllabus. You can hear how they get into the Oh, that's really cool. How it goes from this dotted rhythm thing that we've been talking about a lot with footwork and then just goes to that four on the floor. It's like a really fun resolution to that weird Syncopation. Um, anyway, cool trick. So, uh, let's pick this drum pattern apart. So let's loop. Just this first bar. No, there's something really interesting happening here. Let's listen for a kick. It's really just there. Um, we still have this dotted rhythm happening, but it's being divided between a couple different Tom's. So if I go to a low Tom, Okay, something uses to low Tom's sending ago. Uh, let me get over to 16th notes. Okay. So I'm gonna go kick 12 and then low. Tom, where'd you go? I want this one first, and then there's kind of a missing kick here, and then we get the same thing again, but it's coming in the lower one. So we still get basically this thistles, the dotted rhythm that we've been hearing. The only thing that's different here. We're leaving off that one. And the are up in this. We're gonna put in a Tom on this. We're gonna put in a slightly lower town. So that's just here the track for a second. Listen for these, Tom. Theo, you hear that? And then we have our snare here, Um, which we actually have more of a clap. Let's do a clapped there, Okay? And these times are perfect. Those aren't the perfect sound, but, um, they'll do well for just our little 909 kick that we're using our 909 kit that we're using here. Okay, now, let's deal with some of these high hats. So hi. Hats are chugging along at 16th notes. I think so. Yep. That's right. But let's chill them out a little bit. So I want to kind of randomized the So what I'm gonna do is I'm gonna lower the velocities . I'm just gonna do in one by one. And we're not gonna pay too close of attention just so that I get a nice center randomized , but all around quieter, um, velocity on these. And then I might just him if it puts the accent in a weird spot or something like that. Almost done. Okay, let's hear that. That's here. Just ours. Okay, Pretty good. I still didn't love those toms, but they will do. Um, actually, here's another kick. Let's try this. Let's take these down to their in these down to their It's for that. Not quiet. Least needed a little more toned to him. Okay, so just for our purposes now, we'll use those times. Um, okay, and there's there's I think there's one other kind of really goofy thing that happens in the kick and first couple bars here, so let's just hear a little bit longer groups of the actual track. Yeah, it's I There's something right here. There's this problem and I don't think you can hear it this time. I think the warping is kind of chopping it out. Let's see if I can. It's hard to hear, but what's actually there is here. I'm gonna need to go to 32nd notes. I think it's that. Then I'm done. So I think it's that. So what I'm gonna do is I'm gonna combine these two clips together now. We just copied him. So Command J enable 10. And now I can actually loop these, um, and drag him out. Cool. Now, if we wanted to go all the way out here to where that four on the floor happens, let's hear, Let's hear just what happens. This should be really easy. Okay, let's go down to just one far again, because this is easier. Okay, let's a little bit so that way. Okay, so all we really need here is literally four on the floor. Let's go back to 16th spiel, but easier floor. Um, we don't need these extra Tom's. And where are sneers on two and four. Right where we'd expect them snare and sneer. So should this be this figures stars What other snares we have? Yeah, that's double up on the clap kind of old school techno there, but it's cool feeling when it goes from that syncopated rhythm into that four on the floor for your time. It's a cool feeling. I like it anyway. Okay, go. Do you just let go? Um, let's move on and talk about some working with pitch in the drums, not unlike what we did over here. How we have high and low Tom's. Let's talk a little bit more about how to deal with some pitch elements in our drums. 22. Tuning Kick Drums: okay. In this section, I want to talk a little bit about, uh, some sound design stuff. Now, the sound design for our drums is ah, whole huge topic. And I want to save the bulk of that for a later class. That would be something that, um we could devote a whole class or three to dealing with. But there are some kind of crucial things that I want to talk about. Just kind of in general for the next couple videos. So let's talk about tuning a kick drum. So I've loaded here. Um, just kind of a normal drum kit here and here. We have kick with a tone, the tone. Is that what I'm concerned about? Actually, I really kind of just want a normal kick. So let's do not that one, but something a little more. There we go. Okay. And I'm just gonna put in, like, our basic beat here. Okay? So let's do kick. Big, dumpy kick. I actually don't want that. They're there, there, there, and let's do a high hat closed. I don't That's better. There, There, there. So just the basics so that we can focus in here, not some stuff. Okay, that's loop that solo. It okay? Nothing fancy. Write real simple. Okay, So what I want to talk about is some of the sounds here, particularly this kick. So I'm gonna look in at the actual sample here, So here it is. Okay, so this is my sample. Ah, we can tune it a little bit. So we have frequency here now. Whatever program you're using, you'll have frequencies somewhere in your in your sampler. Um, so let me see here. Let's go here. And actually, just so that we can simplify this. Let's get rid of those. Let's loop it. Let's go back. Okay, so let's play with frequency a little bit. So if we want to adjust the frequency, this is actually a filter are actual frequency. Is this transposition here? Okay, So notice that when I do it when I adjust, the transposition doesn't necessarily feel like we're the kick is going up and down, right? It's really changing. The tone doesn't feel like this is a higher pitch right, or this is a lower pitch, but it's altering the tone quite a bit. Let's look at the other one. So we're actually hearing two kicks here. Okay, Not this one. We really are alternating Earl during the pitch until we get down here. Now, it's really just a tone issue. Okay, So what I really want to point out here is that when you're working with a kick and you're trying to get that perfect thump, think about transposition as a way to get you more in the ballpark of what you're looking for. It's not necessarily a higher or a lower parameter. Once you're working on these kinds of kicks like that's a pretty good thump. See, now it's a little bit brighter up here, So it's getting me a little bit crisper of a sound as I push it up right in this particular case. So keep an eye on the transposition and consider playing with it to get the tone that you want in your kick. It's not always going to sound silly, like this one does. When we do it, it starts to sound a little bit comical as we move it up and down. But depending on how your kick is set up, it might really just adjust the tone enough to help you get just the right kick sound that you're looking for. So keep that in month 23. Melodic Percussion: okay. Lets play around with some melodic percussion that we haven't talked too much about this. Typically, like in the orchestra world, when we talk about melodic percussion and we're talking about xylophones and marimbas and stuff, and that's not really what we're talking about here. What we're talking about is how to make a kind of a nice sound out of some of our Tom's and things like that. So let's see what we've got here. Okay? We've got some weird stuff in here. Let's go here. Okay, let's say we want it to do something like this. Let's go back to seeing 16th notes here. Okay, uh, to get here. Okay. Something really simple. Get rid of those just to make it a little easier to read. Will do that. It'll sound the same. Okay, cool. Right. How can I give these a little more life? Let's make them pitched. Now. My pitch I don't mean figuring out that this is a C sharp, but this is a D. And this is any or anything like that I'm talking about is let's change the pitch of these a little bit, right? It could give him a little bit of life. So there's a couple different ways I could do this. The way I'm gonna do it is just with a pitch bend here. So when you use a mini pitch bend and just go like this So now the pitch is gonna go up and down right here. Let's make him go up and then up a bunch. Okay, So all I did was put in an envelope that's going to control the pitch of those higher notes of those collapse, I guess so. It's not like these are in a key anymore or anything like that, or ever were, because these are mostly noise. So you wouldn't call them a specific pitch. You couldn't say, Oh, that's a C sharp, but what we can do is give them a relative pitch, which means this one is gonna be higher than this one in pitch right. That's relative pitch, So doing that can give it some nice character without it clashing with any of the other pitched stuff that's happening in your track, like any of the sense or base or anything like that. So it's just a way to give a little extra life. Now there's a couple of ways you could deal with adding pitches, and using this pitch been is just one of them. But it's the easiest one. So the way I did it, if you're unable 10 is you open this up so that you can see your envelopes when you select the envelope you want, and then you destroy it in when you select the envelope here and it's quite simple. So consider doing that on some of your drum parts. It's a nice way just to add a little bit of flavor to it, especially on repeated notes. Give him a little alteration by working on that cool. Let's talk about base and kick clashes. 24. Mixing Bass And Kick Clashes: Okay. I want to go kind of backwards a little bit, because earlier we talked about, um, side chaining as a way to avoid when the kick and the base happened that same time. But there's another way, um, that I want to talk about here. So you make a new MIDI track. I'm gonna put a base on it. A bass synth, I should say. And I'm just gonna play some good low notes. There we go. Okay. Let's go to our drums out of this. Get rid of those. Okay, so now that kick and that base are happening at the same time, that's gonna clash a little bit. Here's why I watched this. Let's do this and this. Okay, so let's watch these three meters here. So this one is the kick drum. Oops. Let's look this. I turned that loop back out. Okay, here's the kick drum. Right way. See? It's going right up to where we want it, right at the top of the volume meter here. Right. It's got a good amount of signal that's great. Here, we've got the analog. It's a little quieter than that. Let's find it's got a good, solid signal It's even amount. Actually, let's turn this up a little bit and now they're about even good. Now let's look at our master. So what we have here is these two things, when added together, are causing a little a little bit of a problem. OK, when it turns red, that means too much given it too much signal. So what we have here is basically a plus. B equals C and C is too much volume. So that's why we were doing something like side chaining so that when the two things hit at the same time, they, uh, the computer can choose which one is more important and we can use it for a musical effect . But if you don't want to do that, there's another way around it. Um, we basically want to try to avoid big kick hits and big base hits at the same time when they're in the same frequency space that means is too much low frequencies all at once can cause problems. So watch this really easy solution. I take all my kicks, I'm gonna nudge, um, an infant testable amount to the right. Okay, Now they're just a hair off the grid, but my base isn't. My base is still right on the grid. That means those two things are not going to hit at the same time. And it's so small of a nudge you won't even here. Okay, so that's actually quite a bit better. We're still getting a little red here so we could mess around with sliding those over just a hair more. Um, but I think we're okay. I think I don't think we're actually clipping were not, uh, hitting the top. So were in an okay spot. That kind of a slight nudge to make sure you don't have a big clash between your kick and any bass sounds can really help your mix a lot. So if you're finding that you're mixing something and things are clashing and you're having , um, an issue where the drums, every time the kick hits you're clipping the sound is going too loud. If you're finding that that is happening, then go in and just nudge your kicks around jazz the hair away that you won't even here but makes them so they don't happen exactly at the same moment. It will help your mix a lot we'll talk more about mixing in a future class. Hopefully, I'm gonna do a whole big Siris of classes on mixing and mastering sometime soon, and we'll get more into this concept. But for now, just keep that in mind. It's a good way to avoid clashing. 25. Mixing Frequencies Of Drums: okay before I move on to our next genre did want to point out one thing, and that is related to the thing we just talked about. But that frequency space issue and getting a little muddy by having too much happening in the low end same thing can happen in the high end. It generally doesn't result in clipping, but remember that the frequency range of drums meeting like Where are its low notes? And where are its high notes? Um, is really all over the place. The drums happen. There's low stuff. There's high stuff, and there's stuff in the middle. Drums are evenly spread out through your mix, Really. I mean, the the most of the volume is in the low end, but there are sounds all over the place. Let me show an example. Let's take this beat. Let's put it down here. Sleep that and let's solo it. Okay, let's look at where our frequencies actually are. Um, I have a good way of doing that with the Spectrum analyzer here, so I'm gonna throw that there. I'm gonna open this up. Okay. So what is this showing us? This is showing us that there's a lot of stuff happening down here. There's a lot of energy here, but there's an equal amount of energy all the way up. You know, it's not as much volume, but there's a lot of activity up here. Right, man down. Talk over this. There's a lot of energy here, but a lot of activity all the way up to the top. Right? So, you know, we've got our high hats up here. We've got our stairs in here. We've got a kick down here, So when you're mixing, you have to watch out for the drums because they exist everywhere. It's not like the bass synth is down low, so that's where you focus it. And the vocals air in the middle and the lead guitar or whatever is in the top doesn't really work that way with drums. They're everywhere. So you've got to think about the different pieces of the drums and what they're going to clash with the hi hats going to clash with the lead guitar. So you gotta watch out for that. The snares gonna clash with the vocal. Maybe depending on where you're vocalist is, so you gotta watch out for that So just don't forget about when you're mixing drums. That drums happen all the way across the frequency range of the track. It's not just low stuff, it's not just high stuff. It's everywhere. So we have to think about that when we mix more on mixing soon. Trust me. Um, I promise more on mixing at some point, but for now, just keep that in mind as a tip for when you're mixing. Drums exist everywhere they are the full frequency range. Cool. Okay, let's move on and talk about another genre. 26. Analysis: Cissy Strut (The Meters): Okay, let's talk about some bunk. Um, now there's, like, all genres that we talked about my standard disclaimer. There's a 1,000,000 different ways to make funk beat, and we're gonna look at some really kind of classic funk, uh, rhythms. So these they go a lot of different ways, and they're actually quite complicated. There's some of the more complicated beats we're gonna look at. So because that we're gonna do this in a slightly different way have already made the beats for these tunes that we're gonna look at. Um and what I'm gonna do is kind of walk through what I did to make these and kind of the key points of them. And then at the end of this section, I'll give you this session has always funk beats in it. So you can play around with those and put whatever sounds you want on him, and, you know, um makes him your own stuff. So we're gonna start with this tune by the meters called Cissy Strut. You've probably heard this before, but, um, this is what it sounds like, right? You've heard this before? I think it was maybe in the movie Pulp Fiction uh, it's been around classic tune. So this is obviously an acoustic drummer, right? So there's there's a lot of feel in this. There's a lot of, um ah, there's not any real swing to it, but it's a little bit behind the beat. So in order to do it with electronic sounds, we have we have to kind of guess on a little bit, Um, but let's take a look at it s So here's what I came up with, right? So you could feel it's a little bit behind the beat. Um, And what I did is I just kind of nudged things off the grid a little bit to really kind of match it. I'm using different sounds. I just heard one thing kick right there. So it's It's really kind of free and all over, but basically we have. You know, our kick there are sneer is pretty much where we expect it to. And four, um, are high hats kind of have, Ah, weird accented pattern, but nothing too out of the blue. So if I wanted to Kwan ties and make it straight again good Kwan ties settings? Sure. I set that to 16th note cause that's what we're working with here and say, OK, now let's hear what we've done right? And that works. It's cool that against the original See, it's kind of all over the place, but, um, that's the basic beat. Now, if we want to get a little weird with it, uh, we adjust things slightly to give it that really kind of human field, like so it's really kind of behind beat. So that gives it that kind of feel. Um, but play around with that one. Both quantities and unq wanted and see what you think. Okay, let's go on to another one. 27. Analysis: Cold Sweat (James Brown): Okay, up next, little James Brown. So Ah, with this, we have classic drumming. Classic drummer Clyde Stubblefield, I believe is playing on this. If you don't know about him, look him up. He's played on a lot of these, uh, important tracks for us. Um, and kind of invented some of these amazing funk beats for us. Um, let's just hear it. You've probably heard this song before its turn off our loop so we can hear just a little bit more. And here we go. Okay, So this one, unlike Cissy Strut really straight. Ah, we don't need to worry about sliding things around on the grid at all. Um, we have a lot of snare going on here. There's a lot of ghost notes happening. There's a lot of subtlety happening. So if you just look at the MIDI clip right here, you know, there's there's a lot of notes happening, so let's just hear what I came up with. Well, let's hear that same time just for fun And let's turn on our loop. So we're hearing just these 1st 2 bars hoops. Let's go back to here. A lot of I used rim clicks for it, but I hear a lot of stuff, so let's just hear ours and let's look close at it. Oops, that's everything. Okay, so one cool thing here is we've got closed high hats and then we've got this open high hat with a kick on it. These two things together really common. Open, high hat with a kick. Almost never have an open high at without a kick. Really? So when it's aside, this is all those near clicks. We could move it up here, try this one for some reason. But there's a lot happening. There is a lot happening. The kick. So it's a complicated pattern, but I really dig it. Um, there's a lot going on, but it's it's really nice. It's really straight. No, no groove swing. Any of that stuff? Just straight up. Cool stuff. All right, let's move on 28. Analysis: Sexy MF (Prince): Okay, Um, when talking about funk, it would be against my moral duties to not talk about prints. Um, where I live Princes. Ah, hometown person. He's from Minnesota from Minneapolis. That's where I live. And Prince is basically our national. Um, a spokesperson. So we got to talk about some prints. Um, we're gonna look at this tune which has the weirdest beat of all time. And it is it probably the weirdest beat will look at in this entire class. It's just really, really strange. Um, this is sexy. MF um, in the interest of keeping this class rated PG, I can't say what m f stands for, but you can probably get up. Um, so let's hear just the beginning of it. Oops. Let's turn off my beat here and just hear the track in your body. You say OK, um, so what makes that beat so weird? The weird thing is, where is the snare drum? We expected on two and four. Right, But where is it? 1234123 Or it's on one. It's on one and the end of two. Um, that's just about the weirdest place you could put snare drum. Now, don't let this first little beat here. So you off that first snare drum hit is on beat four. Let's actually just did not confuse ourselves. Chop that off for the moment while we look at this. So here it is. Three. 123123123 So it's one in the end of two is where the stairs Super weird. Super duper weird. So here's mine. Um, let's hear just mine. Really Simple human. Same time, right? So it this beat really makes very little sense. Um, it's got a cool groove and it's totally slick and I love it, but putting the sneer on one is just so bizarre and weird. I don't know why it's there, but and I don't know why it works, but it does, really. I mean, it's just such a cool groove, you know? So hopefully you recognize why that's so weird. But, um, it just goes to show you that even though you know, we expect the kick on one in three in the snare on two and four, you don't have to you know, there's other ways to make cool group. So if you're doing stuff outside of the box. Totally. OK, You know, you can compare yourself to Prince and there's nothing wrong with that. So play around with this one. Um see if you can make something fun out of it, because it's like I said more than once, it's super weird. 29. Analysis: Amen Brother (The Winstons): Okay. Last but not least. Ah, the Winstons. Amen, brother. So this is one that we need to talk a lot about. Actually, this is kind of a complicated one, But before we get into any of the weirdness about this actual song, let's just hear the most important part. So this song is a classic tune, and it's got a break in it. So a break is a section where the whole van stops and the drummer just goes nuts for a second. Um, here is the brake. This is a little bit leading into the break. Theme. Okay, that was it. Okay, So that little riff starting here, I mean, delete everything prior to it, and we're going to scroll this back to where might beat is that little riff is probably one of the most famous riffs of all time. Um, so let's look at it first. And then after we're done with that, we will talk kind of about the history of this little riff. Okay, Someone just line it up right here. Good. Chopped off the beginning here. Got to get that first couple of beats. It's right there. Okay, So now I'm gonna have to warp this a little bit just to get it right out just a little off my grid. Okay, that's enough for us. Um, let it sit through our loop, I think. Okay, so this is a cool groove. Let's check it out. Okay, So here's what I came up with double kicks here really fast. Does get a little bit weird around the second half. Full stutters. That's okay. This is the main one that we want Is this first? Okay, so now this is not the whole beat from the song. Amen. Brother. This is just the break. The beat for the whole tune is actually not all that much different. Um, a little more straight. It's actually pretty similar, but, um, the break is what we really pay attention to. Now, obviously, the break you might know from if you go back to like, early turntable is, um What they were always looking for was like the break. So they get, like, two records of two of the same records, and they'd have two turntables and queue up the break in one. And while that played the queue up to break in the other one and they go back and forth to extend the break right so the break would loop over and over and over by bouncing between the two records and then a rapper could wrap on it. So that's how we first started taking advantage of the break. But now, in electronica music, we've really latched on to this idea of the brake and this break in particular, this break has been used more than any other sample in the history of music. Perhaps, um, I think that's probably true to say. I don't have, like, scientific evidence of that statement, but I'm pretty sure that's true. Um, so the amen break. We call it the aim and break is something people have been using all the time. Ah, you can find it on like free sound dot com. You can just get the aim and break, which is basically, uh, either this up to hear Oops up to here this much or the first half of it. Sometimes what we use the second half gets a little stud ary, which is cool. But sometimes we just use the first half, which is this part. So this is in like, a 1,000,000 songs, so check this out. This is a classic groove. So play around with this one. Have fun with it, but what I want to show you next in the next video. So I'm just gonna play this little video for you That shows the amen break being used in a ton of different songs. Okay, so we're gonna see our here. I should say how this is used. Um And Justin, An unfathomable number of songs. A lot of songs. Okay, So Ah, quick recap. In the next video, we're going to see kind of Ah. Ah, quick little showing of all the different ways that the aim and brick has been used. Hurt. I shouldn't say all Ah, lot of different ways. The Amen Brick has been used. And then after that, I'm going to give you this whole session to download. I have to obviously delete the audio files. Um, I can't give you those, but you can find them online. Eso just dig around for those files online, and you can put him in there if you want to hear them. Otherwise, um, these will be all those funk drum tracks that we just made. Cool. Ah, and they'll move on and talk about glitch plug ins, some of my favorite stuff. Okay, so here we go. 30. The Amen Break: - everybody any way. Just a few. I brought all the Let me show you why The state is my Chinese heritage. Stick it in my cranium. Nights elemental. No way! - What happened to us? Maybe you're having too much. I've been missing your touch. Sometimes I'm out. Not loving enough. 31. Glitch Techniques: Okay, Uh, in this last section, I want to talk a little bit about glitch plug ins. Um, now what these are is a plug, and you can put on your drum pattern that will glitch it out. What? That basically what that means is that it's going to jump around within the beat. Ah, and do a bunch of other effects as well. Ah, lot of these will put will let you program in individual effects for each beat. Um, and they'll also skip and stutter so they'll jump around stew a little bit of stutter effects if you're into like, I don't know what we called this genre these days, but at one point, we called it break core. At another point, we call that I d m. If you're into that kind of music like Aphex twin Square pusher, um, people like that, then this will be really interesting to you. This is how you can make really fast crazy beats, um, Venetian snares, uh, to some extent as well. He kind of borders on Drummond base and doing this kind of stuff. Also, I got really into this stuff for a long time. This was a lot of what I did was the style of music on, and I still do a lot. And I used some of these plug ins. Um, there's really two ways to program music that does that that does that thing of, like stuttering, skipping, glitch ing that kind of stuff. One way is to use these plug ins. Another way is just to get down in it and just really program each, you know, 32nd note to be exactly what you want. Um, that's a better way. Frankly, um, but these plug ins can really do some really amazing things and get you what you want. And there are tons of them. There are tons of plug ins that will do this. Um, I kind of just decided on three. Teoh, look at really quickly. We're not gonna go into crazy amounts of detail into how all three of these work, um, the three that I picked two of them are free, and one of them is not So these air just kind of, ah, smattering of plug ins that I like to do this kind of glitch doubt thing. So, uh, without further ado, let's look at these three plug ins to talk about some kind of glitch techniques. Here we go. 32. Fracture: Okay, I'm going to start off by talking about, um, plug in by glitch machines direction. We're gonna look at two books, machines, plug ins. Um, if we go to their list of plug ins here on their website first, When we're gonna look at is fracture. Fracture. This is a free plug in. Although I think he has a paid version of it also. Yeah, 39 bucks. But there's also a free version of it somewhere. Maybe he's taken that off line. Now. Here we go. Here's the free stuff. Um, you're this Probably a version of fracture in here somewhere. Free bundle. It's probably in that. Let's just double check. Fracture. Third is okay. Uh, so is the other one we're gonna look at in this free bundle to, uh, his thesis. Yeah, this one. Um So these two, we're gonna look at their both free. They're both from which machines glitch machines has a whole bunch of other plug ins that are not free, Um, and some that are free, But all of their plug ins are awesome. So I highly recommend checking out some of the glitch machines plug ins that we had a lot of really cool stuff. Their design is just amazing. And the sound is amazing. These air all done by the sky evil Ivan off. Who's a genius? Sound designer. Um, I love his work. Check out some of his music and check out the glitch machines. Plug ins. They are awesome. Okay, so let's look at fracture. This is the free version of Fracture, so I don't have it on here now, So let's just listen to our kind of knock off. Amen. Break here. Okay. Now I'm just going to throw fracture on it right out of the box. Here we go. Okay, so that's what it did. Just straight up. Let's look at some of the presets. Let's do robo speech. Level six season. This is really getting crazy here. That's cool. Just playing around with some of the presets in here. They're all pretty awesome. Turn it back up to get a little better. Some of our really extreme somewhere, not now. We can adjust individual repeats. Presidents cut off. There's a lot we can do here Now. How would you really use this? You could just put this on a whole beat and have it be often, or we could have some fun with it by just kind of mapping. Ah, and turning this on or off. Like check this out. Like what if we did this zoom in a little bit on our beat here, and we just said, Let's go to automation. And let's kind of at random times turn this honor off, okay? So I'm just I'm not gonna have it on all the time. I'm just going to kind of turn it on and off here and there. Okay, Not bad. Let's put up a different. Okay. Pretty cool. So there's a lot of interesting stuff we can do here. Uh, let's look at another one. 33. Hysteresis: Okay, While we're here talking about the glitch machines, plug ins, let's look at the other one. Um, history says this is another free one. From which machines looks pretty simple, right? Let's hear it. So it's turn it off for a second. Here's a group. Let's turn up. Okay, this is like glitch delay. So it's got all these extra little things in it that it's gonna do to RB that are primarily really complicated delays. That's pretty awesome. I love this function. It's got a random, preset function on it. Totally weird. Nice chaos, speed warping. So lots of cool stuff happening here. It's hard to get that shut off types. Um, so check out that one. All the glitz machines, plug ins are great. These two I grab just because they were free. Um, get these tools. There's no reason not to you since they're free. And by the way, um, these are audio units, plug ins or V ST's. You can get a man as well, so ah, they'll work in any program. These aren't able to specific things. These will work in whatever software you're working on. Any program will be able to handle audio units or V ST's, um, or both in the case of Able to But, uh, if you're on a PC, I think it's only V s teas, um, or another kind. But VSD is pretty much can be handled everywhere. So here's the VSD for hysterics is cool. OK, now let's look at a not free one stutter at it. 34. Stutter Edit: Okay. The last one of these effects I want to talk about is stutter at it. Now. This is made by isotope, so it's decidedly not free. Um, but it's really cool. It's really powerful. This was designed by, uh, BT the artist BT you should check out some of his music. If you don't know it along with isotope, it's got a lot of really wild effects. Now, the thing about stutter at it that's a little tricky is it takes some finagle ing to get set up just right. You need an audio track and enmity track, and you have toe, uh, put the MIDI track. You have to set up the mini track in a way that controls this plug in. It needs to be controlled by MIDI. You basically play it like a keyboard. Eso it takes a minute to get it set up, right? But once you do, you have a lot of control over doings. Really wild effects. Um, there's a ton of cool stuff in here, some of the BT designed effects. There's also some, like Richard Devine designed effects in here. Divine is also amazing, very different than BT. It's gonna be his stuff is probably gonna be much more aggressive. Um, but really, really cool stuff. So this lets you do some incredible effects. I would check this out. I believe there's a free demo of it, so you can give it a test drive and see if you like it. But no matter what program you're using it in, do a quick little Google search and and look for stutter at it. Set up in your Daw because it takes some extra steps to get it up and running correctly. Ah, and it's different for every dog because there's some extra little midi audio switcheroo. Is that have to happen there? So check that out, um, and see what you think of it. 35. What Next?: All right, everyone. That is the end for now, eh? So what comes next? We've done three courses in drum programming. Now, it's a lot of stuff I think you should be. If you followed along in the class, you should have a lot of great ideas for things you can do with your own beats, how to program stuff to get a particular sound and how to do a lot of different kinds of music. Now there's some stuff that I think is important to drum program that we haven't covered yet, in particular, some of the sound design elements. So keep an eye out for some sound design classes from me, which will be coming soon, I think. And, um, there might be more drum programming classes. I can't say for sure quite yet. We'll see how the responses to these ones. If people keep taking them, I'll keep making them. So that was quite catchy, actually, I should maybe treatment that or something. Anyway, uh, so the more classes people take, the more I make of them. So if there's a lot of demand for Lord drum forming programming classes, I will definitely make them. There's definitely things we could do. Like the sound design stuff I just mentioned. And a lot of other genres. A lot of other techniques. And we way we touched on a little bit in this class we touched on mixing, uh, drums, which is a whole other can of worms. So hopefully I'll get to do more of these. But for now, I think I've armed you with a lot of really great tools to make ah, lot of different styles of music. So So I hope you enjoyed it. We're gonna look at one more quick thing on, then we'll be out. So stick around for one more video. 36. Thanks Bye!: Okay, Uh, this video, I just wanted to say thanks for hanging out. Thanks for taking the class. Um, if you taken all three classes than Gold star for you, I really love making these classes. I love that people take him. I love answering questions. So please post questions here in the class, and I will answer them every single day. Keep an eye out for some of my other classes. There's a lot of things here that you can do. And just in general, thanks for being awesome. This little journey of online education has been just amazing to me, and I just love every second of it. So thanks for being one of my students. Um, there's a little bit more info for you in the next little thing that you're going to get that's gonna pop up after this. It's gonna talk to you a little bit about some extra things you can dio to get involved on some extra discounts into getting into some of my other classes. So once you're a student of mine, your student for a long time, so take advantage of some of these discounts, take advantage of some other ways you can get involved with my student community. So all of that in the next little segment, and then we're done. So please check that out and we'll see you in the next class. Thanks for being awesome. We'll see you soon. 37. Bonus Lecture: Hey, everyone want to learn more about what I'm up to? You can sign up for my email list here, and if you do that, I'll let you know about when new courses are released and when I make additions or changes to courses you're already enrolled in. Also check out on this site. I post a lot of stuff there and I check into it every day. So please come hang out with me and one of those two places or both, and we'll see you there.