Hi Frank, I'm a drummer who has been studying and playing some of the genres you mention. Generally I'd say that the best sequenced drum patterns I've heard have been programmed by drummers with a few exceptions. I believe that you too can be one of these exceptions. If you are a performing musician, you will have drummer friends. If you are not, my advice is that you rely on a school of music. I'd like to give advice on what you should study in order to create nice patterns, rythms, loops and fills. It's not very different from actually studying the instrument to be honest. Rythms: you need to know the different rythms that drummers actually use when playing different styles! Best source, an experienced drummed friend. Failing that, a drums teacher. It can be explained over the internet how rock is usually played in 4 / 4, 8ths on the high hat, accenting the one, two, three, four notes and playing the remainder one-and, two-and, three-and, four-and as ghost notes, then the bass drum and snare could play alternate quarters. But many rythms, even standard folk ones for instance, are much more complex (even rock needs to be played in a richer fashion for interest sake). If you go for the teacher option, just make him understand what your goal is, so he or she will concentrate on typical rythms rather than on wrist exercises! Fills: you need to know the instrument and its technique for that. You will need to study rudiments in order to create interesting sounding changes, breaks, fills and so on. You will need to learn "snare rudiments" such as "single roll, double roll, paradiddle, flam" so you can translate those (mentally) to the different elements of the kit, then to the sequencer. Mind you are lucky that at least you don't need to do it in real time like us performing drummers :-)) The method we've all used to develop our technique is one by Budy Rich called something like "Snare rudiments". If you have your drummer friend or teacher explain how to use one of these books, I guess a few hours of lessons should be enough for you to understand how it all works. Then you will need to translate your strokes to MIDI velocities in such a way that it sounds good. My experience is that you get best results by translating real strokes from real fills, one by one. For instance, you may have a fill consisting of 8 16ths snare strokes. Some people would sequence the velocities for these notes by making a linear "ramp" (quiet to loud). Well it sounds crap. One way that sounds good (the one I know) is to try to emulate the drummer. On usual 4 / 4 tempos, you usually play that in the snare by using an unfinished 9 stroke double roll, that is R R L L R R L L (R for right hand, L for left hand). To translate that, you will need at least 4 different velocities. If we name them A to D, being A the loudest, you will then sequence A - C - B - D - A - C - B - D. Reason is the drummer will rather naturally accent the notes that way so tempo is kept even for fast rolls. The rudiment is like that so good tempo and nice swing can be achieved naturally. In order to work out the way it is actually played, you need this book of so called "snare rudiments" plus a pair of drum sticks to tap on.. anything, really. Best luck!! Cheers, Alex _________________________________________________________________ Acepta el reto MSN Premium: Correos m?s divertidos con fotos y textos incre?bles en MSN Premium. Desc?rgalo y pru?balo 2 meses gratis. http://join.msn.com?XAPID=1697&DI=1055&HL=Footer_mailsenviados_correosmasdivertidos
