HI Dave I feel for re the drummer!! All my stuff has had me playing on an SR16 in real time or loops from my Sonar days (long gone now) For anyone thinking of using electronics for Blues/Rock/Acoustic your better of with a drummer, even if there playing Midi/drum machine. I may have found a drummer here in Cardiff, just got to build the studio around him!!!! Cheers Bob Dave Phillips wrote: > tim hall wrote: > >> On Tuesday 15 November 2005 14:43, Dave Phillips was like: >> >> >>> I've uploaded a new song: >>> >>> http://linux-sound.org/keepmesatisfied.ogg >>> >> >> >> Impeccable lead work and smooth vocal delivery. You just need someone >> like Ron Parker on drums. ;] Bluestastic! >> >> > Thanks, Tim. I admire your work too, it's some of my favorite stuff on > the LAM site. > > Btw, *anyone* on drums would be a vast improvement, but for the record > here's some advice to recordists following my Ardour adventures: If you > need to use a drum track composed with a MIDI sequencer there are a > couple things you can do for greater realism. First, use a sample player > like Specimen or Linuxsampler, you can then set variations in pitch on > the snare and bass drums, it makes a big difference. Although percussion > is usually classed as "noise" instruments there is still a pitch > component that is heard. You'll certainly notice when it's missing, like > salt in a cake recipe. Alas, you can indeed notice it in my tracks, > indicating how lazy I am about this detail (of course it's also easy to > improve just by re-recording the MIDI track using Specimen). The other > trick is to add some sort of "disturbance" to the tempo track to upset > the metronomic regularity. Example: For a song in 4/4 time I'll make a > looping tempo track of perhaps three measures of 3/8 time, with tempo > events at the 16th-note triplet level in a series like > 120-121-122-120-121-122-121-120 and so on. This tempo variation is > slight enough to be felt but not overly-noticed throughout the track. > > You can also eliminate this tempo dodge just by using Hydrogen and > exploiting its humanization features. :) > > Craig Anderton has written an excellent article on what he calls the > Tutt/Guerin effect. Basically he just analyzed MIDI recordings of some > top studio drummers and discovered how the various instruments in a set > are all acting at slightly different times. The temporal distances > between the activity of the bass drum, the snare, the hi-hat, and the > ride cymbal all add up to a feel unique to each drummer's way of playing > in the groove. Lately I've been listening to the drummers for the > classic r'n'b bands behind the Stax/Volt, Motown, and James Brown > sounds, really interesting stuff to compare in the light of CA's study. > > But in the end, I'd only go to this much trouble (finessing a MIDI drum > track) if I really couldn't find a decent drummer to play the parts. > Alas, that is precisely why I write MIDI drum parts for my recordings, > there's no-one in Findlay OH who can play blues drums well enough. My > band's drummer is coming along, but he still listens to too much Robben > Ford (fine musician) and not enough Muddy Waters (blues titan). Yes, I'm > an unabashed blues purist. :) > > It's my dream to someday journey up to the cold northern climate and > record at Mirror Image. Maybe I can get Ron to play drums then... ;-) > > Btw, I've been working with JAMin too. What a great tool, thanks to > Steve Harris & friends ! > > More stuff coming soon... > > Best, > > dp > > -- Bearmusic hearmymusic.co.uk <http:www.hearmymusic.co.uk>
