I'm hoping for a bit of advice on drum programming. I've been playing around with iDrum, but I think my problem is that I simply don't understand the basics of writing a drum track. I'm looking for a book or website that can take me through some of the basics - starting with "put a kick on the 1 and 3 and a snare on the 2 and 4..." and then lead me through how to build things up. I know this is probably second nature to most people... just not me!
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Drum programming 101 - I need help!
- Thread starter BassWombat
- Start date
Sounds like you need a book of 101 drum rhythms or something. Do a search on Amazon. I know at one point I was looking for the same thing and found quite a few promising leads in the search results.
How familiar are you with how "real drummers" create their parts?
I always paid close attention to how my drummers worked when I was in the HS jazz bands. I hung out with them as they talked paradiddles and stick-tricks - how they loved that thing that Max Roach does on his h-hat etc...
When I program a drum part, I start from the feel I am trying to capture. For a straight rock feel, putting bass on 1 and 3 and snare on 2 and 4 with either 1/4 or 1/8 hi-hats is a really good starting point. Verses can favor a hi-hat driven beat while choruses will open up when you go to the ride. Cut the number of hi-hats from 8 to 4 and watch the drama grow...
But to make your drums have 'feel' you need to consider accents and space. So making sure you hi-hats have an accented beat and lighter beats (velocity) helps make your drums sound more "human". Same with the bass and snare (and all drums, for that matter) - Accents can make all the difference in the world. You can write two identical parts structure-wise (bd on 1&3, sn on 2&4, 1/8note HH), one with accents and one without and they will sound completely different.
Also - write one measure of an unadorned or pure beat - no embellishments - copy it, and write 3 more that are very similar, but have little embellishments like an extra bass drum grace note before beat 3 - a little hi-hat roll at the end of the phrase - a snare drum flam on beat 4... mix it up. Then build a 4 bar phrase using the pure beat, variation 1, 2, and 3.
It's the little things that make the big difference. Anyone can overwhelm you with a lot of notes and fills - it takes a real pro to write a simple, but very useful and effective drum program. Start ULTRA simple - add LITTLE touches (accents and subtle variations to the pure beat) build phrases that sound like a real drummer would do it.
In my opinion, bass and drums are inseparable. Getting to know how drummers think is probably one of the best things a bass player can do to improve his role in the rhythm section. Listen to your favorite drummers and try to get in their heads - how to they formulate a phrase? What "color" trick do they use? Listen and do what they do.
Here are some ditties I put together - these are just fun pieces with no real intent, but if you listen to the drums, you will hear what I am talking about above:
Disclaimer: These are all drafts and were written by me to flesh out ideas - they are not finished products, so please be forgiving in judging them for the completeness or song-worthiness.
Thanks!
Funktober
54 Ways to leave the Planet
ChinaCatFunkaSaurus
George B
Popcorn
I always paid close attention to how my drummers worked when I was in the HS jazz bands. I hung out with them as they talked paradiddles and stick-tricks - how they loved that thing that Max Roach does on his h-hat etc...
When I program a drum part, I start from the feel I am trying to capture. For a straight rock feel, putting bass on 1 and 3 and snare on 2 and 4 with either 1/4 or 1/8 hi-hats is a really good starting point. Verses can favor a hi-hat driven beat while choruses will open up when you go to the ride. Cut the number of hi-hats from 8 to 4 and watch the drama grow...
But to make your drums have 'feel' you need to consider accents and space. So making sure you hi-hats have an accented beat and lighter beats (velocity) helps make your drums sound more "human". Same with the bass and snare (and all drums, for that matter) - Accents can make all the difference in the world. You can write two identical parts structure-wise (bd on 1&3, sn on 2&4, 1/8note HH), one with accents and one without and they will sound completely different.
Also - write one measure of an unadorned or pure beat - no embellishments - copy it, and write 3 more that are very similar, but have little embellishments like an extra bass drum grace note before beat 3 - a little hi-hat roll at the end of the phrase - a snare drum flam on beat 4... mix it up. Then build a 4 bar phrase using the pure beat, variation 1, 2, and 3.
It's the little things that make the big difference. Anyone can overwhelm you with a lot of notes and fills - it takes a real pro to write a simple, but very useful and effective drum program. Start ULTRA simple - add LITTLE touches (accents and subtle variations to the pure beat) build phrases that sound like a real drummer would do it.
In my opinion, bass and drums are inseparable. Getting to know how drummers think is probably one of the best things a bass player can do to improve his role in the rhythm section. Listen to your favorite drummers and try to get in their heads - how to they formulate a phrase? What "color" trick do they use? Listen and do what they do.
Here are some ditties I put together - these are just fun pieces with no real intent, but if you listen to the drums, you will hear what I am talking about above:
Disclaimer: These are all drafts and were written by me to flesh out ideas - they are not finished products, so please be forgiving in judging them for the completeness or song-worthiness.
Thanks!
Funktober
54 Ways to leave the Planet
ChinaCatFunkaSaurus
George B
Popcorn
Thanks folks. I really appreciate your thoughts. It's weird that when I'm playing along with my drummer I can "feel" what he's doing and where he's going, it's just that when I try and analyize what he did later I don't know where to start! While the primary objective in learning is to help me record sketches of song ideas, I know it will also make me a better bass player...
i'm not trying to be a smart-ass here but since you already have idrum IMHO you should just start messing with it. from what i hear idrum is pretty easy to use. you'll find very quickly what works and what doesn't, what sounds good and what sounds unacceptable, and so on. a book can help, and you should still get one. but there's not substitute for hands on!
You've kind of got to think "melodically". Just insead of C to G you have an assortment of drums. Start with a really simple beat (maybe on the snare), then add your kick, then just enough cymbals. If you're feeling cocky, then go for the toms.
The snare is the most important thing, in my opinion. If you listen to some old video game music, a lot of those tracks have only one drum -- and it's almost always the snare. It really drives a song. When there's a whole band going, a snare can be all you need. The tune would be a little empty, but you could get by. The kick is a space filler for me. It's what you put in a rhythm when you feel like there should be a note, but the higher stuff would be all wrong. Like if you had only a snare on 2 and 4, you'd still be nodding and taking a breath/grunting on 1 and 3, because those are rhythmically important beats.
The snare is the most important thing, in my opinion. If you listen to some old video game music, a lot of those tracks have only one drum -- and it's almost always the snare. It really drives a song. When there's a whole band going, a snare can be all you need. The tune would be a little empty, but you could get by. The kick is a space filler for me. It's what you put in a rhythm when you feel like there should be a note, but the higher stuff would be all wrong. Like if you had only a snare on 2 and 4, you'd still be nodding and taking a breath/grunting on 1 and 3, because those are rhythmically important beats.
You could also search online for drum tab to your favorite songs to learn how those lines were put together. Here's a link to all the Rush drum tabs held at the Rush Tablature Project.
I agree with lemur821 with an add-on...
In rock, the primary components that drive the beat are the bass drum and snare.
In jazz, it's the cymbals that provide all the drive and the bass drum and snare (and toms) provide accents and punches.
Orchestral music is an entirely different "drum" perspective altogether - obviously.
With all forms of pop/modern music, phrasing is key. Unless it's rap... then you need to go with mindlessly repetitive and hopelessly redundant stuff - it's all in the words... or so I am told.
In rock, the primary components that drive the beat are the bass drum and snare.
In jazz, it's the cymbals that provide all the drive and the bass drum and snare (and toms) provide accents and punches.
Orchestral music is an entirely different "drum" perspective altogether - obviously.
With all forms of pop/modern music, phrasing is key. Unless it's rap... then you need to go with mindlessly repetitive and hopelessly redundant stuff - it's all in the words... or so I am told.
