Author: Jeff Consi

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The Winstons
The Winstons

Here is an interesting mini documentary on the “Amen Break”, which is a drum loop created from a 1968 record by The Winstons called “Amen Brother”.

Amen Break Documentary

The drummer is GC Coleman. You’ll know it when you here it:

[audio:amen_brother.mp3|loop=yes]

The documentary chronicles the history of the “Amen Break” loop. This loop made its way from that copywrited funk record into hip hop songs by Third Base, NWA, and a slew of others. It then leaked into the drum & bass scene in the UK where it was actually copywrited and sold by a UK loop CD company who claim the loop was created especially for them.

Eventually, it was embraced by corporate America to help sell SUVs and blue jeans to suburban America. Interesting take on sampling and copyright laws. Where’s the RIAA when you actually need them?

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Hi Hat Placement
Hi Hat Placement

Over the years I have noticed something when I sit in with a band on another drummer’s kit. Drum and cymbal placement is such a personal thing, but what I noticed most is that many right-handed drummers place their hi-hats far off to the left(see figure A). To me, this is a little limiting in that you need to cross your arms a fair bit to play the hats and snare together, unless you play lefty on a right-handed kit.

What I find that works for me is placing the hi-hats more in front of you, to the right, closer to the hi-tom(see figure B). The benefit of this is you free up your left hand to do more work on the hi-hat. Using this hi-hat placement allows me to throw in extra grace notes and syncopated hi-hat accents, which works well in the right spots. It makes spicing up a groove a lot easier. Give it a try sometime.

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Live and In Living Color
Live and In Living Color

This record was it for me. A turning point. Tower of Power’s Live and In Living Color. After seeing the Funk Filharmonik, I went and picked this up on cassette the very next day. I was on a mission. I had to get some of those grooves in me. This whole snappin’ backbeat with an under current of light, syncopated ghost notes on the snare truly intrigued me. There is no one that does it like David Garibaldi. Some of his rhythms were so inventive, they still sound fresh today. From DJs to hip-hop(Beastie’s Paul’s Boutique), they’ve all grabbbed a Garibaldi groove or two in their day. This live CD is a perfect example of the syncopated funk that Garibaldi is known for.

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Audix D6
Audix D6

A few months back I picked up an AUDIX D6 bass drum mic after using one at a gig. I have been using my trusty AKG D-112 for about 15 years now, but when the engineer plugged in the D6 my ears lit up with delight! So much so that I had to whip out the AKG mic to A/B the difference. What I found is, with the EQ flat, the D6 is sub-beast from hell. Great top-end attack with this fat bottom-end punch. It’s the perfect kick mic for live situations. I still use the AKG because some studio engineers still prefer its natural sound, but the D6 is my mic of choice. The price is an added bonus.

Audix D6 Spec Sheet

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Headhunters
Headhunters

One of the most influential albums in Herbie Hancock’s career to date is Headhunters. I didn’t find this one until a few years ago. I was into Herbie’s more traditionally oriented jazz records, but this CD is full of deep down, gritty funk. Harvey Mason is masterful on the kit. Great percussion from Bill Summers. Herbie riffs with synths and Fender Rhodes over these fat grooves. A must for any drummer’s collection.