Anyone interested in playing a drum machine like a real kit would love to see this one:
It’s a video of bassist Alvin Mills and an un-named drummer playing what looks like an old Alesis HR-16. They are doing a burning version of “Actual Proof” from Herbie Hancock’s Thrust record. Pretty cool. I am sure some DJs would love to work with this guy. Judging from his finger chops, he would be able to play some nasty break beats.
Special thanks to my good friend MAZ for the link! Maz also came up with the MySpace goods. The drummer’s name is D. Haynes:
The drummer is GC Coleman. You’ll know it when you here it:
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?
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.