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We record all our drums separately and give them each their own channel. We also have quite a few filters on our modular rig that are good for adding some grit while still being a little cleaner than the Sherman, which is a beast. We’ve found that the Sherman Filterbank is great for adding a bit of grit to thinner or clean samples (we almost always use it with the Roland 606). We use quite a bit of processing on our drums to help them have a more unique sound. Trying to get the human movement in there is pretty central to all of our drum programming. The beauty of the MPC is that you drum in the rhythms in real time, and the pads pick up the velocity of your fingers, so every hit varies in volume and no loop is ever exactly the same. For instance, if we use a lot of 808 on a track, we may add a live rim or a snare from the MPC to add some variation. Almost all of the sounds we have in the MPC are samples or recordings of live drums or percussion, which we use as extra layers on top of an existing drum machine track. The MPC is used in absolutely everything we do as it really adds a “human element” to the tracks. So, in addition to using the few spring reverbs that I like, I’ll use something like a Strymon Timeline pedal, which sounds very modern. There is something warm, something beautiful about the spring reverbs – it can give the percussion a vintage sound, but I try not to have things sound too vintage. I also like to use spring reverbs on claps and elements like that. Somehow, with all these little delays it can create some space. To help achieve this, I like to use delays – some very short delays, or delays that are so low or dry that you almost can’t perceive it’s there. I try to process my rhythms in a way that leaves a lot of space.
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I also often use what some people would maybe call “toys,” these old Yamaha DD series drum pads, which I like and are often used in Champeta music from Colombia and other kinds of music like that.
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I use the MFB in a little bit of a non-typical fashion, as I don’t really use the sequencer, but instead use it in combination with drum pads so that I can trigger the Tanzbär’s sounds live throughout a song, or loop the patterns using an Electro Harmonix 4500 looper/recorder or the Boss RC-505 Loop Station.
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I’ve also been using the Vermona DRM-1 drum synth and the MFB Tanzbär analog drum machine. At the moment I’ve been trying to avoid the computer screen when programming rhythms, so even if it’s a very monotonous, repetitive percussion line, I try to play it through the whole track. The Tempest’s drum pads also have a unique sensitivity that is perfect for playing live. I especially like how the pads are laid out in more of a horizontal way, which makes it easier to play than an MPC or a Maschine, whose square layout can cause you to have to put your hands on top of each other to play). Right now I am very into using the Tempest it’s a versatile and intuitive machine. The question then becomes, how does one transmit their own personality amidst these (somewhat) predetermined rhythmic parameters and sonic demands of club music? Once again, the Modern Approaches series has turned to a wide range of working artists to help us gain some insight into the craft, each producer discussing how they collect, arrange and process the rhythmic components of their tracks. Still, programming drums for club music can at times feel restricting, as many club genres are dictated not only by their basic rhythmic structures but also by the tempos at which their patterns are realized. Manipulated cleverly, field recordings of unfamiliar sounds can become propulsive rhythmic loops.
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In the right hands, a synthetic kick and snare can have as much sonic force as a full drum kit. With so many options, producers are able to think far beyond traditional sounds when programming their rhythms. One can scour through an abundance of sample packs (both official and unofficial), make use of decades’ worth of drum machines and samplers, grab rhythmic pieces from a massive range of recorded material, manipulate odd bits of audio into percussive hits, or – of course – record live drummers and percussionists. Essentially, if an artist is unable to properly deliver on the rhythmic portions of their track – if the kicks don’t cut through, if the snares don’t snap – it doesn’t really matter what the rest of the track is doing: it won’t move a dancefloor.įortunately, in the modern era of production the possibilities for creating rhythmic components are seemingly endless. Whether triggered from a machine, programmed in the box, sampled from the past or recorded live, drums serve as the foundation to all forms of club music.