I offer remote drum recordings for your tracks, using Addictive Drums 2 via a Roland TD-17KVX electronic drum kit.
That’s a great option for demos, or if you don’t have the big studio dollars and want great sounding drums on your music. All I need is an mp3 or wav file of your song, and I can record drums for you remotely. Then I’ll send you back the midi files, a stereo drum mix, or the individual audio stems. If you’re interested in having some beckbeat drums on your song or recording, please use the contact form on this website.
To give you an idea of how Addictive Drums 2 sounds, here are three custom kits I’ve used in different musical situations.
There’s a meditative, soothing quality to it. Playing brushes can assist you in developing better timing and flow (because of circular/elliptical stroke patterns) — which will also show when playing with sticks.
All time great brush players include Papa Jo Jones, Clayton Cameron, and Jeff Hamilton.
Clayton Cameron devotes a segment to the same relationship. The arguments are compelling and valid. However, Mr. Paton cites a deeper source: shoe shine boys who employed their individual rhythms in brushing down their customers with whisk brooms after they shined the shoes. He backs this up with copious citations within the article. He also traces the development and evolution of suitcase drumming in which brushes were used, as well as the importance of barbershops as musical centers of gravity and where some of the whisk broom rhythms were born and evolved. In the latter it appears that Louisiana was particularly important. The irony is the pioneering New Orleans drummers, such as Louis Cottrell, Sr and Baby Dodds eschewed brushes.
If you’ve never tried playing brushes, I encourage you to get a pair and start fooling around with them. You’ve been missing out 😉
Here are two simple, yet cool triplet combos: ||:Left Right Kick:|| (Gadd is a master at this!) and then something I’ve heard Bonham do a lot: ||:Left Right Kick | Right Left Kick:||
In this songo improv I play open handed, aka left hand lead (I’m not crossing my sticks), which allows me to get around the kit more easily.
Here’s an Elvin Jones inspired afro-cuban pattern. It has a 6/4 kind of feel, and the hi-hat splashes and tom accents make it challenging to keep balance. I’ll try to follow up with a transcription, soon.
I recently came up with this cool beat:
8th note heel/toe hi-hat splashes over a polyrhythmic double stroke bass drum pattern. 1&A cymbal pattern + snare drum on 2&4.