< PreviousModern Drummer August 2022 58 time I sit down behind my drums, synths, and DAW in my personal studio. I have designed a drum set environment that is tightly integrated into my sound design/music production system. My computer, software, digital interface, synths, and microphones are all just as essential as my acoustic kick and snare drum. My drums, synths and percussion are situated directly behind my music desk. That desk holds my computers, monitors, pre-amps, and audio interface. I find it’s much easier to use a studio chair on wheels to play drums and compose music, rather than use a drum stool. I just swivel my chair around and I can control my DAW, adjust filters/EQ, apply new FX and then I swivel back around to play more drums, trigger pads, and record new grooves and phrases. This pursuit of “a new dimension for sound” really gets to the heart of the matter. When I am “in the zone”, I am equal parts composer, sound engineer, sound designer, drummer, and music producer, adding character and color to each sound. ** Whether you use an Alesis or Roland, Yamaha or Sun House trigger systems, I want to encourage you whenever possible to create your own sounds! If you remember one key element from this article, let that be your key take-away. ** Music instrument companies do an amazing job of getting you up and running, but you should always try to find a way to push further sonically by experimenting with the sounds they provide. Let the samples provided “in the box” serve as a jumping off point. Many electronic percussion instruments have their own built-in effects processors, where you can modify stock sampled sounds. I have had a lot of fun over the years taking ordinary drum and percussion samples and then applying radical tuning ranges to see how this inspires me. As an exercise, take some snare and tom samples or djembe samples and tune them down 2 octaves or more. See if you can create some unusual patterns and beats using these new “sound designed” versions of each stock sample inside your drum module. Many of these modules also offer “user sample memory” where you are invited to store you own sampled sounds. You can capture some amazing raw sounds using your iPhone or iPad and then process these with digital FX. Let’s look at how to transform pre-recorded sounds using widely available digital effects processors on a Mac based DAW. My music system is based around Steinberg Cubase Pro. “Cubase” is my Digital Audio Workstation. You can achieve similar results using Pro Tools or Logic and many other DAWs available today. Below is a video clip of a rubber gong mallet being applied to a frame drum. The gong mallet produces an unusual sound before we even start the signal processing inside the DAW. As mentioned above, our focus will be sculpting the tone and character of the frame drum inside the DAW to create something unique that might bear little resemblance to the original frame drum recording. Here is a screen shot of one of my favorite FX plugins called THERMAL. The pre-set shown here is called UNRULY. Thermal is an “Interactive Distortion Plugin” made by OUTPUT. This plugin offers multi-band distortion, band splits and activates crossover filters for creative frequency control. I use this plugin in the video clip to alter the sound of the frame drum. In this video recording/sound design tutorial, I am working inside Steinberg Cubase Pro, which has been my primary music production software for many years. I use Cubase Pro on an iMac Pro. You can download a trial version for free right here: www.steinberg.net/ cubase/trial/ I have a second music/sound design workstation in my studio that is based on an iPad. Steinberg also makes an iPad compatible version of Cubase called “Cubasis for iOS”. You can also download a free trial version of Cubasis right here: www.steinberg.net/cubasis I have had amazing results recording percussion and sound effects using the iPad set up. I have a range of different sound design tools on the iPad as well. I like to record new loops and sounds and then upload these to my drobox. Having sounds on my drobox account allows me to download new ideas back onto my iMac Pro to further mix and create new music ideas inside Cubase Pro. I am also a huge fan of SOUNDTOYS plugins. In this “Frame Drum Transformation Video”, I am processing the frame drum by using both SOUNDTOYS and THERMAL to create strange textures. Check out SOUNDTOYS on Instagram. www.instagram.com/soundtoys/?hl=en In this next video tutorial, I am processing a Rain Drum, focusing on the beads rattling and rolling inside the drum to see how they react to a Granular FX Plugin called PORTAL. PORTAL is also made by OUTPUT. PORTAL allows me to apply granular synthesis to a variety of different sounds. It drastically alters drums, percussion, cymbals, synths, guitars, vocals and any audio signal you want to experiment with. In my video example, you can see how I make use of the “Wet/ Dry” blend to achieve some interesting results with the Rain Drum. August 2022 Modern Drummer 59 I am also applying several different pre-sets so can hear a range of sound design options. https://output.com/products/portal Here is a video example using PORTAL FX in real time as well as other FX in real time while improvising on the hybrid drum kit. In this example, I spent some quality time sound designing my own custom samples which I then placed inside a virtual sampler inside Cubase Pro. I am using my DTX trigger Module so that I can assign some of the rubber pads and acoustic drum triggers to my custom samples. I decided to use the rubber gong mallet on the frame drum as the basis for this groove. You can hear how the custom samples are morphing and changing as I play the grooves. This video clip is an excellent example of merging the world of hybrid drumming/midi triggers with custom sound design. Here is an audio preview from my new album. This track is called “Operational Camouflage”. This is good example of very aggressive sound design and custom samples triggered from acoustic hybrid drums. To finish up Part 1 of this new SOUND DESIGN SERIES - Here is a full 8-minute video of an Improvised Film Cue. This track is called “Trisolaran Overlords”. I am processing the gongs and drums using delays and other FX plugins in real time. I am triggering different custom synth sounds from the pads and drum triggers. I am also making good use of the Tony Verderosa “Signature V-Wave” effects cymbal by Sabian plus my signature “Distortion Hi-Hats” on the right side of the hybrid Kit. I hope you enjoyed this Sound Design discussion. If you have any questions, please visit me, and send me comments through my website, www.tonyverderosa.com or follow me on social media/ instagram/facebook/youtube/twitter. “Sound Design Part 2” is coming soon! Check out Tony’s Modern Drummer profile page at moderndrummer.comModern Drummer August 2022 60 Bob Moses’ More Musical Resolution Points In the last several last months of Modern Drummer we have included the chapters from Bob Moses’ Drum Wisdom book on the 8/8 Concept and the Sixteen Musical Resolution Points. These two concepts work together and can apply to every style of music and drumming. We also went into depth regarding the & of 4, the & of 2, and the & of 3 musical resolution points. This month we will continue by talking specifically about the & of 1, and 4. First, you might want to refresh your memory by re-reading the last few month’s columns. Here is what Bob has to say about this important concept. Mastering the Resolution Points In the following pages we’re going to deal with different resolution points individually. To do that effectively, we will work with two-bar phrases. Let’s look at the reason for that. The idea behind a resolution point is that it gives you an element of repetition that is necessary for groove. We do not necessarily need something that repeats in every bar, however, because we are not just hitting these points, but rather, we are resolving to them, one bar doesn’t really give you enough room to resolve. In order to have enough room to create a resolution, most of the time we’re going to want to use at least a two-bar phrase. It could, in fact, be longer than a two-bar phrase, but in this column, we will focus on two-bar phrases because they are so basic and common to music, I feel that it is very valuable to visualize music whenever you can. You should not just hear music but also see it. When working from a resolution point, start by visualizing a two-bar phrase with a grid of 8th notes, which you will use as your framework. The eight resolution points can be incorporated into very simple time keeping patterns, as well as more complex solo or fill patterns. This month I will be giving some rhythmic examples of phrases which resolve to a specific point. I will not illustrate how to apply those phrases to the drum set, because it is more important that you develop your own ability to do this, rather than memorizing the way I, or anyone else, might do it. Rather than practicing specific exercises, you need to develop your own creativity and your ability to use the resolution points in whatever type of music you are personally involved with. After you feel that you can hold the 8/8 framework in your mind, along with a specific resolution point, start creating your own two-bar phrases which resolve to that point. At first you might want to practice the individual phras- es repeatedly, but ultimately you should be able to play a different phrase every two measures with the only common element being the resolution point itself. You can use the following examples as a framework for your playing, filling in around the resolution point in any way you choose. Here are two more resolution points for you to explore. The & of 1 in the First Bar Visualization Timekeeping Patterns Swung Eighths Straight Eighths Phrases Resolving to the & of 1 in the First BarFramework for Playing The & of 1 in the Second Bar Visualization Timekeeping Patterns Swung Eighths Straight Eighths Phrases Resolving to the & of 1 in the Second Bar Framework for Playing 4 in the First Bar Visualization Timekeeping Patterns Swung EighthsModern Drummer August 2022 62 Straight Eighths Phrases Resolving to 4 in the First Bar Framework for Playing 4 in the Second Bar Visualization Timekeeping Patterns Swung Eighths Straight Eighths Phrases Resolving to 4 in the Second Bar Framework For PlayingSince 1977, Modern Drummer has been the world’s foremost community builder and a cutting-edge influence on all things related to drums & drumming. A place where young drummers find and follow their drum heroes, gear manufacturers, educators & retailers while actively participating in the drumming community to share their knowledge. 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To learn more and join the conversation, join the Discord and follow us on Twitter at https://twitter.com/drumsnftModern Drummer August 2022 64 To conclude, here is what Bob has to say about the feeling of the musical resolution points that we have discussed in this and past excerpts of Drum Wisdom. Although there are eight points in the bar, there are really only four different feelings. Although there is a difference between the 1 and the 3, these points feel very similar. Likewise, the 2 and the 4 have a similar feeling, as do the & of 1 and the & of 3, and the & of 2 and the & of 4. I have given you a methodology for working on each of the eight points, but because of the similarity of feeling, I am going to discuss them in groups of two. 1 and 3 To me, the 1 and 3 are anchors. They tend to stop forward motion, almost like putting a stake in the ground. They tend to give a feeling of reaching the end, and for that reason I tend to use these the least of all resolution points. Ironically enough, they are the ones that almost everybody seems to be able to do. 2 and 4 These are very valuable resolution points they are where the swing resides. These are the beats that you snap your fingers on, or clap your hands to. these are the beats that make it swing, and resolving on these beats is very effective. The & of 1 and the & of 3 To me, these feel like an elbow in the ribs; they have kind of a jerky feeling that wakes you up. They also remind me of a contraction; They have a pulling in kind of motion, they are very effective because they tend to propel the music. The & of 2 and the & of 4 These are the opposite of the previous feeling; They are like an expansion rather than a contraction. They are a stretching, a leaning forward. There is a famous Miles Davis composition called “Four” that is based on the & of 2 and the & of 4. If I had to pick one point that is the most important, I would pick the & of 4, but again I stress: Don’t skip any of them. They are all important! Check out Bob’s Modern Drummer profile page and get your copy of Drum Wisdom at moderndrummer.comBUY FROM YOUR FAVORITE MUSIC RETAILER CHECK OUT MORE AT MODERNDRUMMER.COM Available In Print and Digital Presents: Applying the Moeller Technique to the Bass Drum By Michael Packer The Bass Drum Owners Manual DIGITAL DVD DOWNLOAD INCLUDEDModern Drummer August 2022 66 Double Bass Drumming by Joe Franco This month Modern Drummer will continue our re-introduction of Joe Franco’s classic book Double Bass Drumming, and his concept called the Single Stroke System . Here is Joe’s chapter on Eighth Note Triplet Double Bass Patterns. There are many more patterns and beats included in this outstanding book. Eighth Note Triplet Patterns In this section, patterns using eighth note triplets are broken up between the two bass drums. They are played together with a quarter note RIDE and the SNARE on 2 and 4 to form beats. The following beat illustrates the eighth note triplet double bass roll: When playing the eighth note triplet double bass roll, BD 1 plays two quarter note triplets per measure of 4/4: Which can be broken down to: In the following beat BD 1 is played together with the RIDE and SNARE: When played together over a complete measure of 4/4, BD 1 plays six notes while the ride plays four. This is known as 6 : 4 ( 6 against 4 polyrhythm.) The RIDE and BD 1 both fall together on 1 and 3. Keep in mind that the two quarter note triplets on BD 1 are six notes of equal duration. They are evenly spaced throughout the measure. By playing BD 2 between the notes of BD 1 the eighth note triplet roll is formed. The RIDE, SNARE, and BD 2 all fall together on 2 and 4. Practice playing both of the above beats. Again, the more familiar you are with playing the continuous roll the easier it will be to play the broken patterns in the section. Using the Single Stroke System , eighth note triplet patterns are broken up between the two bass drums as follows: August 2022 Modern Drummer 67 The eighth note triplet role differs from the 16th note role in that the main bass drum (BD 1) will fall on every other beat (1 and 3.) Therefore, a one beat eighth note triplet pattern will be played one way (A) if it falls on 1 or 3, and the opposite way (B) if it falls on 2 or 4. Both A and B are illustrated in the triplet patterns that follow: Eighth Note Triplet Patterns Here are some examples of beats using eighth note triplet bass drum patterns:Next >