I've seen some mention of Jojo Mayer/Nerve during style videos but I looked and didn't see a deeper breakdown. I'm not making a request, I mean - the last thing JM would want is someone to take a lesson to sound like him. So - structured improvisation that also accounts psychoacoustic representation of pieces that are too complex/fast to replicate as a human is a good chunk of the topic. Sort of like what Divx did - they figured out what parts of the picture your brain wasn't looking at and simply didn't include them in the processed video which could remove from 60%-90% of the original file size. I am certain you can hide stuff in an mp3 that way too - I never really looked at what the codecs are actually doing when they rip/compress a file. /digression I just find Jojo still kind of one of the most interesting players but really enjoy hearing him speak about his craft. People have told me he is controversial but to this day I still don't really understand why. He's just making the thing in his mind work and we get to hear it. That's what's supposed to happen, I thought.
I've been playing the drums for over twenty five years now, but you are the only drummer on youtube I can watch. You are aren't full of yourself or cocky about the drums at all. Just plan and simple easy to understand beats. Well done.
@@8020drummer Oh I'm definitely in the right place. I don't drum, but I feel the world weary way you gaze into the cold lens of the camera reflects a sentiment I've long held about the world. I also like the way drummers obsess about how dry a cymbal can get before they're whacking a repurposed baking sheet.
When putting the snare first I usually just think about flamming it with the hat, cause that’ll reliably put it first while letting me think in a way familiar to my body
I appreciate your videos explaining a drummers perspective of this subject. I think it's funny because JD had several drum sounds. Thank you for acknowledging this. Listening to Dilla tapes from 1994, he had a ton of breaks he was using uniquely, he wasn't using one shots a lot. A lot of his techniques comes from DJing, knowing how to use a drum sampler, and syncing loops to fit together. What people often refer to a 'Dilla beat' is the Soulquarian era JD. I say this one, because he still hadn't taken the name J Dilla until he moved to LA, which is post Electric Ladyland era. These beats are on D'Angelo's Voodoo, so it's more Questlove's interpretation of JD. Mama's Gun, is more Erykah's interpretation of JD. Same with Bilal. Common's Water to Chocolate and Electric Circus have this "off kilter push pull swing" from JD as well as early 2000s volumes 1-2.
The "licence to rush" on the backbeat doesn't get enough credit in the making of this feel. I'm glad it's been brought to light. (all the while making the drums sound more "laid back", but with such a counterintuitive trick!)
Great stuff! I really appreciate your videos! They are different, filled with useful well presented content, yet entertaining at the same time. Thank you!
I've been shamelessly ripping off the little skip beat thing from your theme tune ever since I discovered the channel. It's my go to for blagging with guitarists and bass players that I know what I'm doing. Nice to put a name to it
Your original Dilla feature was epic! I got a lot out of it. About the 5s. I've been shedding the 5 against 4 polyrhythm, and it lends itself quite naturally to the Dilla feel. Kick on 1, snare on + of 3, to keep to the 4 grid, Poly 5 on the hats. I think it works because the 5 on top is naturally between a 4 and 6, half way swung /straight between both, while the kick n snare stay on the 4 grid. It's even possible to flex this and lean on either one, which gets weird.. Or gets us fired!
Check how Chris Dave plays the left hand on those flammy beats, left hand plays straight quarters, its the right hand that gets loose. Either way works but for ease and economy of motion i like Dave's approach a lot.
Ive been working on a dilla feel for a few years and i've always flammed the back beat on the snare after the time keeping hi hat hit. Im wondering if i should re think that or lean into it. thanks for the update, i love your approach here because you're right its much more a mindset and style than an actual set-in-stone beat and the pedagogy of teaching it in 5 is arbitrary and secondary to learning how to feel "the grey area" naturally
I do the flam thing too. Either in front or behind, with kick and snare. It's a good way to imply the feel, before shifting the flams wider into dotted swing notes.
Hey Nate, noticed a sort of tinny high end on the clap stack after the initial 'clap' sound. Have you or anyone got any recommendations on how to minimise this?
*What if you have:* hh hh hh hh Ko So Ko So ... and you play the 2nd and 4th hihats at 60% swing ... and then you move the Snare earlier, like Dilla does *QUESTION 1:* What happens to the 3rd hihat? Do you move it earlier to match the early snare? Or is there like a flam between the early Snare and the hihat on beat 2? *Or ...* do you just leave it out to avoid the conflict, resulting in: hh oh hh oh Ko So Ko So *QUESTION 2:* And if you do it that last way, do you feel the swing of hihat on the upbeat of 2 relative to the real beat 2 or relative to the early Dilla beat 2? *QUESTION 3:* If you're dancing to a Dilla beat, do you step early on beats 2 & 4 to go with the snare or just step evenly, letting the early snare strain against you?
Guess I'm an oldhead here... this is sort of a more refined version of your old Chris Dave video. I've worked these beats for years now with the quintuplet framework. but always felt weak when putting in fills, i default to sixtuplets instead of keeping the five feel. I'm better off not overthinking it
If taking out of context these beats sounds like a beginner drummer trying to keep in time. 😂 But sure when in context ask your fellow drummer to try to master these beats in the next rehearsals. 😊
In one of the dilla videos I watched to prepare for this, somebody made the analogy of chuck berry, who would ask his drummer to play a shuffle, then he would play straight 8ths on the guitar
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I've seen some mention of Jojo Mayer/Nerve during style videos but I looked and didn't see a deeper breakdown. I'm not making a request, I mean - the last thing JM would want is someone to take a lesson to sound like him.
So - structured improvisation that also accounts psychoacoustic representation of pieces that are too complex/fast to replicate as a human is a good chunk of the topic. Sort of like what Divx did - they figured out what parts of the picture your brain wasn't looking at and simply didn't include them in the processed video which could remove from 60%-90% of the original file size. I am certain you can hide stuff in an mp3 that way too - I never really looked at what the codecs are actually doing when they rip/compress a file. /digression
I just find Jojo still kind of one of the most interesting players but really enjoy hearing him speak about his craft. People have told me he is controversial but to this day I still don't really understand why. He's just making the thing in his mind work and we get to hear it. That's what's supposed to happen, I thought.
I've been playing the drums for over twenty five years now, but you are the only drummer on youtube I can watch. You are aren't full of yourself or cocky about the drums at all. Just plan and simple easy to understand beats. Well done.
Suddenly Dilla is everywhere in my TH-cam recommendations. Absolutely everywhere. It's madness. What did I click on?
If you’ve got “oss” in your channel name you’ve come to the right place
@@8020drummer Oh I'm definitely in the right place. I don't drum, but I feel the world weary way you gaze into the cold lens of the camera reflects a sentiment I've long held about the world. I also like the way drummers obsess about how dry a cymbal can get before they're whacking a repurposed baking sheet.
@@OTOss8 sweet, never thought about using a baking sheet. If I can hit it with a stick, then it's a percussion instrument.
When putting the snare first I usually just think about flamming it with the hat, cause that’ll reliably put it first while letting me think in a way familiar to my body
I love the snare+delayed stack.
I appreciate your videos explaining a drummers perspective of this subject. I think it's funny because JD had several drum sounds. Thank you for acknowledging this. Listening to Dilla tapes from 1994, he had a ton of breaks he was using uniquely, he wasn't using one shots a lot. A lot of his techniques comes from DJing, knowing how to use a drum sampler, and syncing loops to fit together.
What people often refer to a 'Dilla beat' is the Soulquarian era JD. I say this one, because he still hadn't taken the name J Dilla until he moved to LA, which is post Electric Ladyland era. These beats are on D'Angelo's Voodoo, so it's more Questlove's interpretation of JD. Mama's Gun, is more Erykah's interpretation of JD. Same with Bilal.
Common's Water to Chocolate and Electric Circus have this "off kilter push pull swing" from JD as well as early 2000s volumes 1-2.
The "licence to rush" on the backbeat doesn't get enough credit in the making of this feel. I'm glad it's been brought to light.
(all the while making the drums sound more "laid back", but with such a counterintuitive trick!)
reverse grace note?
Great stuff! I really appreciate your videos! They are different, filled with useful well presented content, yet entertaining at the same time. Thank you!
I've been shamelessly ripping off the little skip beat thing from your theme tune ever since I discovered the channel. It's my go to for blagging with guitarists and bass players that I know what I'm doing. Nice to put a name to it
Your original Dilla feature was epic! I got a lot out of it. About the 5s. I've been shedding the 5 against 4 polyrhythm, and it lends itself quite naturally to the Dilla feel. Kick on 1, snare on + of 3, to keep to the 4 grid, Poly 5 on the hats. I think it works because the 5 on top is naturally between a 4 and 6, half way swung /straight between both, while the kick n snare stay on the 4 grid. It's even possible to flex this and lean on either one, which gets weird.. Or gets us fired!
Ohhhhh! that intro was smooth
been subbed but can't believe I missed this gold thank you!!
Happy 100,000 subs dude really appreciate yr vids 👍
Delayed hi hat beats are some of my fav to play, you can take any beat and turn it on its head
Amazing. Great playing.
My chap, great video
Cool. Nice explanation. I’ve used this “grey” area in some kind of standard, but old pop music, to get the track sound groovy and not too sterile.
Check how Chris Dave plays the left hand on those flammy beats, left hand plays straight quarters, its the right hand that gets loose. Either way works but for ease and economy of motion i like Dave's approach a lot.
His beats are great to drum along
There's a relation to the flam in there somewhere. Sometimes the left leads, sometimes the right. Sometimes it's only the fla, sometimes just the am.
The word, Swing” has come back in the Dilla Style….I like it,
Thank you Jay Dee 🙏
Ive been working on a dilla feel for a few years and i've always flammed the back beat on the snare after the time keeping hi hat hit. Im wondering if i should re think that or lean into it.
thanks for the update, i love your approach here because you're right its much more a mindset and style than an actual set-in-stone beat and the pedagogy of teaching it in 5 is arbitrary and secondary to learning how to feel "the grey area" naturally
The flams are optional. Personal taste thing.
I do the flam thing too. Either in front or behind, with kick and snare. It's a good way to imply the feel, before shifting the flams wider into dotted swing notes.
Love LA Buckner!
Legend ❤❤
Daru Jones is also a superb Dilla style drummer. Plus he plays excellent rock stuff as well since he has been playing with Jack White.
Sounds to me like the key is to play flams across two different pieces of the kit.
What song is that at 12:07 in the outro?
The Daru Jones #dillamonth videos were great.
Hey Nate, noticed a sort of tinny high end on the clap stack after the initial 'clap' sound. Have you or anyone got any recommendations on how to minimise this?
*What if you have:*
hh hh hh hh
Ko So Ko So
... and you play the 2nd and 4th hihats at 60% swing
... and then you move the Snare earlier, like Dilla does
*QUESTION 1:* What happens to the 3rd hihat? Do you move it earlier to match the early snare? Or is there like a flam between the early Snare and the hihat on beat 2? *Or ...* do you just leave it out to avoid the conflict, resulting in:
hh oh hh oh
Ko So Ko So
*QUESTION 2:* And if you do it that last way, do you feel the swing of hihat on the upbeat of 2 relative to the real beat 2 or relative to the early Dilla beat 2?
*QUESTION 3:* If you're dancing to a Dilla beat, do you step early on beats 2 & 4 to go with the snare or just step evenly, letting the early snare strain against you?
We all drum in some kinda great area
🔥🔥🔥
Good way to lose a gig 6:05 lol no just kidN, very kool grooovin Hard!!
Guess I'm an oldhead here... this is sort of a more refined version of your old Chris Dave video.
I've worked these beats for years now with the quintuplet framework. but always felt weak when putting in fills, i default to sixtuplets instead of keeping the five feel. I'm better off not overthinking it
Can't say I'm a fan of these, but appreciate your explanations. Have always loved your intro groove Nate .. 👍😗
If taking out of context these beats sounds like a beginner drummer trying to keep in time. 😂
But sure when in context ask your fellow drummer to try to master these beats in the next rehearsals. 😊
Drunk beattt
noe
Ever since Miles went electric dudes have been trying to bring in the swing with a downbeat...
You know... it's sorta boogie woogie. It's 8 but not straight 8.
In one of the dilla videos I watched to prepare for this, somebody made the analogy of chuck berry, who would ask his drummer to play a shuffle, then he would play straight 8ths on the guitar
Nah....nice attempt tho
Thanks for the feedback. What specifically did you dislike?