A Routine for One Kick

[peter]

Hi guys.

www.thediametrixletter.com/kickplet2.mp3

This is a good routine to build control and
separation between triplet and 16th notes
on the single-kick. Both kicks would benefit.

Of course, there are many variations that
you can generate. The important thing is
to alter from one pair to the next.

[alencore]

seems it's those ala Bonham two note groupings triplets on single pedal. nice.

[peter]

Well, he was a great player. I believe he was
among Rock's very best.

The challenge is going from a pair of triplets to
a pair of 16ths and at decent tempos, keeping
them useful.

Speed for speed's sake just doesn't cut it for
me. I need to be able to take it and use it in
tunes without hurting the composition but still
coming off with a signature, if you know what
I mean.

I think a good example of this, today, is Vinnie.
He uses it just right and sparingly. When I see
him live, he'll pull it out but not dish it out and
among all of the other things he's doing.

Virgil's the same way and different, at the same
time. You can hear his clean rudimentary com-
mand. His singles, doubles, diddles and flams
are all beautiful and woven into combinations
with his kicks.

Then, there's that metric command that he exerts
over these patterns, bending them, cutting off a
16th here and and 8th there... That's what it's all
about for us.

He makes you want to do it!

[alencore]

Originally posted by peter
Well, he was a great player. I believe he was
among Rock's very best.
Yeah, he's one of the big cats.

Originally posted by peter

The challenge is going from a pair of triplets to
a pair of 16ths and at decent tempos, keeping
them useful.
Although listening to the sound file, I can't help but say as if it's a beginning drummer who can't control his 16th notes, lol. Hehe, it's just sounds so technical. So making them musical is the real deal.

Originally posted by peter
Speed for speed's sake just doesn't cut it for
me. I need to be able to take it and use it in
tunes without hurting the composition but still
coming off with a signature, if you know what
I mean.
Hehe, it's a never ending quest for us maturing drummers to always make it fit but sounds exciting enough.

Originally posted by peter
I think a good example of this, today, is Vinnie.
He uses it just right and sparingly. When I see
him live, he'll pull it out but not dish it out and
among all of the other things he's doing.

Awesome drummer indeed. From fusion techies stuff to master grooves or whaling rocking stuff, he can do it all.

Originally posted by peter

Virgil's the same way and different, at the same
time. You can hear his clean rudimentary com-
mand. His singles, doubles, diddles and flams
are all beautiful and woven into combinations
with his kicks.

Then, there's that metric command that he exerts
over these patterns, bending them, cutting off a
16th here and and 8th there... That's what it's all
about for us.

He makes you want to do it!
I saw him perform live luckily I was just a meter away so I was hearing the drums more acoustically the way I always wanted to hear such a drummer and man what a day I had. All you mentioned are totally correct. They guy is just AWESOME.

[peter]

Regarding the control of 16th's, you're right
in that they're the grouping that comes after
1/4 and 1/8ths and as a result, are not as
difficult BUT when played consecutively, with
one pair of 16ths, followed by a pair of the
triplet, it's another story. Even seasoned
players have trouble with that.

Yes, Virgil is the bar and that bar is so high.

[peter]

You can try this too:

www.thediametrixletter.com/kickplet3.mp3

[alencore]

ok i'm downloading your new file but darn my connection is soooo slow as of the moment so i'll comment later.

[alencore]

sounds more groovy this time.