I like the idea of the "slow" snare. It might work great with the David Holloway kit. As for playing the parts, it's actually quite a bit MORE natural to track against the pushed tempo drums. I find myself having to make a concious effort to follow the rigid tempo of an all-the-same drum program. The pushing feels quite a bit more natural to me. Someone else just made a similar observation today. Sion, perhaps? On Mar 15, 2005, at 12:39 PM, Dan Costello wrote:
DB notes. The slight changes in tempo really make a huge difference to the feel of the track
I agree, although I imagine playing the bass and guitar tracks to this must have been a trick... Any suggestions for this as well? Did you just play along with the drum track a few times to get used to those pushes and pulls?
A great example of push and pull-- Aimee Mann (and the excellent producers she has worked with over the last ten years) often slows down "build" sections, parts that are leading up to the beginning of a chorus or new section. And the instruments don't necessarily all do it the same. (again, great "humanization" even though loops and samples are often being used) Sometimes the drums will only slow down a click or two, if at all, but the guitars and bass (and maybe another perc. item, like tambourine) will drag more-- it feels like hitting a steep short hill on the highway in a big old pickup, then getting to the top and picking up speed again.
Another thing to experiment with "humanizing" the drums: add a "slow" snare or toms to your kit. You can even use the same sample as your regular hit, but pull it into an editor and add a very slight extra bit of time to the front of it. This way you can still put the hit in the right place in the sequencer, but still have a bit of push-pull without messing with tempo changes. This works great for the garage-band "Built to Spill" type of lo-fi sound.
DC
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