Nigel Lord's drum programming series goes offbeat this month, with a couple of unusual patterns that lend themselves to multiple applications...

On the RE:MIX CD

The drum sounds that correspond to the On The Beat patterns can be found on the RE:MIX CD

Continuing our theme of including non-percussive, ambient sounds in amongst the instruments which go to make up our rhythm patterns, I'd like to introduce you this month to a further couple of rhythms. While they may seem unconventional, they also offer plenty of scope for expansion and experimentation.

I have explained my reasons in the past for shying away from specific descriptions of the musical style of the examples included in this series; apart from anything else, I wouldn't want to frighten anyone off with pidgeon holes where they're not comfortable. More than anything, a description can affect your perception of a particular rhythm, which you might otherwise have used productively with your particular style of music.

In the case of these two patterns, however, I honestly wouldn't know how to describe them. With a highly eclectic choice of instruments/sounds and a fairly complex programming structure, each pattern defies easy categorisation. You have no choice, I'm afraid, but to program first and ask questions later.

As you can see, the patterns are reproduced as single-bar grids, and in the case of Pattern 1, this extends to some sixteen bars of programming, using fifteen different instruments and sounds. Pattern 2, though only half as long and slightly simpler to program, still includes eleven separate instruments to achieve the desired effect – quite a way from the bass drum, snare and hi-hat programming which makes up the majority of beat box programming.

(Click image for higher resolution version)

Despite their complexity, there should be nothing to daunt the average programmer. In fact, simply entering the beats as they appear on the grids is probably the easiest bit. The tricky part is adjusting instrument levels, and tweaking individual notes until the pattern starts to regain the dynamic structure. The structure is inevitably masked by the use of only four velocity levels.

The other main difficulty will be 'topping and tailing' the samples featured on Re:Mix until they trigger at precisely the right point for the patterns to hang together as they should. As I have previously suggested, auto-trigger sampling is probably the best method of avoiding blank space at the top of any sample, but you'll need to set the threshold level to take into consideration the beginning of each sound, if you are using this method.

For those without the benefit of a sampler – what can I say? The best of luck trying to find similar instruments and sounds. The conventional drum and percussion instruments shouldn't pose much of a problem, but the more ambient stuff may be a little difficult to replicate. Thinking about it, this could be a great place to advertise the sampler I have for sale, but the Ed'll probably insist I use the free ads like everyone else.

See you next month...

(Click image for higher resolution version)

(Click image for higher resolution version)