 With
the Original drummer of the Roots Radics,
you can obviously not go wrong. He knows how
to play a Reggae Rhythm, any Reggae Rhythm.
He comes up with fills and breaks that
only an Originator of Reggae Music can think
of. Especially when you respectfully let him
do what he feels he must do.
Style Scott plays all the rhythms on his
own (Ludwig) drum kit so that part shouldn't
be a problem either. The sounds are the drum
sounds that many look for.
Every rhythm comes with a set of breaks
and fills. And of course the introduction
roll is there, too! Style Scott really plays
the kind of breaks that are simply
impossible to program into a drum computer.
But even the best drummers playing their
own rhythms on their own drum kits will not
be sufficient for a Sample DVD or even a
Multi-Track DVD.
The requirements of the contemporary
(DUB) Reggae Producer are as high as the
requirements back in the days when Reggae
was Iriginated in Jamaica.
Just different. But the needs are the
same. As some would say, "Ire Ites":
High Regions, Heights!
The rhythms should be Ire, and the
selection should be Ire Ites too.
All the basic rhythms should be present:
from the One Drop and the Steppers to the
Two Drop. And they shouldn't all be played
in straight, or in swing either.
Don't worry, whoever did the selecting at
DRUMDROPS knew exactly what he did. And what
the producer needs!
All the rhythms from the days of Rockers
to the time of Rub a Dub are covered in the
selection. And some of them are even
recorded in that time.
THE PERCUSSION
Even though percussion is often placed in
the background during a final mix-down, they
form an essential part of the drum rhythm
for they can create an extra atmosphere on
top of the drums.
Every drum rhythm on DRUMDROPS IN DUB
VOLUME 1 comes with a wide variety of
authentic percussive instruments. Even the
famous Rasta Kete drum is present!
Norman Grant and Tuca Rainbow play
several tracks on each rhythm, ensuring you
with virtual endless possibilities.
Many (DUB) Reggae producers are looking
for original Nyabinghy Drumming. They will
also find what they are looking for with
DRUMDROPS IN DUB VOLUME 1. And it will not
surprise them to read that there are several
different variations and tempo's on this
true Rastafarian Rhythm.
THE SOUNDS
Everything is recorded on analogue equipment
and comes with additional effect-tracks ,
which you can simply add to the dry drums.
These effects are impossible to reach
with computer software or even with digital
devices.
Sometimes the effects are already mixed
together with the drums, in one sound file
though. But each time you'll get the dry
version too.
These effects are all analogue too. Plate
and Spring reverbs, still unmatched by their
digital counterparts, stand predominate.
The effects are beyond the reach of the
average DUB producer. Still they form an
integral part of the sound that many seek
after.
And there's more effects too, even some
"esoteric devices" are
used.
On-U producer Mike Pelanconi and Style
Scott himself carefully used these effects
to create an authentic sound that is
impossible to get elsewhere.
The people at DRUMDROPS have divided the
effect-tracks into an "FX" and a
"DUB" category and rightfully so.
Every (DUB) Reggae producer knows the
difference between using an effect to add
some spice to a dry track or to DUB it hard!
The FX tracks contain a skillful
soundscape that blends perfectly with the
dry drums.
Obviously....
Obviously?
No, actually not.
DUBHEADS wouldn't consider these FX
tracks sufficient to get a true spaced-out
sound. The King Tubby's among us
would have applied a different
configuration.
For them, DRUMDROPS provided DUB tracks
with the beats and breaks.
Without these effect tracks, the drums
sound fat enough. They make you realize the
meaning behind the phrase "Dry &
Heavy".
Every Reggae bassist will immediately
hear the bassline (s)he has to play with
these tracks. That is a guarantee.
Every true DUB engineer is waiting for
dry and heavy drum tracks like these.
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