Linear and Nonlinear Fills
Moving on to this next one uh made some fills and basically we have riffs before and risk after because you that way you can hear the context of the film but these air single stroke linear phil's anything you want to say about that uh you're still just going right left right left it's uh same basic rudiments just applied in another way okay and notice where the accents are in the film and you'll hear in a second get the film that sounds a lot more like what a drummer would play and if you notice the fill itself is not that complicated it's that basic one two, three, four one, two, three, four one, two, three, four one, two three four I feel like the accents are what make it sound more like what a real drummer would sound like you know um let's just keep going with these linear fills and uh I wanted to have quads and here because quads are the most you know most famous fills that anybody does and again we put something before and something after to give you guys a concept but here you g...
o we'll let you hear the phils here I'm going toe actually play those by themselves real quick stars out so people can hear is going on is there anything you want to say about those filles besides that it still is linear snares there kick kick singer singing kick a core tom tom kick it I'm done kicking it's just groups of two between hands and feet now so it's uh it's your classic what? Bill? Yeah it's sze just more lyndon linear concepts cool and, uh I'm going to start moving a little quicker just so that we can get through all of this and not get cut off by the clock but these air some more linear fills and these air in variations of two and four so what would you what would you say about this besides the fact that it's four hits than two you know, then you get a lot of mileage out of just using groups of to use force even just with hands and always using groups of two on the kicks. Um a lot of people want to do stuff words like five threes and all kinds of weird stuff and weird combinations it's really hard for a drummer toe actually play that and you can make stuff sound really cool without going there. Yeah that's actually what I've noticed with a lot of guys is is and we'll have an example some bad fills but what I've noticed with bad programming is a lot of times the phils air just needlessly complicated and they make no sense kind of like what you said like you're five and three or you know seven and something or three and something it makes no sense and you try to play this if you try to air drum it you will see that it makes no sense so don't play this real quick this is groups of two and four put together on the phils all right I'm gonna play that example drums only for people pay attention to the phil's just alternating groups of two and four and that's a relatively simple concept but that sounds a lot more like what a drummer would actually do in that scenario uh which I think is the point of this so let's talk about some of these don'ts all right here's some examples of some crappy programming that you know this sounds exactly like stuff that comes to me and I've been guilty of doing this before so here's the first one it's just makes me laugh when I hear it all right so what about that is basically stupid to try to play it's going really fast between a single kick it and a single hand hit um this is that is that this is actually a great exercise to do on drums but it doesn't really count good uh in programming or like just you hear it it just doesn't sound cool yet it's and most guys who try to do this in real life just can't actually physically play it's just it ends up sounding like like clams and just not you are cool real life either gets garbage here's another one which is odd numbers yeah number of kicks and then drum hits I was a minute on that all right what about that is stupid uh again this is just really awkward to try to play on dh it doesn't doesn't musically work if you think about how you're playing that kick drum you have toe really balance yourself and teo fit in um snare hits or tom hits exactly in between and like sixteenth ounce uh kind of random numbers of kicks is just really difficult yeah and the next one takes it even mohr into random this one I feel like I've heard that before um but that's the same idea with a random number of kicks and just random stuff it just it's where the because also sounds dumb with me playing it back now it doesn't just it's not just that it would be weird for you to play in real life it's that it's just we're playing weird so start talking about nonsense and non linear single stroke fills okay the most basic one that I've got here is the buildup and I've got tio two tempos just so you can hear it metal style in rock and roll style so anything you want to say about this buildup it's just non one year because you got things happening at the same time the tom and the snare happening at the same time and I want to point out that the velocities on this are that you've got accents on the downbeat can you see that even though is building up it's, not just building up on a straight line, you've still got accents in there, and you can hear that even more on the second one that slower time, all right, and then have some more concepts here. This is just some non linear, nonlinear fills for you guys. And can you tell us more about this? Besides, is there anything that people should keep in mind besides the fact that it's crashing kick hitting at the same time? That's usually what it isthe you're hitting it, kicking a crash toe accent off that riff in some way? Uh, you might be on a high note or a guitar chord like you were saying earlier metal drumming, you're really walking in with the guitars? Um, so play to him, yeah, it's the symbols especially I feel like that's, what outlines the melody and, uh, one thing, if there's, any advice that you have for people on these non linear fills, how do you tell the difference between something that makes sense to play in real life and something that doesn't is just air drumming it like this makes sense because I can physically do this, yeah. Yeah that's the best that's your total best policy like kind of looked like a goon in air drum yeah, I said I said way earlier in the class that you might look like a goon doing this but uh it's fine it doesn't matter that's not during this stuff out yeah you've got to get get over that um here's some more some more for you guys. Anything you want to say about that because that's a lot speedier and it sounds a lot more like well, let me play it by itself anything else you want to say about that one so in that one year going from kind of that in the context of mid tempo kind of almost like a skank beet field and so more of a blast pete um and you notice the snare starts with eighth notes before it goes into the sixteenth notes um and then it goes into a blast. Not only does that set up the next musical idea by increasing the perceived tempo but that's great for a drummer to make that feel good because what he's doing temp allies with his hands stays the same going from the spill into the next beat yeah, there you go. All right let's move on to the next example let's go through doubles real quick and we're going to speed through this as much as possible so doubles is just instead of right left right left right right left left right right left left right and then uh this is a doubles example just like the very first one I had of this how it's in doubles those were singles these air doubles and when I find this spot here we are and you see what the riff has a totally different feel okay, so uh that's just two hits on the snare and two hits on the ride and then I'm going to give you guys a beat right here where it's where you have doubles going on uh you can see there in the ghost notes right here you have ghost note examples and uh here you go here's some doubles thrown in so I'm gonna I'm going to say this because as you can see, we still could go on for hours. Anyone who buys this will get the rest of these many examples and all you need to do in order to incorporate these into your style or to learn the uses to tape what we did in the first part of this segment and just apply it to the rest we go into doubles and we go into parroted als and we go into double parodied als and I'll just play it as an example of what those sound like when they're all develop so you can see where we're headed with this but yet lopez style grooves it's, just an example of a double parad. It'll idea way have rail, er paradiso ideas, which are much more go zero like ideas, will play that, so this stuff gets pretty advanced. But if you just take the basic idea of the singles, like some hair rides, ride, snare rights, their rights there or the doubles ride, ride, sneer, sneer, ride, right stance in there or apparent, it'll fly the same concept we've applied. Keeping on going, you add the velocities, you up, the tempo, you add the kicks, and suddenly you're making music. So with that, I just want to thank you for coming on man, and encourage everyone to buy this, because there's a lot more to go over, yeah, for sure. Place around.
Wanna learn how to program metal drums the RIGHT way? In this half-day class, you'll learn exactly how to do it from producer Eyal Levi of Audiohammer Studios (Whitechapel, August Burns Red, JFAC).
Eyal will show you how to program fast, slow, and mid-tempo beats (and yes, that includes every kind of blast beat under the sun), fills, accents, and more. You’ll also learn the art of varying velocities and timing so your programmed parts sound realistic and natural. Plus, you'll hear from Eyal's special guest Andy Marsh (Thy Art is Murder).
If you want to sharpen your drum programming skills, this class is for you.