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Skratch Lessons: Drumming 7.1

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So, what's up everybody?
This is Alex.
Welcome to another tutorial related to the
part drumming.
In this lesson, I will, well, I try to
give you some inspirations for
cutting drum scratching sequence with a BS
combo so it's a accronym for a bass drum.
Snare combo, so and I'm gonna s, or I'm
gonna demonstrate
explain three different variations by
using a very famous
crossfaded performance, it's a boomerang.
Scratch and also the swing flair.
And we tackle also a triplet pattern.
So I hope you like it and bye bye.
So okay.
Some basics at a glance.
I work [SOUND], with the bass drum
[SOUND], snare combo, logically.
And, as you could hear.
[SOUND] It sounds really noisy.
[SOUND] So the sound is basically
destroyed [SOUND] But this noise here,
this noise is a soundscape, which is very
comfortable for cutting.
And this is, quite cool.
[SOUND] To play the respective pattern,
I'm gonna show, show you now.
So, we start with the first pattern.
The first pattern is a so called triplet,
drum scratching sequence because I play
the transformer, and
also the record motion as a tablet, or
with other words, in a irregular rhythm.
We will watch the demo at first, and then
I will explain the moves.
So let's focus first on the record motion
[SOUND] Using the crossfader.
The first quarter of this sequence is
divided into two similar triplet pattern,
played with the record.
It goes by moving the record first, in
shape of a forward.
[SOUND] Yeah, only into the distance
between bass drum and snare.
So, and then follows a backward motion.
In a slower motion intensity, but
important is that we don't move the record
back to the start point of the kick drum.
[SOUND] We stay in the distance, okay?
This is necessary, okay?
Only the distance between.
The bass drum.
[SOUND] And the snare, okay.
Once again, forward and then backward.
But we stay in the distance.
So, then or you must move the record
forward after this.
[SOUND] But not til you arrive to snare,
and then another backward stroke.
So basically like this.
[SOUND] Yeah?
But now, important, you must count the
triplet mode.
So, and as you could, or as you can
remember hopefully,
I have explained this in the previous
tutorials, a triplet is count like this.
[SOUND] One triplet, two triplet, three
[SOUND] You must.
So this is the goal.
[SOUND] So and.
[SOUND] To arrive to this you must play
the record motion like.
[SOUND] Okay?
Try to count, one triplet, two triplet, to
get this ring or
rather shuffle, down for the right beat
So you can repeat this.
Once again.
Here we start with a kick.
And then we stay basically in the distance
between, between kick and snare.
So when you have mastered this playing
style you have created the fundament for
the remaining part, yeah?
Due to this fact, we can, at this point
incorporate the cross fader sequence.
This is a more comfortable for the
It's done, like I said in the beginning,
by transforming the sound.
But it's also possible to play a tweeter,
if you prefer.
So what is important is that you cut the
sound in the triplet mode like I said.
So, and then.
[SOUND] Yeah?
So, it's helpful when you train this at
One two three, one two three,
one two three, one two three.
And then when you got it down you must
combine this.
[SOUND] With the record motions.
It means.
That means that we.
I have to cut the first quarter of the
beat so the distance.
[SOUND] From the first kick drum.
[SOUND] To the point when the snare comes
[SOUND] You must cut this six times with
the transformer click.
So a little q and A over a high hat.
So okay.
After we have played the snare on the two
we move the record in a slow motion
intensity back to the start point.
So that means let me combine the first
quarter and the second.
Goes like this.
So, and this backward motion, this also.
[SOUND] Played in a triplet mode.
You must, you move the record [NOISE] like
this, but
the crossfader [NOISE] motion is
responsible for
creating this triplet style or shuffle
So we must play this in a time where you
in which we arrive
at the bass drum exactly on the three beat
or the unition on this three beat.
To be able to repeat the whole sequence
once again, yeah?
That means.
So, after we have placed the snare,
now on the four beat we move the record
back to the start point.
Then [NOISE] the one-sixteenth time value
and stop the bass drum in
a triplet mode to introduce the following
bar This is another variation.
[SOUND] Like this here.
Okay, this is the bridge.
[SOUND] So, okay.
Now a little Q and A follows to support
you during your staff training.