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25 Videos
Length: 3hr 16min 15sec
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    Tutorial 1

    Intro to the Single Stroke Roll

    3:55

    Rudiments are technical sticking exercises that can be creatively applied to the full drum kit. In this series we will look at these basic sticking patterns and see some of the ways drummers approach voicing them around the kit, and how this can be applied to drum programming. The single stroke roll is the most basic, utilizing straight hand to hand sticking (right - left - right - left).

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    Tutorial 2

    Single Stroke Sticking Patterns

    8:31

    See how the single stroke roll is used as the basis for basic grooves and beats, as well as several variations.

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    Tutorial 3

    Single Stroke Roll Fills

    8:27

    Learn some different ways of applying right - left sticking around the kit for fills and variations, and how left or right feet (hi-hat or kick) can substitute for one of the hands in the pattern.

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    Tutorial 4

    Double Stroke Roll

    7:26

    Also referred to as a 'drum roll', the double stroke roll is achieved by tapping twice with each hand in rapid succession. At faster tempos, the stick is bounced off of the drum head, and controlled with the fingers.

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    Tutorial 5

    Triplet Singles & Doubles

    8:20

    Interesting three against four patterns are created by using either single or double stroke patterns in triplet based values. Watch as complex triplet based figures built around single and double stroke rolls are programmed up in half-time, and then doubled within the DAW.

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    Tutorial 6

    The Single Paradiddle

    6:20

    Learn how single and double strokes are combined to form the single paradiddle, and how the sticking leads to naturally alternating hands every four beats.

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    Tutorial 7

    Single Paradiddle Grooves

    5:52

    Watch as paradiddle sticking is used on different surfaces within a phrase to add drive and complexity to otherwise straight ahead grooves.

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    Tutorial 8

    Single Paradiddle & Shifting Accents

    8:24

    See how adding some accents on top of different kick drum patterns can generate a wealth of ideas and variations to add color and drive to a groove.

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    Tutorial 9

    Single Paradiddle Voicings

    6:51

    Learn some of the ways paradiddles are voiced on the drum kit for soloing and longer fills.

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    Tutorial 10

    Paradiddle Inversions

    7:40

    Discover how to create further variations of the single paradiddle by displacing the start of the pattern within each four note grouping.

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    Tutorial 11

    Paradiddle Fills

    6:09

    See a double time triplet fill idea programmed up between the kick, snare, and floor tom, using each of the four paradiddle inversions.

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    Tutorial 12

    Inverted Paradiddle Grooves

    7:02

    Learn how to use the inverted paradiddle sticking within grooves in order to form longer patterns with irregular accents.

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    Tutorial 13

    Paradiddle Style Linear Grooves

    8:11

    Watch as various single paradiddle sticking permutations are applied to kick, snare, and hi-hat in 'linear drumming' style - meaning no two sound surfaces play together at the same time.

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    Tutorial 14

    The Double Paradiddle

    9:33

    See how double paradiddle sticking is used in both triple based meter ( ex: 12/8) and duple based meter.

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    Tutorial 15

    Afro Cuban Double Paradiddles

    7:34

    Watch as some afro cuban style beats are developed from the double paradiddle sticking pattern voiced on various elements around the drum kit.

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    Tutorial 16

    My Favorite Double Paradiddle Fill

    4:24

    Watch as a straight double paradiddle is converted into an exciting, blistering fast drum kit fill.

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    Tutorial 17

    The Triple Paradiddle

    7:17

    See how this eight note sticking pattern is used both in grooves and in fills.

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    Tutorial 18

    The Paradiddle-Diddle

    6:10

    This six note grouping adds an extra pair of double strokes onto the end of a regular paradiddle. See some of the ways drummers use this chop busting rudiment for some flashy movement around the kit.

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    Tutorial 19

    Paradiddle-Diddle Continued

    9:56

    Watch as this six note sticking pattern is used in mid and uptime swing, as a busy 32nd note based fill, and as the basis of a half-time shuffle.

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    Tutorial 20

    The Single Drag

    8:33

    Learn how the closed drag is used to add two quick ghost notes before a main tap or accented note.

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    Tutorial 21

    The Open Drag

    8:09

    Explore the drag sticking pattern as it is played in rhythmically even divisions, and applied to grooves and fills around the kit.

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    Tutorial 22

    The Five Stroke Roll

    6:13

    Learn how this simple rudiment is used to add ornamentation to hi-hat parts and funky grooves, and how it can be used to create some double time fills.

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    Tutorial 23

    Five Stroke Roll In Action!

    10:36

    Watch as an interesting, continually evolving drum kit part is created based on the five stroke roll sticking pattern.

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    Tutorial 24

    The Six Stroke Roll

    10:47

    Learn how to apply the six stroke roll creatively in fills and grooves in both triplet and duplet based meter.

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    Tutorial 25

    Useful Grooves

    13:55

    Learn how to program some interesting versions of standard beats, complete with the use of realistic accents and ghost notes.

Learn to program drums like a real drummer! Eli Krantzberg, musician and DAW extraordinaire, shows you all of a drummer's "secret weapons" that make real drumming sound, well... real! Your beats and fills will be so much better and authentic sounding after watching this series... Eli guarantees it!

Eli starts off simple with single stroke sticking and fills, the backbone of all drumming and beats. He then gets into double stroke rolls, triplet singles and doubles, and paradiddles. He shows you how to creatively use these drumming basics when programming drums in your DAW, making your beats and fills groove and sound like a real drummer.

Next Eli gets into more complex rudiments such as inverted paradiddle grooves, afro-cuban double paradiddle grooves, his all-time favorite fill, tripple paradiddles, single drags, open drags, five stroke and six stroke rolls, useful grooves and much, much more.

If you want to program realistic sounding drums with all the nuance of a real drummer, look no further. Eli shows you all this and more in this power packed offering, "Drumming Explained". Get yours today.

Spoq
Submitted 2 months ago

I was deaf but now I hear (and feel)!

This is GENIUS. I even feel like givin it a bad review to steer people away because it is so good I wish I was the only one who had access to this. It is pretty much the difference that makes a difference in programming drums... awesome.

I am a: Semi-Pro, Game Designer, Producer

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admlemur
Submitted 4 months ago

Good stuff

I have no prior experience to drumming (apart from knowing what a paradiddle is), so this felt like a good choice to fill a gap in my knowledge, and I was right. Only gripe comes from the moderate amount of splelling erors in the instruction texts in the videos (but don't let this stop you from buying this!) But overall there's a good amount of quality material here.

I am a: Semi-Pro, Producer, Professional, Musician, Hobbyist

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AlligatorGar
Submitted 7 months ago

Great info for more realistic drum tracks

So many drum tracks (especially mine) sound sterile and machine-like. I believe the knowledge from this course will help vary and improve the feel of my music.

I am a: Hobbyist

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1. When did you start dabbling in music?

I started playing drums in high school at age fourteen. Like most kids my age around then, I was into progressive rock. Genesis, Emerson Lake and Palmer, and Yes. They rocked my world. A few short years later though, my musical life changed. While studying music in college I discovered Charlie Parker, Milt Jackson, Sonny Stitt, and John Coltrane. Milt Jackson spoke to me in such a profound way that it left me no choice but to take up vibraphone.

These great players, along with  drummers like Philly Joe Jones, Max Roach, Art Blakey, and Elvin Jones changed not only the way I thought about drumming, but also music - and by extension, life - as a whole. I realized life was meant to be a creative endeavor. The idea of improvising based on a loose set of guidelines and rules permeated into my psyche even when I wasn't holding a pair of drumsticks or mallets. But if I am going to be perfectly truthful, I have to hold Henry Miller and Woody Allen equally responsible for shaping the way I view and experience the world around me. 

2. What training have you had?

I am currently an Apple certified Logic Pro. Young and cocky, and armed with only a partial University degree, I dropped out of school and  began playing steady commercial hotel engagements and jazz gigs when I could. This went on for many years until I decided it was time to complete my degree - which I ultimately did with a major in Political Science and a minor in music. 

It was at this point that I formed my current band Nightshift. We are going in to our twenty third year now - playing commercial one nighters like weddings, corporate events, etc. Don't turn your nose up at it though - it has allowed me a wonderful quality of life. It gave me the freedom to go back to school and complete a post graduate degree in Communications Studies - all the while supporting myself by playing weddings.

3. When did you get into recording?

It was in this graduate program - in the early nineties - that I found myself drawn to the fledgling emerging universe of hard disc recording and midi sequencing. Based on nothing more than the recommendation of one of my band mates who had an old Atari, I jumped in head first and bought a Mac LC ll, along with a version 1.1 of what was then Notator Logic. I had no idea what I was getting myself into. But, in hindsight, it was a decision of epic importance in my life - shaping my future as much as the music of Milt Jackson and Charlie Parker did fifteen years prior. 

I opened up my own commercial home studio in 1998 and began doing a variety of projects, working on radio jingles, artist CD projects, and whatever came my way. A couple of years later a colleague called me up - desperate. He was working at a post production house and one of the editors had just quit. They were doing audio post for a weekly TV series and needed a Pro Tools editor - and fast! And so, once again, I jumped in head first into what would ultimately open up my world even more - the world of Pro Tools. 

4. People you have worked with/for?

Focusing on Logic, I built up a small but loyal client base and my phone kept ringing for Logic tech support and instruction. Film composers and studio owners all over the city were calling me. Even the music stores were giving out my phone number at this point! This kind of stuff becomes a self fulfilling prophecy. The more of it you do, the more calls you get to keep doing it. At least that's the way it should be!

As my Logic chops kept growing, I was hired by an old buddy of mine, Len Sasso, who was then an associate editor at Electronic Musician magazine, and began writing some columns for them. I had a blast doing them - and really learned to focus and express my thoughts in a concise and clear manner. This lead to a collaboration with LA based composer Terry Michael Huud on the 2006 film called Civic Duty - which was certainly one of the highlights of my professional life as a composer. 

5. Why are you so good at training people?

I wake up every day excited to boot up, and create. Whether it's instructional videos, creating music, working with a studio client, performing with my band, or teaching at the schools - my days are filled with what I love doing. Enriched by the stimulation and creative freedom this modern music making software brings to my life. I bring that excitement and passion to each and every training product I create. My years of experience both using and teaching these programs has taught me the best way to make the user comfortable with these complex programs.

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Drumming Explained is rated 4.8 out of 5 by 3.
Rated 5.0 out of 5 by from I was deaf but now I hear (and feel)! This is GENIUS. I even feel like givin it a bad review to steer people away because it is so good I wish I was the only one who had access to this. It is pretty much the difference that makes a difference in programming drums... awesome.
Date published: 2017-02-10
Rated 4.0 out of 5 by from Good stuff I have no prior experience to drumming (apart from knowing what a paradiddle is), so this felt like a good choice to fill a gap in my knowledge, and I was right. Only gripe comes from the moderate amount of splelling erors in the instruction texts in the videos (but don't let this stop you from buying this!) But overall there's a good amount of quality material here.
Date published: 2016-12-05
Rated 5.0 out of 5 by from Great info for more realistic drum tracks So many drum tracks (especially mine) sound sterile and machine-like. I believe the knowledge from this course will help vary and improve the feel of my music.
Date published: 2016-08-28