UJAM Drummers Explained®
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4:47 Getting to Know the Interface
Hear what the three drum instruments sound like, and get an overview of the main elements in the user interface.
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4:54 Live Triggering & Latch Mode
See how the beginnings and ends of fills and grooves seamlessly blend together when triggering parts while the transport is playing and Latch Mode is enabled.
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6:57 Sequencing & Multi Samples
Follow along as sequenced patterns and fills in the upper octaves are set up in a typical DAW environment. Then hear how sequencing additional individual multi samples from the lower octaves, along with the patterns, creates more interesting parts.
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3:40 Phat
Explore the various drum kit tuning and microphone presets, as well as the mixing console character settings of the Phat instrument.
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4:15 Solid
Hear the range of drum kit, mic, and console settings the Virtual Drummer Solid is capable of.
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4:05 Heavy
Discover the range of tones and mixer settings available with the Virtual Drummer Heavy instrument.
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6:41 Creating a Drum Part
Follow along as trigger notes and fills are programmed in on a singer/songwriter rock arrangement, using Virtual Drummer Heavy.
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4:07 Automating Virtual Drummer
See and hear how automating the feel and individual kit piece levels at different sections in the arrangement enhances the nuance and realism of the overall drum part.
Product Overview
Studio wiz Eli Krantzberg reveals the new virtual drummer instrument from UJAM! Learn all about its features and functions, as well as see it in-action in a real world session.
Eli starts by welcoming you and demonstrates what the three different drum instruments (Phat, Solid, and Heavy) sound like, and gives an overview of the main elements found in their user interfaces.
You’ll then learn how to make the beginnings and ends of fills and grooves seamlessly blend together, followed by how to sequence patterns and fills including individual multi-samples for adding in extra parts.
You’ll then get 3 videos, one dedicated to each of the different drummer versions, Phat, Solid and Heavy, and then how to create a drum part from scratch for a singer / songwriter production.
Wrapping it up, Eli demonstrates how automating the feel and individual kit piece levels at different sections in the arrangement enhances the nuance and realism of the overall drum part.
See the individual tutorial descriptions for more info. If you’re new to UJAM Drummers, or just want to know more about it before you dive in, look no further… Watch “UJAM Drummers Explained®’ today!
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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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