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  • Hi-hats?

    One of the complaints when drum machines first came out was that it was hard to program a convincing hi-hat pattern. Some people would actually program the kick and snare parts and then get a real drummer to play the hi-hat parts.

    A lot of the "groove" or "feel" in any given drum part usually comes from the hi-hats and being able to play them well is a mark of a good drummer.

    I've heard this song dozens of times on the radio and every time I hear it I'm drawn to the hi-hats. I just can't hear any type of coherent pattern. There are sections where it almost seems as if they were programed with a random numeral generator.

    So what's up with the hi-hats on this song?.

    Last edited by Folder; 11-04-2016, 08:38 PM.

  • #2
    The drum machine pattern in that song is very much in-line with what's going on in contemporary urban/hip-hop music today, so I think they were aiming for a cross-genre multi-format hit. I am far from being a hip-hop head, so don't quote me on this, but I think this track borrows elements from something called "trap", which is a sub-genre of hip-hop that's really popular now. I don't create this kind of music, so I don't exactly know how that particular element is achieved, but maybe googling interviews with trap producers might give you the information you're looking for.

    Many people still don't care very much for hip-hop, and admittedly, I would include myself in that camp, but one place musically where I have to give it credit is that it really leads the pack in innovations regarding rhythm. "Can't be played by a real drummer? No problem. Let's see how far out we can take it." That kind of creativity, I can respect.
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    • #3
      The hats are a coherent pattern. The rolls are in triplets and there is some clicking on the ups of 16th notes which may be disorienting.
      Originally posted by Unconfigured Static HTML Widget...








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      • #4
        The hihats are being played rather like a tambourine. Not just a time-keeper, but some expressive variety between the 16th note patterns and the "shakes" which, as noted, are triplets worked in at various points. I can hear a tambourine totally replacing the hihats without changing the feel very much -

        nat whilk ii

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