Download Dj Ruffy X To Beat Drums
Elisabet Schwartzkopf
Not only David Ruffy's drums, but also David Ruffy's drumming can be found on this HitSound sample CD, which contains 140 drum loops and 265 single drum hits. Although a few programmed electronic loops have been included, the emphasis is firmly on live acoustic kit playing by Ruffy, an established session musician who has played with artists as diverse as Sinead O'Connor, Mica Paris, Alison Moyet and Aztec Camera.
Many of the loops on the CD are actually one-bar rhythms, which have been cut'n'pasted in the digital domain at the editing stage to create eight-bar loops, though there are also loops which contain fills and variations. All samples on the CD have been level-matched, so you only need to set the input level on your sampler once. Track one of the CD gives you 20 seconds of 1kHz test tone played at maximum level for this very purpose.
Ruffy has provided a rich vocabulary of dance-orientated rhythms for you to draw on, ranging in tempo from 61.9 to 139.5 bpm (every loop is bpm'd with great precision in the accompanying booklet). To give some examples, loops include Swingfill: Straight 4s With Ride Variation, Shuffle Loop With Tambourine, Clean Hippy (!), Clean Swing Loop With Fill, Dance Loop On Eights, Grungy Loop Swing Variation, Funky Laidback, Garage Loop, Ambient Multiloop, Ride Cymbal Layback, Ambient Congas, Manic Bongos, Ballad Offbeat, and Groovy Loop with Cymbal Crash! The overall recorded sound quality is slick, professional, sparkling clean, while the individual kit sounds are crisp and punchy with a contemporary-sounding brashness.
The CD's collection of individual instrument samples covers kicks, snares, toms, hi-hats and cymbals. As mentioned earlier, there are 265 single hits. This isn't to suggest there are 265 different instruments: many of them have been sampled several times in order to capture the timbral nuances produced by hitting a real drum with different strengths and at different positions on its playing surface. You can easily work these variations into your own programmed rhythms by sampling them and assigning them to different MIDI notes or to MIDI velocity splits.
Fourteen samples have been treated with Roland's Sound Space 3D sonic imaging system, but, it has to said, the results aren't particularly impressive. What's more, you need a sampler which can play back stereo samples if RSS is to have any effect at all.
The subject of copyright on the individual drum loops and samples is covered by one ambiguously-worded sentence in the accompanying booklet:"Purchase of this CD entitles the purchaser to use the audio material featured in their music." Er... quite. Presumably, Mr Ruffy won't come knocking on your door if your smash hit single features one of his loops - or one of your own!
If your idea of a good sample CD is Coldcut's Kleptomania! or Norman Cook's Skip To My Loops - in other words, the DJ approach to sampling - David Ruffy's Drums might not be so appealing. There's something much more self-contained about these loops, the sounds are very clean and respectable, and this does tend to make the CD a little lacking in sonic diversity. However, the wealth of rhythm loops on offer provide a great resource for anyone who wants to learn how to put rhythms together. And if you like the idea of working with the sonic nuances of individual drums to create more realistic, natural-sounding rhythm tracks, the single-hit sample variations are a great idea.
In this state, Luffy's heartbeat takes on a musical rhythm which has been described by Zunesha as the "Drums of Liberation" (解放のドラム, Kaihō no Doramu?).[5] His hair and clothes (with the exception of his signature straw hat, belt, and sandals) turn white,[6] his eyes glow with red ring-like pupils, and white clouds float around his neck, similar to the clouds of steam that accompany him in Gear 4. His eyebrows also become swirled and billowing. It seems Gear 5 also transforms Luffy's outfit to his pants and sandals that he usually wears as opposed to whatever else he is wearing,[7] which will return upon deactivating Gear 5.[8]
Despite the strength of this form, due to inexperience, it consumes plenty of energy to maintain and use, even to the point that Luffy can visibly age once de-transformed and experience an extensive amount of exhaustion and fatigue. In the anime, this is further emphasized with Luffy's colors becoming muted. That said, Luffy can transform back by seemingly forcing his heart to beat in the rhythm of the Drums of Liberation.[21] Also, unlike Paramecia awakenings, Zoan awakenings like Gear 5 carries the inherent risk of the innate nature of the animal that the Gomu Gomu no Mi is derived from, namely the "Sun God" Nika, consuming Luffy's mind.[22] In addition, Luffy is still vulnerable to cutting attacks.[23]
After the release of their debut, the Waterboys began touring. Their first show was at the Batschkapp Club in Frankfurt in February 1984. The band then consisted of Mike Scott on vocals and guitar, Anthony Thistlethwaite on saxophone and mandolin, Wallinger on keyboards, Roddy Lorimer on trumpets, Martyn Swain on bass and Kevin Wilkinson on drums. John Caldwell (from Another Pretty Face) also played guitar, and Scottish singer Eddi Reader sang backing vocals for the band's first two concerts.[10]
Although Wilkinson left the Waterboys to concentrate on his other project, China Crisis, the band began to record new material in early 1985 for a new album. Late in the sessions, future Waterboy Steve Wickham added his violin to the track "The Pan Within"; he had been invited after Scott had heard him on a Sinéad O'Connor demo recorded at Karl Wallinger's house.[10][18] The Waterboys (officially a trio of Scott, Thistlethwaite and Wallinger, with a slew of guests) released their third album, This Is the Sea, in October 1985. It sold better than either of the two earlier albums, and managed to get into the Top Forty. A single from it, "The Whole of the Moon", reached number 26 in the UK Singles Chart. Promotion efforts were hampered by Scott's refusal to perform on Top of the Pops, which insisted that its performers lip sync.[citation needed] The album release was followed by successful tours of the UK and North America, with Wickham becoming a full-time member, Marco Sin replacing Martyn Swain on bass, and Chris Whitten replacing Kevin Wilkinson on drums.[19]
The new band, which the official Waterboys' website refers to as the "Raggle Taggle band" line-up,[7] spent 1986 recording in Dublin and touring the UK, Ireland, Europe and Israel with a lineup of Scott, Wickham, Thistlethwaite, Hutchinson and a returning Dave Ruffy.[25] In late November 1986, Scott, Thistlethwaite and Wickham (minus Hutchinson) spent a week in California recording roots and roots-inspired music with producer Bob Johnston and various American session players.[26] McKinney was back on drums for live dates in early 1987,[27] but had been replaced by Fran Been by summer 1987 in a Waterboys lineup which now included Uilleann piper Vinnie Kilduff and which played a free date on the Greenpeace vessel Sirius in Dublin harbour.[28] Another former Waterboy, trumpeter Roddie Lorimer, briefly rejoined for a performance at the Pictish Festival in Letham, Scotland.[29] Some of the performances from this era were released in 1998 on The Live Adventures of the Waterboys, including a famous Glastonbury performance in 1986.
The "Magnificent Seven" lineup disintegrated just before the release of Room to Roam, during tour rehearsals: Scott and Thistlethwaite had opted to fire Noel Bridgeman and replace him with a "tougher" drummer. Wickham, already discouraged, disagreed and chose to leave the band.[7][38] Louisianan drummer Ken Blevins, a more rock-oriented musician, was recruited to replace Bridgeman, but it became evident that the Room to Roam music didn't work without a fiddle in the band, and Shannon and Blakey were asked to leave.[39] With Blivens on drums, Scott, Thistlethwaite and Hutchinson fulfilled the group's tour dates. Unable to play the folk-and-roots material of the past five years, the Waterboys doggedly re-embraced a rock sound and reverted to sets drawn from their first three albums, brand new songs written post-Room to Roam and Dylan covers.[40]
Also during 1999, Scott began re-establishing his musical direction, "bringing (him)self up to speed with rock'n'roll" and basing his new sound on a "psychedelic elemental roar" aided by assorted effects pedals, an Electro-Harmonix MicroSynth, a blues harmonica microphone, harmoniums, a Hindu beat box and a Theremin.[52] The result, released at the end of September 2000, was a new album called A Rock in the Weary Land, for which Scott resurrected the Waterboys name (citing its recognition amongst fans). The album had a new, experimental rock sound inspired by contemporary bands Radiohead and Beck and described by Scott as "sonic rock".[53] As well as new Scott associates such as Thighpaulsandra and Gilad Atzmon, a number of old Waterboys guested on the album: Anthony Thistlethwaite, Kevin Wilkinson and Dave Ruffy. (This would be one of Wilkinson's final appearances on record, due to his death by suicide on 17 July 1999, aged forty-one.)[54][55]
An Appointment With Mr. Yeats returned to Dublin on 7 November 2010 in the city's Grand Canal Theatre.[65] The show was performed at the Barbican Hall, London in February 2011. The album version of An Appointment With Mr. Yeats was released on 19 September 2011[66] and reached the UK Top 30. The band line-up for this album centred on Scott, Wickham and the new Waterboys members James Hellawell (keyboards), Marc Arciero (bass) and Ralph Salmins (drums), joined by guests including oboist Kate St. John and Irish folk singer Katie Kim.
When in Gear Fifth, Luffy's voice turns into the Drums of Liberation. According to him, his heart starts beating funny and sounds as if actual drums of freedom were ringing inside him. Incredibly, these drums sound the same as when the Straw Hat Pirates partied in the Upper Yard on Skypiea.
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