Percussion Loop
Brigitta Martini
The Infinity 2.0 Beta Pack is 3.8 GB of samples for hip hop, r&b, dancehall, and more. Inside you will find a bunch of folders containing different types of samples - melodies, vocals, drums, fx, and a folder of 96 percussion samples we recorded in a symphony concert hall.
The Percussion Toolkit is one of the our best free percussion libraries available. Over 100 high quality stereo recordings of world percussion instruments including things like african djembes, congos, bells, etc.
For Toy Shop Vol 1, our production team went to a thrift store to find the most unique toys to record samples with. This resulted in a free percussion sample pack that will instantly give your productions an extra layer of interesting sounds.
The free percussion loops, samples and sounds listed here have been kindly uploaded by other users for your commercial and non-commercial use on a royalty free basis (subject to our terms and conditions). If you use any of these percussion loops please leave your comments.
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No, currently the drum loops are audio recordings that are played back, similar to backing tracks that you can play by USB or AUX In connections. There is an Ideascale vote for this feature, so please feel free to increase the vote count. -TEMPO-IN-SPIDER-V-DRUM-LOOPS/858610-23508
There is also the metronome that has a large range of different sounds, cow bell, high hat and whatnot that is completely adjustable in terms of tempo. If you simply need a rhythm at different tempos for practice, it's present. In addition, if you have a set of miked drums, you can input that for use with the looper.
Interesting, so the RELAY wireless support (V 60 and above) for cable free instrument connectivity, very flexible looper (especially with the FBV 3 foot controller), very large selection of amplifiers and cabinets and easy to use interface are much less important that tempo controlled drum loops?
Line 6 does listen to their customers and several of the ideascale submissions did make it to the product. If it's technically possible to bring this to the Spider V and the votes are there, I'm sure it'll come to the amp in a free firmware upgrade. If it's not technically possible but is requested, a future product will likely have this addition.
I have a very old Yamaha board, which is more than 20 years old, this multieffect board have a synthesizer and a drum looper, which can actually make the job. Therefore it's simply not good enough for a new amplifier for 2018 that such basic functions is not support !
The reason for looking at the Spider V was in fact the fact that it could replace my old Yamaha board, and my POD PRO XT. So for convience it would be great, but now the feature is no longer there. So the complete idea is gone I will stick to my Yamaha, POD Pro XT and Randall setup.
The nonadjustable tempo on the drum loops is a bummer, be sure to vote on ideascale! Another option would be to use the USB or AUX in on the back to play drums loops from an external device or even your phone. There's some really great drum loops apps available now, I really like Drum Genius.
I agree that it's disappointing not to be able to change the drum loop tempo, but, at the same time I would not say it's totally useless or just stuffed in for marketing purposes. It does make it fun when exploring new sounds and testing riffs when practicing alone, and like someone else mentioned, if you connect to software you'd end up using other drum machines and effects anyway. Lastly, I think the main reason you can't change the tempo is 'cause the drums are LIVE tracks and the sound of the drums would get higher or lower in tone depending on the tempo change. You know, Alvin and the chipmunks at high speed or a blob sludge monster at low speed, lol. Anyway, just my two cents. I didn't really buy my V60 with drums in mind so to me it's still a quality add on and I'm happy to have it, but I also agree, the ability to change tempo some how would be nice.
Like was said above, there are a lot of different metronome selections that are all fully adjustable. And there are a lot of different drum loops with lots of varying tempos. It is not just three or four drum loops, and that is it -- way more than that. But, please post what you end up deciding on. I know I am interested.
Ok, this is an overview of some of the techniques/methods that I use as a drummer to play with looping material. (And for the record, I use some of these same kind of techniques in non-looping contexts as well, and they also work there.) Note, too, that these are things that have worked for me, working in improv and improv/rock settings -- YMMV in other contexts, It's been educational for me to sit down and try to spell out some of these things; hopefully they may be of some use for those of you that have had problems with drummers/percussionists being uncertain of how to approach playing with your loops.
I'm uncertain of how well some of this translates into English -- when I'm doing it, I'm thinking in terms of the sound, not in terms of "Ok, so let's see, what next..hmm.." They make sense to me, but may be gibberish to someone else. If so, let me know, and I'll try to clear up those points (or provide audio examples). Also, I'd love to hear other suggestions on things to try, so shout 'em out!
You may not hit the loop the first time around, or even the 2nd or 3rd. No big deal -- just keep listening, and if you are making "mistakes" (in the sense that you are way off-time with the loop), make them very purposively and assertively. If the rhythm you are playing is saying to the audience and musicians around you "Yeah, I'm off-beat, so what?", it will blend much more smoothly, and no one will question it.
For extending the rhythm to match a loop that is longer than what you had been playing, you can either do it all at once or transitionally. All at once (in the sense that you are just going to jump to new, more or less different rhythm that fits the loop is harder -- you need to be really on the ball, and have a strong intuitive feel of where the loop is going to repeat.
Transitionally extending the rhythm is easier, though it can be a little different from the standard "keep the beat, keep the beat" concepts of drumming that you are used to. The two ways I approach this are to slowly increment the length of rhythm, playing the same basic thing, but adding another beat or two onto the end of it at each iteration of the measure (which, you'll notice, is slowly getting longer each time). Again, listen carefully to the loop to see when you are in sync.
Another related method is what I've thought of as "stretching" part of the rhythm out. That is, you play the rhythm that you have been playing, and "stretch" the end of it out until the point where you hear the loop repeat. The most straightforward ways I've found of doing this have been to do a fairly constant/simple snare fill, or cymbal swell. Once again, listen carefully, and be ready to jump the instant you hear the loop point. You can use this either as a new component of the rhythm, repeating it during each further iteration, or you can use it as a "resting spot", to stop and think about what you are going to do with this loop on further variations.
At this point, I can hear some of your drummer friends saying "Increment the beat? But I don't know how to play in 7/8 (or whatever)!". Easy -- you don't necessarily need to know how to do it to actually be able to do it. Don't count the beats -- if you aren't comfortable with the time signature you wind up in, you are just making it more difficult for yourself than it needs to be. After all, who cares what signature you are playing in? What counts is how it sounds -- "Listen carefully" is the single biggest tip I can give you in trying to pull all this off, right in front of "act very quickly". I find that "singing" the drum beat to myself in my head helps me do all this (and other things) that I am completely unable to do if I'm actually trying to "left-brain" my way through it. Worry about how it sounds, not what notes are being played. If it sounds good, the notes will take care of themselves.
This is also a somewhat problematic technique for some drummers, in that they are all alone in keeping the beat. Too bad; learn how to do it -- they are the drummer after all; they shouldn't need to have someone else there "hand holding" their way through the beat. Other drummers will have no problem whatsoever in doing this; again, "singing" the theme/riff to myself always helps me in not falling too far off. So does just "tuning out" the loop, if needed (though not completely; you need to find the inbetween point of "listening while not listening".)
This general technique is also useful to provide continuity between related loops that are cross-fading. I do something like this on "If's it wrong to be right.." and "Why is it so hard?" on the 2nd Gravitar CD.
I also use this one on Gravitar's 2nd CD, on the song "Automaton". The basic guitar theme is a simple triplet-based group of 4 or so notes, repeating in a self-similar, but fairly constantly shifting pattern. When recording it, I knew that the guitar player would be going into a heavy textural section for most of the middle of the song, and would leave some part of the the triplet pattern looping in the background. Rather than worrying about what configuration of this pattern he would come up with this time in the loop, I instead made the whole rhythm of the drums a somewhat simple tripet-based pattern, allowing me to fairly freely shift accents back and forth at will -- this suggested the triplet pattern of the guitar riff, but didn't tie me directly to it, allowing me to play against whatever loop pattern would come up on this particular occasion.
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