Drummer
Wardex Walker
Most contemporary western bands that play rock, pop, jazz, or R&B music include a drummer for purposes including timekeeping and embellishing the musical timbre. The drummer's equipment includes a drum kit (or "drum set" or "trap set"), which includes various drums, cymbals and an assortment of accessory hardware such as pedals, standing support mechanisms, and drum sticks.
In larger ensembles, the drummer may be part of a rhythm section with other percussionists playing. These musicians provide the timing and rhythmic foundation which allow the players of melodic instruments, including voices, to coordinate their musical performance.
As well as the primary rhythmic function,[2] in some musical styles, such as world, jazz, classical, and electronica, the drummer is called upon to provide solo and lead performances, at times when the main feature of the music is the rhythmic development. Drummers tend to possess considerable stamina and hands-eyes-legs coordination.
There are many tools that a drummer can use for either timekeeping or soloing.These include cymbals (china, crash, ride, splash, hi-hats, etc.), snare, toms, auxiliary percussion (bells, Latin drums, cowbells, temple blocks) and many others.There are also single, double, and triple bass pedals that drummers may use for the bass drum.
Before motorized transport became widespread, drummers played a key role in military conflicts. Military drummers provided drum cadences that set a steady marching pace and elevated troop morale on the battlefield. In some armies drums also assisted in combat by keeping cadence for firing and loading drills with muzzle loading guns. Military drummers were also employed on the parade field, when troops passed in review, and in various ceremonies including ominous drum rolls accompanying disciplinary punishments. Children also served as drummer boys well into the nineteenth century, though less commonly than is popularly assumed; due to the nature of the job, experienced older men were preferred.
In modern times, drummers are not employed in battle, but their ceremonial duties continue. Typically buglers and drummers mass under a sergeant-drummer and during marches alternately perform with the regiment or battalion ensembles.
The drumline is a type of marching ensemble descended from military drummers, and can be arranged as a performance of a drum, a group of drummers, or as a part of a larger marching band. Their uniforms will often have a military style and a fancy hat. In recent times, it is more common to see drummers in parades wearing costumes with an African, Asian, Latin, Native American, or tribal look and sound.
The ever-growing collection of EZX expansions for EZdrummer offer meticulously recorded, mix-ready drums for a wide range of styles. Welcome to possibly the single largest vault of drum sounds on the market.
Am I accidentally hitting a key combo that greys-out the drummer kit editor grid? all of a sudden I cannot use that to adjust the drummer region. The region itself is still there and not greyed out, but when I double click on it to adjust the "complex-simple/loud-soft" and other parameters, the entire editor is greyed-out. I end up having to create a brand new drummer region and recreate the settings...what gives?
Exactly same thing is happening to me. As soon as I start to copy some drummer regions and then attempt to edit them individually, they grey out just like described above in the previous post. Has anyone found a solution to this problem yet? Thanks, Cuz
hey, cuz - no solution yet. a friend of mine works at apple in cupertino, he put the question to someone within logic, who said something like, 'well that sounds pretty inconvenient' but other than that they've all been radio silent...I end up creating new drummer regions where i need them, resulting in, oh 5 or 6 drum tracks...ridiculous
The same problem arose for me, but after I had converted a drummer region to MIDI. Although everything in the drummer track looked fine, the drummer editor was greyed out. I fixed this by converting all drummer regions on the track to MIDI and then back to drummer region. (i.e. right click on the drummer region > Convert > to Midi/Drummer Region)
Sure. Choose drummers Tyrell or Austin under Songwriter. That'll give you the pop brush or roots brush kit respectively - although personally I think ride cymbal swing patters sound better with sticks. It might be worth selecting the orange lock icon to the right of "Sounds" in the library below your drummer selection. Then you can switch between drummers while keeping the same brushes kit. Or, switch between kits while keeping the same drummer.
Also - this is key - don't feel like you have to use only one drummer track. I've had really good success using one track for literally just the ride cymbal. Turn off the kick and snare icons and select the cymbals (or hi hats if that's what you want for the swing). Turn the fill knob to 0 unless you want some occasional snare fills, or you can handle that with your second kick/snare-only track. Doing it this way you can really customize the feel of that jazz ride cymbal and then do whatever you want with the rest of the kit, even use a different drummer.
Tyrell plays a nice straight swing "ting ta-ting, ting ta-ting" with the cymbals slider set on 2. Setting 3 is a little more interesting. If you lock the swing knob at 66% you can then cycle through different drummers listening to their versions, although you'll still have to turn off the kick and snare for each new drummer. Most of the Songwriter and R&B drummers swing well this way. Levi (Funky Songwriter) plays some nice patterns. But there are some other less expected ones. Try, for example, Rock > Retro Rock / Logan on cymbal settings 2 vs. 3 for some different ride sounds.
Thanks David. I must have been downloading the drummers as you were writing this! Now to work with the information 88keys provided. Should I put back in the question I had asked until I edited it about dowloading so this thread makes more sense?
Guns N' Roses' landmark debut, Appetite for Destruction, gets much of its swagger from the tense yet swinging beats of Steven Adler, the band's energetically goofy drummer. "To Steven's credit, and unbeknownst to most, the feel and energy of Appetite was largely due to him," Slash wrote in his autobiography. "He had an inimitable style of drumming that couldn't really be replaced, an almost adolescent levity that gave the band its spark." Bassist Duff McKagan agreed: "Without his groove, we wouldn't have come up with a lot of those riffs," he told The Onion A.V. Club in 2011. Adler, who was fired from the band in 1990, was replaced by technically advanced drummers like Matt Sorum and Frank Ferrer, but no one can properly capture his exuberant, whiskey-soaked, youth-gone-wild pulse.
Meg White's idiosyncratic, primal take on drumming was fundamental to the appeal of the White Stripes, who rode their candy-colored outfits and stripped-down blues to rock stardom in the early Aughts. Tracks like "Dead Leaves and the Dirty Ground" and "Blue Orchid" were jolted to life by her deceptively simple backbeat bashing, which helped define the Stripes' stomp. "I would often look at her onstage and say, 'I can't believe she's up here.' I don't think she understood how important she was to the band, and to me and to music," Jack White told Rolling Stone in 2014. "She was the antithesis of a modern drummer. So childlike and incredible and inspiring. All the not-talking didn't matter, because onstage? Nothing I do will top that."
Tommy Lee's gravity-defying drum solos and penchant for wearing as few clothes as possible made him one of metal's truly great showmen. But his bashing in Mötley Crüe was just as important as his star power. Lee's frenetic clatter helped define the glam-punk appeal of Mötley's debut Too Fast for Love, while the earth-shaking beat that powered Dr. Feelgood's title track sounded as menacing and overwhelming as that song's tales of drug-fueled Eighties decadence. His "dream drum kit," which he took on Mötley Crüe's final tour in 2015, is in line with his stripped-down aesthetic: "I have a fully see-through kit now so people can check out exactly what I'm doing," he said. "Most drummers are covered with a million drums and everyone is like, 'What are you doing back there?'"
If Ronald Shannon Jackson had done no more than play with avant-garde jazz icons Albert Ayler, Ornette Coleman and Cecil Taylor during a span of 12 years between 1966 and 1978, his stature would be secure. But Jackson, who incorporated parade-drumming patterns, African rhythms and funk into a singular, instantly recognizable style, went on to form his critically acclaimed Decoding Society, from which emerged Living Colour guitarist Vernon Reid and Rollins Band bassist Melvin Gibbs. "He synthesized blues shuffles with African syncopations through the lens of someone who gave vent to all manner of emotions," Reid said of the late drummer-composer in a 2003 Fort Worth Weekly article. "I feel that the collision of values in his music really represents American culture." Jackson's seismic rumble also drove sessions led by John Zorn and Bill Laswell, and reached peak extremity in Last Exit, a take-no-prisoners punk-jazz quartet featuring Laswell, saxophonist Peter Brötzmann and guitarist Sonny Sharrock.
"If it never got beyond the hard-hitting things, I wouldn't have been very suitable," said Kinks drummer Mick Avory. It might be one reason the Kinks' used a session drummer on their proto-metal missile "You Really Got Me" (though Avory contributed tambourine). But as Kinks' frontman Ray Davies matured as a songwriter, Avory would emerge as one of the Sixties more quietly innovative drummers. "I don't know if Ray's writing blended into my way of playing or if I blended into the way he was writing." With his jazz-tutored versatility and witty drum cadences, Avory, who'd been courted by the Rolling Stones in 1962, was indeed the ideal rhythmic foil for Ray Davies' sardonic, mature style. While Avory's playing was refined and low-key, his onstage fights with guitarist Dave Davies were the stuff of legend; when Dave trashed Avory's drum kit to close off a 1965 Cardiff gig, he got a drum pedal launched at his head in return. Yet, somehow Avory managed not to get kicked out of the band until 1984.
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