I was hooked on this tune the moment I heard it in Little Big Planet last year, and instantly thought of it when thinking of what I wanted to go underneath the voice over in the OSD video I put out yesterday, but didn’t want the video to get yanked down for using another artist’s track, so I covered it!
Since I’m terrible at guitar, and especially at picking out these chords by ear, I shot a message to Brian Effinger to see if he could help me out. The next day I had a guitar *and* a bass track. What a guy.
A really fun one. I love the vibraphones and the brushes.
I took a few hours to put a site together entirely dedicated to advertising myself as an
I advertised on Facebook for just 1 day last week, and got quite a few inquiries, and have been steadily busy ever since. This will be the first time I’d actually make money from playing drums alone. On top of that, I’m doing what I love, and get to hear from great musicians and good people from all over the world.
My recommendation for drummers out there: Get into recording yourself, and get into it from your home studio or even your bedroom.
Lots of drummers think “I’m not good enough,” or “I don’t have enough money to buy all that expensive recording equipment.”
Believe it or not, the clients you should expect from advertising yourself as an OSD are musicians. We all know that musicians looking to record a demo, or musicians without a drummer from the get-go are most likely on a budget and can’t afford to make it into a professional studio with famous producers and top-of-the-line gear. Just find your sound, and be yourself. You don’t need to be amazing.
So don’t advertise yourself as a Dave Weckl, Mike Portnoy, or Vinnie Colaiuta!
Post up pictures of yourself, your gear, your inspirations, your past work, and some demos of yourself playing so people know what they’re getting into before they even email you. So when they do email you, you’ll know that they’re already satisfied with your sound, and there’s nothing to hide.
All you really need is a reliable a DAW (Digital Audio Workstation), and a few mics, and you’re good to go. Most musicians and drummers (see what i did there?) that I know didn’t go to school for anything audio-related, but instead spend most of their time fiddling around with options and taking the trial-and-error route to get good sounds for themselves. It’s substantially easier these days with resources like google and youtube that even lead you to specific channels for video walkthroughs for recording, and some of them are even better than sitting in front of a professional lecturing you on the subject.
Here’s a few of my favorite YouTube channels for session drumming:
This guy specializes with recording techniques in Logic. His modest and articulate approach really makes it easy to sit through 10 minute videos with you wanting more.
Tim Kitchen is an online session drummer I’ve just found out who is kind of doing the same thing I’m doing, and has been for years. He’s got a few videos showing you how to record with minimal gear and on a budget.
Travis Orbin has been doing session drumming for years, and has access to a great studio and always has great videos of him playing for clients.
Of course I will be updating YourDailyFill with videos and audio once final tracks roll around.
If you need a drummer yourself, visit my page.
Every time I hear an iPhone ring, or just about any music that doesn’t have drums, I’m always thinking of what I would put under it as a backing track. I guess that’s what happens to your melon after being a drummer for a while.
I put this together a few weeks back by hand, then was delayed in doing an actual take when my camera decided to kick the bucket. Thankfully, after a few emails and $10 shipping later, it’s functioning again.
I had a fierce battle with iMovie with the screenshot overlays, and I ended up just going with the garbliness and inconsistencies of the images in this video, so my apologies for that, but there’s nothing I could do. My Apologies!
I had a lot of fun making this, and if you have any requests, or comments, let me know!
Oh, and I put up my OSD (Online Session Drummer) page to help get the word out there for potential new clients, so take a look at that too when you get a chance!
I went home to visit the folks for my brother’s engagement party last month and finally got my dad to sit down and get some of his recordings from the past 40 years into the digital life.
He was the singer in a kick ass band in high school called “Deep Brass” full with a brass section, guitars, percussion and an organ player. I always loved hearing it when he’d play the cassette tape for my brother and I in our 1986 Ford Taurus. He’d been in a ton of different bands and played all over the US throughout his life, but Deep Brass was the one I loved to show to my friends.
They covered everything from Chicago, Santana, to Blood Sweat and Tears. They were covering Santana songs with brass parts before Santana even had a brass section.
Everyone would trip out and say that the singer sounded like me or my brother. I’ll take that as a compliment. I can’t sing to save my life.
These were recorded at a live gig in Dallas using a couple live mics, so there wasn’t much we could do with the mix. I just put on a bit of compression and reduced the low end cause the bass was incredibly dominant, and bounced it as mono cause it was weird to have drums only in the right channel (no idea how it was separated like that).
Right click and save target/link as..
- Deep Brass – Loneliness is Just a Word (Mono)
- Deep Brass – I Feel the Earth Move Under My Feet (Mono)
- Deep Brass – Evil Ways (Mono)
- Deep Brass – Beginnings (Mono)
- Deep Brass – Lisa, Listen to Me (Mono)
- Deep Brass – Go Down Gamblin’ (Mono)
- Deep Brass – Break Time (Mono)
- Deep Brass – Everybody’s Everything (Mono)
- Deep Brass – Jam (Mono)
- Deep Brass – I Ain’t Got Nobody That I Can Depend On (Mono)
- Philip Gentile – And I Love You (Mono)
There were a few more on there, but we didn’t get around to em’ that night.
I get a ton of questions from comments and e-mails about my rig and what I’m using to track with all this gear and it’s actually a fairly simple setup. Leave any questions or comments in the comment section below. Thanks!
- Roland SPD-30 Octapad
- Toontrack’s Superior 2.0
- Mbox 2 (any MIDI input will do)
- MIDI Cable
- Snare Stand
- Drum Throne
- 2 Guitar Hero Kick Pedals (any trigger with a 1/8 or 1/4 inch out will do)
|Roland’s SPD-30 Octapad is the most responsive and accurate MIDI controller for drummers I have ever played, and I’ve played on almost everything out there that’s electronic you can hit with a stick.|
I’ve owned a ton of Guitar Hero drum controllers (at least 30), Rock Band and Ion Kits, a Roland TD-10 & TD-20 kit, and a Roland SPD-S.
The most common issue I’ve found with MIDI drum controllers is not being able to pick up those light taps for ghost notes and crescendos, or even just upbeat hits on the Hi Hat. So what do you do when this happens? Turn up the sensitivity 1 notch at a time until it starts picking up those low velocity hits.
The problem with this is when you turn up the sensitivity on one pad, hitting other pads around the controller/kit might fire off a hit with your pad with low sensitivity now. This is what we call cross talking.
I have yet to experience any double hits with the SPD-30 either. This happened pretty frequently with other controllers where you would get flam-like MIDI output sporadically throughout your performance.
These are easily the most common problems with drum MIDI controllers these days, and the Roland SPD-30 Octapad had none of these issues straight out of the box.
The combination of the Octapad and Superior 2.0 is absolutely awesome. It’s allowed me to track demos and even full-on final recordings at 4 AM in my apartment. Using MIDI output with Superior 2.0 has never been easier to get a good fully modifiable drum sound.
Superior 2.0 delivers amazing sounds straight out of the box, and comes with a bunch of presets to make them sound better, and you don’t need to know the first thing about audio production or mixing. At the same time, the software allows you to run Multi Output to go straight into your DAW (Logic, Protools, Reason etc.), and treat them as actual drum tracks letting you add your own plugins like Compression, EQ, Noise Gates, Reverb and etc.
Superior Drummer 2.0’s samples were recorded by Pat Thrall, Neil Dorfsman, and Nir Z at Hit Factory, Avatar Studios, and Allaire studios, NY. The three have worked with artists as diverse as Meatloaf, Celine Dion, Nick Lachey, Sting, Bruce Springsteen, Dire Straits, Beyoncé, Björk, Kiss, Joss Stone, Genesis, John Mayer, and Chris Cornell.
It has recently gained more popularity with bands like Periphery, Meshuggah, and Animals As Leaders.
This bad boy plugs into your Mac or PC via USB, and lets you plug your Octapad into its MIDI-in with a MIDI cable.
I would recommend the M-Audio USB Uno 1X1 MIDI Interface if you’re just recording MIDI output, otherwise the Mbox 2 has multiple inputs allowing you to record vocals, guitar, and etc. with its analog and digital inputs.
This guy runs from my Octapad into the mbox which carries all the magic.
This is a spare snare stand that I’ve had for about 6 years now, with no problems at all. A lot of snare stands don’t go high enough to my liking (which is unusually high), but this one does.
Guitar Hero Kick Pedals
Say what you want about Guitar Hero Kick Pedals, but they cost me nothing and get the job done, and they are more responsive and dynamic than you think. All I needed was a couple 1/8 to 1/4 inch adaptors to plug into the Octapad’s expansion slots, and voilà.
I’m currently looking into products such as the Roland KD8 Kick Drum Trigger Pad, but it’s not totally necessary at the moment (even though one of my pedals is being held together with duct tape..
Well that’s pretty much it (minus things like my mixer, sticks, PC, and headphones and what not).
Please let me know if you have any questions or if there’s anything you need help with!
It’s pretty unbelievable that a random dude on the news expressed his mind about the current situation happened to blow up all over the internet overnight. Not only does the original video have 26 million hits (to date), the “Auto tune the news guys” (aka “The Gregory Brothers“), took some initiative and pieced the audio together to form an instant, catchy hit that’s being played everywhere.
So anyway, the story behind me covering it is this: I was really just simply bored and hitting stumble video while sitting at the octapad, and playing along to whatever video would come up, then a pretty sweet Bed Intruder marching band cover popped up which lead me to playing along to the original video and hitting record.
While I could have really planned the drum part really in-depth and even extended the song into different arrangements, I just decided to keep it simple. Hopefully, you’ll enjoy it as much as I did playing it.
I. Love. Mario. Music.
Though there’s nothing I loathe more than seeing some guy cover the Super Mario Bros. 1-1 theme song though. Seriously, how many people have covered that, and in how many different ways?
I even remember seeing a video of a group of guys who set up a hefty amount of bottles in a line with varying amounts of liquids in them so they could drive an RC car along-side them with silverware sticking out to play each note of the theme.
ANYWAY. The first time I heard the music for this particular level in the game, I was just dying to do a rock (metal?) cover of it. I just tempo mapped it, looped it twice, and threw down a scratch drum track, and showed it to a buddy of mine, Alex Leffelman.
You can expect many more video game covers coming from us…
We got some guitar parts down, then threw down a better drum track (what you’re hearing), and here we are..
Slappin’ da bass, mon. This one is a really comfortable BPM for me to add in tons of little flairs and fills. Really digging the riffs in this one too, Brian is a pretty sick guitar player.
I actually worked with Brian Effinger at Neversoft for a couple years, and he’s a really cool dude. We had a lot of pretty awesome late-night Left 4 Dead sessions. He wrote this to compete in a community-based League of Legends contest which is pretty sweet.
“Each winner and up to four band members will receive 2800 RP for their musical mastery”
Another great piece by Nathan Matthew David.
I really enjoyed working on this one. Lots of room for fills and energy. Definitely don’t want to get too crazy and drown out the mood. This was one of those tracks where there were so many possibilities and such a great piece, that it was hard to decide on which drum parts to go for and when to switch from one to the other.
In the beginning I opened with a double floor tom build-up to a flam to really explode into the big open beat which leaves open a lot of breathing room for the tremelo on the guitars to really show in between snare accents, and I think it sounds great.
haha, it’s all about the 16th tom fills with the syncopated double kick to pierce through the mix like a machine gun.