BOST&BIM wrote:very interesting indeed! Thanks for the experienced producers here to share their knowledge..
My first point of view, while reading theses lines is - as usual - "music have NO RULES!"
for example, obviously if you want a programation drum "sounds like" a real drumer you better stop the hihat when rolls come..ok..but why a programed drum SHOULD sound like a real one??
It is not really important that the hi hat stops when a drum roll happens. I see no reason to make a drumbeat do as a drummer would UNLESS I intend to eventually play that song with a full live band, which is most of the time for me.
The main benefit of cutting a hi hat in a 'digital' drumtrack is that it provides much needed VARIETY for the ears, I contend that the hi hat cuts don't HAVE to be where a roll occurs (but it will sound more 'authentic'), but the variation is what make it richer texturally. like a meal with many subtle flavours blended.
One must wrestle the two opposing forces of HABIT and NOVELTY. these two are like 'yin and yang' and have been at each others throats for eternity. DUB is undoubtedly a craft that uses HABIT and NOVELTY as tools in either hand with which to 'sculpt' a bespoke (novelty) creation, within a genre (habit), thus retaining the habit/novelty balance.
I used to record a yamaha ry30 (which I believe Dougie and Prince Chasbo have used a lot) through my peavey guitar amp as it had a nice reverb and it gave them a grainy texture that mediated the 'synthy synthy' aftertaste left by the progarmmed drums. Also a great trick that Jah Rej told me he heard lee perry using, fill the high end of the frequency spectrum with busy shakers, guiro, cabasa, tambourine , stuff that 'distracts' the ear away from the monotony and regularity of the high hat. If using tape this also helps cover the unavoidable 'tape hiss'
I tend to like instrument sounds over 'synthy' sounds and after many years have found that a piano and some good effects can create all the rich and dynamic textures I would want from a synth. (check 'echoes' by pink floyd, those high single piano notes played through a hammond organ's 'rotary' speaker cabinet that literally spun the spakers to get the swirl effect)
I LOVE the new NORD keyboards, they have done a deal with 'MELLOTRON' and have 'sampled' all the old tapes from the old mellotron keyboards. Who needs synths when you can play sounds of 'bass clarinets', 'bassons' and 'wine glasses' recorded on tape in 1963?