(lively drum music)
(steady techno drum music)
- Well played, man, well played.
There's a lot of energy in that.
- Thank you.
- Ladies and gentlemen,
Mr. Peter Szendofi.
- Hi.
- Ya.
Welcome to Drumeo.
- Thank you.
It's a great
pleasure to be here.
- Peter has come all the way out
from Hungary, Budapest, correct?
- Yes.
- And he's joining us here
for a live lesson, obviously,
on drum and bass
and jungle grooves,
so it's an honor
to have you out.
We've actually
chatted quite a bit
over the last couple years.
We met up at PASIC 2016
and that has led to this.
Man, Hungary's got a
lot of great drummers.
You're not the first Hungarian
drummer we've had on Drumeo.
- (laughs) Cool, cool.
- But if you guys don't
know who Peter is,
I'm glad to introduce you to him
and hopefully you become a fan
because his drumming
is very energetic;
it's very, very
well-played, too.
He's done a lot of
stuff in his life.
You've been in over 130 albums,
you've done a lot of stuff with,
you're a visiting instructor,
I guess you could say,
at the Drummer's Collective.
- Yes.
- You've also won what
they call in Hungary
The Golden Drumstick
Award in 2003 and 2004,
which is like best
drummer in Hungary.
- Wow, yes.
- Which is a huge honor, man.
- Yes, that's it.
- So you know your stuff.
You also play in a
couple bands, too.
Now the first song you
just played for us now,
what's the story behind that?
Is that your band?
- This is a brand new
song which will appear
on my upcoming solo CD
which will release
in some weeks,
I think in 21st of March.
- Okay.
- So, that's my new and
original composition.
- [Dave] Very cool.
- And on this album, we will
have some great artists,
like Will Lee on bass and
George Whitty on keyboards,
and many other Hungarian
great musicians.
So I'm so happy
to launch that CD
and play this studio
as a first intro song.
- Ya, give us a little
taste of what's comin'.
- Ya, ya, ya, ya.
- If you guys are
watching this on YouTube
it's probably already released
so go and check it out
And if you want to follow Peter,
your main way of communicating
is through Facebook you said,
your Facebook page.
- Ya, ya.
- Which is just
facebook.com/szendofi,
I believe.
- Yes, ya.
- So make sure you go and
follow him on there as well.
And a huge thanks
to the sponsors for
helping bring you out.
We got Remo, we got Tama, Regal
Tip, Humes & Berg's cases.
So ya, a huge thanks to you guys
for helping out with
this lesson as well.
The kit sounds incredible.
- Ya, ya, ya, ya, ya I love it.
It's a beautiful kit.
- You got two
really cool snares.
- Ya, thanks.
- Very, very cool.
And if you guys
are watching this
on Facebook or you're
watching this on YouTube
and you like what you're seeing,
we do this kind of
stuff all the time
inside of Drumeo Edge.
We also are going to be filming
a unique course just
on drum and bass
and jungle grooves with Peter
that'll be exclusive
only to Edge members,
as well as an interview
asking him some questions,
and a Q & A session.
So if you guys like
this, head on over
to Drumeo.com and sign up.
You can get a free trial
at Drumeo.com/trial
and check out what
we have inside.
But, let's get to the lesson.
- Okay.
- Jungle grooves
and drum and bass.
Now there's a PDF
you guys can download
that has a bunch
of little exercises
or a bunch of grooves
that he's gonna teach.
Also, the cool thing
about this lesson
is all the songs you're
gonna hear Peter play today
are gonna be available
as play-alongs
in Drumeo in the near future.
So it's very cool,
thank you for that.
- Sure, my pleasure.
- But let's start out
by, what is drum and bass
and jungle groove?
What is the definition of that?
- You know, it's interesting.
It's a quite new thing.
There are two different ways
where the drum and bass
drumming came from.
The first is
from the late '60s
and early '70s
when the most famous
funk and Motown drummers
like Clyde Stubblefield and
Steve Jordan
started to play a certain
kind of funk grooves
with different types of accents,
not only to play
the 2/4 backbeats,
but they started to play,
they started to
change the accents.
And then the other
side came from
the intelligent DJ culture
when about the late
'80s and the early '90s,
the DJs started to
use sound software
to make many differences
on the old taped recording.
And they started to
put a certain groove
into a computer
and they started to speed it up,
and then they try to
cut the grooves away.
For instance, if we have
a two-bar phrase,
it contains like,
the first bar is 16 of 60 notes,
the second bar is the same.
And they started to cut
like the first half
of the first groove,
and then again and again.
So they did, basically,
five, six different cuts
from a two-bar phrase, and
then they changed up the order.
So they actually put
it again together
just like in a random order.
That's why they got
finally, this, the groove
with the same elements,
but they were sounding
totally different.
- Ya, because it's cut
and cut and cut up.
- Ya, so they
changed the accents
on the kick drum and the
hi-hat and the snare drum.
That's why when we listen
to a groove like this,
it sounds like a big chaos,
just like a big jungle.
That's why they call
it jungle grooves
because you can hear
a two-bar phrase
or a four-bar phrase
or eight-bar phrase,
but the accents are
just like a drum solo.
It sounds like there is
no, any clear system,
like how to do it.
Actually, when I
play jungle things,
my jungle playing,
for example, in the first tune
what you could hear, those
are 95% of improvisation
in between these accents
and the sixteenth notes
and ghost notes and eight--
- No kidding?
Ya, ya, okay.
- Ya, ya, ya.
So, because
it gives me a lot of freedom,
but the other thing is
first of all, I had
to spend a lot of time
with the slow time practicing,
with really simple
drum and bass grooves.
So the difference between the
drum and bass and the jungle
is like the drum and bass
grooves are simple, basically,
one-bar phrase, two-bar phrase.
Like, I would say--
- Ya, show us an example.
- If I play a simple drum and
bass groove, it's like ...
(steady drum music)
Right?
It's like one, two, three,
four, two, two, three, four.
(steady drum music)
In the slower tempo, like
one, two, three, four.
(slow drum music)
Right?
If I would say like, okay,
I wanna change the accents,
I wanna change the accent
of the 2/4 backbeats
and maybe I wanna put
the notes of the kick
drum to another place,
so I'm just gonna
replay the snare
and the kick part.
It sounds like this with
a same element, like ...
(steady drum music)
Right?
So I play basically
the same, like ...
(steady drum music)
- Gotcha, ya.
- Right?
So, this is the difference
between the jungle
and the drum and bass.
If I play drum and bass
beats, that's simple
because we have 2/4
backbeats, some ghost notes,
quite simple things,
but it's difficult to play
because the drum and bass beats
tempo starts
from one to 60, 70
BPM, up till like
220, 230, I don't know.
That's a big challenge to keep
the right time
playing constantly
during six, seven, 10
minutes within one song
in fast tempo.
So, let me give you guys
a couple of examples
what I brought.
The first groove,
what I wanna play,
it's a simple drum
and bass groove.
I try to pick
five different grooves
from the quite very
beginning level
to the up
like more advance levels.
- Advanced, ya, okay.
- So, the first
sounds like this.
Let me show you in
slow tempo first.
Like one, two, three, four.
(slow drum music)
Right?
A bit faster.
(steady drum music)
A bit more faster.
(fast drum music)
A bit more faster.
(lively drum music)
A bit more faster.
(rapid drum music)
Right?
So, that was the first
groove which is quite simple.
For me, when I start to practice
the drum with jungle things,
I had two things what I
had to figure out a lot.
The first was the dynamic level.
When I play, for
example, funk fusion
or Latin or jazz things
I was practicing during last
three years to play as wide
dynamic range as is possible.
When I play ghost
notes, that should be
just a really a
tiny little notes
because we have no
absolute notes, absolute
pitch on a drum set,
but we have a huge dynamic
level what we can use.
So, to make music
in the other styles,
we really have to use
a huge dynamic range.
But when we play the drum
and bass jungle things,
it's not possible
because if I would
play the same groove
what I demonstrated before
with the dynamic
level and phrasing,
if I play, for example,
a normal funk tune,
it sounds like ...
(slow drum music)
(moves into steady drum music)
It sounds more like
funky something,
not like a drum and bass.
If I change, if I
compress the dynamic level
like this ...
(steady drum music)
That sounds like a real
drum and bass jungle groove
because
this kind of electronic music,
we have totally
different approach
and the function of
the drum set playing
in this kind of music
is totally different.
That's why I
turned to this kind of
music about 10 years ago,
because I could find a
totally different path
for my playing and
they were so exciting
to be in a totally
different part,
be in the music,
than if I played funk
or fusion stuff.
And also,
so when I play these things
I have less dynamic
possibilities on a drum set,
but I can use a lot of
effects, a lot of sounds
and also a lot of
rhythmic variations.
So when I play a jungle groove,
it's basically,
a drum solo could be,
because I change
always the accents,
the parts of the right hand
and left hand and everything.
So I try to create interesting
sounds on a drum set.
That's why I use
three snare drums.
Actually, at home when
I do studio recordings
I use actually four snare drums.
- No way.
- For this kind of music.
Like one, two,
three, there's this
snare drum here and here.
And I use only one
floor tom because this music
needs a lot of
different snare sounds,
a lot of different cymbal sounds
because
the DJs create
this kind of music
with a lot of pre-created
patterns and loops
and drum beats with
different effects.
So if I would just use one
hi-hat and one ride cymbal,
maybe there wouldn't be enough.
So that's why I try to
use different stacks
and different cymbals,
two ride cymbal because,
because that kind of music
really needs these things.
Okay, let me give you
the second example
which is a same kind of groove,
but a little bit more difficult.
There's a little variation
in the second half
of this groove.
It sounds like ...
(slow drum music)
Right?
A bit faster.
(steady drum music)
A bit more faster.
(lively drum music)
A bit more faster.
(rapid drum music)
I also can play the same groove,
in for example, a
different snare drum.
(rapid drum music)
Or.
Or.
So I have many, many,
many possibilities
to change the location of the
right hand and the left hand.
Okay, this groove is a
little bit similar than,
for example, if you listen to
the late '60s and
early '70s recordings
from James Brown or Allman
Brothers or these bands,
I used to listen to a lot of
Clyde Stubblefield stuff.
You know, I'm sure
most of you guys know
the really famous groove,
this is the funky
drummer groove,
which is actually
a really popular
lick for the DJs
to cut away and
speed up the tempo
and create a totally different
chaos-oriented groove
by the simple elements
of this groove.
So it sounds like ...
(slow drum music)
Alright?
So this is basically
a funk groove,
but Clyde changed the accents
and also, he played
different things on a hi-hat,
not only eighth notes
or not only sixteenth notes,
but he changes the accents
in between the kick
and the snare and the hi-hat.
So that's why it's
so interesting stuff.
The other thing from
Clyde Stubblefield,
what I used to listen
to a lot which is
a typical break beat or
basic of the jungle grooves
because he replays
again, the accents
between the snare
drum and the kick.
This is the groove
of the tune Cold Sweat
which is a famous
James Brown tune
which sounds like ...
(steady drum music)
Right?
So he did basically
the same things
while the DJs did later.
So he was absolutely genius
in terms of the groove playing
and this kind of rhythmic part.
So let's see the next groove
which is a two-bar
phrase actually,
and it also contains
a little changing
in terms of accents,
so it sounds like,
in slow tempo like this ...
(slow drum music)
Right?
So when you guys
listen to it first,
that can be a
little bit confusing
because the location
of the 2/4 backbeats
are gonna be changing.
So it sounds like one,
two, three, four, and ...
So I put
the second snare drum accent,
actually for the one,
two, three, four, and.
So like ...
(slow drum music)
Right?
So this part, like,
it's repeating three
times, like ...
(slow drum music)
Right?
- Okay, I get it.
Ya, ya, ya.
- So that's a kind of,
if I can say a
three against four.
Like if I play at
a faster tempo,
that sounds cool, like ...
(steady drum music)
Right?
- Very cool.
You gotta show us that
on the other snares too.
- Ya.
(steady drum music)
- That's so cool.
- Also, the other
recommendations
for all of you guys who
want to start to practice
the drum and bass
jungle things is
to be really, really patient
and spend a lot of time
with the slow time practicing,
because in this kind of music
we have to be extra careful
of the time playing.
So it's not possible
to play the beats
a little bit behind
or for example, a
little bit rushed
from the first and second
and third and fourth
quarter notes.
Because usually in this music
we use a lot of other loops
and programming and
arpeggios from the keyboards.
So we have to
spend a lot of time
with slow time practicing,
and play each note to
the edge of the grid.
Otherwise, in a faster tempo
there will be a huge chaos--
- [Dave] I can see it, ya.
- In terms of the time playing.
So believe it or not,
I spent like 95% of
all of my practicing,
when I practiced
drum and bass things,
with really simple things
and in really slow tempo.
And I keep my
concentration constantly
to play each notes
to the correct place.
- [Dave] Ya, make sure
that spacing's there.
- And this long time
practicing at slow tempo,
we really need
to reach the faster tempos.
As I experienced,
the fast tempo playing
will come automatically
when we spend a bit of time
with the different
grooves in a slow tempo.
- Cool.
- So that's why I
would truly recommend you.
If you guys would be unpatient
and after like 20 minutes just
want to speed up the tempo
to 100 to 180, your
muscle would be tight,
your concentration
would be like tricky,
and you guys will get low.
So that's why I actually spent
two or three years
from the beginning
to practice drum
and bass things,
when I did the first
album, when I played
actually a real drum
and bass jungle grooves
because it--
- Takes time.
- It really takes time
to focus on the beats
and the concentration
and the technical
side and everything.
- Which makes sense.
It's a pretty intricate
style of music to play--
- Absolutely.
- With all those
little notes there.
Let's check out number four.
- Okay, okay.
Let's do it.
So, that's a little
bit more complicated,
not too much, just a little bit.
So, let me play it
again, a bit slower.
Like one, two, three, four.
(slow drum music)
Right?
A little bit faster.
(steady drum music)
A bit faster.
(lively drum music)
Right?
- That is a cool beat.
The displaced
downbeat on the and
of the second bar of line one
really makes it sound on time
a little bit but it's not.
- Ya, and also
it's sounding a little bit like
if I would play a
kind of half-time
oriented thing like ...
(steady drum music)
So that's a kind of mixture
of half-time sixteenth
note oriented groove
than a simple jungle groove.
- So can you show us an example,
maybe do it in just a
straight ahead time,
and then going into that,
so we can hear the
difference and feel?
- Yes.
- Something very simple.
- Ya, ya, ya.
I also could change a little bit
for example, the hi-hat part.
I can play eighth notes
constantly on a hi-hat.
For example, like ...
(steady drum music)
Right?
So I played basically
the same groove,
but if I change
the hi-hat parts,
that would be a totally
different sounding groove.
So that's why I usually
use improvisation.
There are some common
drummer bass licks
or movements, but I basically,
I listen to a lot of
this kind of music
which basically doesn't
contain live drumming.
Because if I listen
to it from DJs,
the mind of the DJs
are totally different
and that's refreshing of my mind
and gives me a
lot of fresh ideas
because they don't think
about the right hand
as a hi-hat part,
the left hand is--
- Totally dude, ya, ya.
- plays three notes.
It's too much.
No, they just programming and
try to find perfect balance
between the programmed drum
parts and the other parts.
I received actually, a lot
of great ideas from DJs.
So that's why it's
so interesting to
practice these things.
- Ya, that makes sense.
Let's do number five
and then we'll get you
to play some more music for us.
- Ya, the last one,
the number five is a little bit,
looks like kind
of a linear thing.
So, I stop to play the
eighth notes constantly.
So it sounds in slow tempo
like one, two, three, four ...
(slow drum music)
Right?
Once again in another--
- Do it again really slow,
'cause this is a
sweet sounding beat.
- Okay, one, two, three, four.
(slow drum music)
To play this kind
of linear beat oriented
drum and bass grooves,
it's much more difficult
than when I play
a drum and bass
groove for example,
with a straight
eighth notes like ...
(steady drum music)
Because like this,
I have my click track
actually on the right side.
So I can hear constantly
the downbeats,
but like this, it's not possible
because I play
almost constantly
the sixteenth notes
in between the
kick and the snare,
and the snare and the hi-hats,
so it's switching constantly.
So it sounds like this,
a little bit faster.
Like one, two, three, four.
(steady drum music)
A bit more faster.
(lively drum music)
Or maybe here.
(lively drum music)
A bit more faster.
I'm trying. (laughs)
(rapid drum music)
Right?
- That is so cool. (laughs)
- So that's why I said
like these kind of grooves
in really fast tempo,
for me, is much more
difficult for my brain,
not like my hands and feet.
So, I think to play
fast tempos and
by the hand side or
feet side, that's
possible in 200 BPM
if you are just
have to play like
single stroke rolls
in a pad or something.
But to play this kind
of linear grooves--
- [Dave] Oh, it's so difficult.
I was gonna say it's
deceptively hard.
Like, you don't
think it's that hard,
but you sit down, not only
to get the patterns happening
but to get the right
space in between the notes
and then also to get the right
sound that you want from it,
because it's a unique
kind of texture
that you have going on there.
Do you mind playing
us another song?
- Yes, sure, sure.
- I would love that.
'Cause I got a couple
questions for you after.
These beats are great.
- Okay.
- You guys, make sure
you practice these.
You have to watch it over again,
that's totally cool 'cause
there's a lot happening there.
But let's get you to
play us another tune
and then we'll get to
some of the questions
like how do you
develop that speed,
how do you tune your drums
to sound like drum and bass.
I got a few questions
from the members too.
So what song do you want
to play for us next?
- The next tune
called Take One, that's
a really fast one.
That song I think is 220 BPM.
- Hoo!
- Which groove
contains basically only
single stroke rolls
because it's too fast to play,
I mean for me.
- No doubt. (laughs)
- Too fast to play
any other variations.
- Awesome.
Well that's sounds--
- It's fun.
- Let's check out Take One.
- Ya, ya, Take One.
- Alright, cheers.
("Take One")
That was unbelievable.
- Thank you.
- You had to be so loose
to be able to play that
at 220 beats per minute.
You seemed like you were pretty
chill the whole time, man.
- Ya, you know, as I said,
it's much more difficult for me
to keep the perfect balance
between the sixteenth notes.
- No doubt.
I have a hard enough
time doing that
at 180 beats per minute,
you're doing it at 220.
- Thank you.
- But I got a bunch of questions
for you if you don't mind.
- Sure, sure, sure.
- Something just for myself,
for those who are
interested in this style,
I know it's not
like there's a lot
of top 40 drum and
bass songs out there.
So what kind of bands do
you recommend we check out
if we want to dive
into this style more?
Or artists, or
drummers even, too?
- I would give you two examples.
The first is Jojo Mayer's
playing, of course.
We are great friends with
Jojo since more than 20 years,
and it was interesting because
there was a couple of
drum festivals in Hungary
in 1994, 1995 actually,
and we played together.
And after one of the shows
we went to a disco.
And Jojo said to
me, he was smoking,
and he listened to
that kind of music
which at that time
for me was so boring.
Like a (mimics drum rhythm).
This kind of thing,
and then he said to me,
he feels something
with this music
and he will do
something really fresh
with this kind of music,
and I absolutely
didn't understand it.
Like what do you mean,
what do you want to do
with this kind of music.
But then when I listened
to his recording
I decided to start
to play these things.
That was around 2005, 2006 and
his band is called Nerve.
They play the same
kind of things
with a DJ, a keyboard
player, a bass player,
and the drums and that's
a really progressive,
hard-edged, electronic
fusion music.
- Kind of tribal
based, tribal stuff.
So Jojo Mayer, the band Nerve.
- Ya, he's fantastic.
- Maybe one other suggestion,
one other band that you know of?
- Ya, the other one is
actually a bass player.
His nickname is Square Pusher.
- Okay, can you spell that?
- He's a fantastic
DJ and bass player.
He does live shows
with a lot of laptops
and bass guitar.
And he does
the cutting of the
loops and editing
and to play bass in live
situation, in real time.
That's fantastic.
- What's his name again?
- Square Pusher.
- Square Pusher?
- Ya, Square Pusher.
- Okay, got it.
- He's fantastic.
I bought
almost 20 different
recordings from him.
He's quite popular since
the late '80s, early '90s.
So he has at least
25 recordings,
and I truly recommend
all of you guys
to listen to Square Pusher
because in his albums
there's no any pre-created
or downloaded loops.
Each of the notes was created
by Square Pusher.
- Very cool.
- So that's fantastic.
- Very cool.
Definitely check out
those two groups.
I know I've listened
to a lot of Nerve
and Jojo's an
incredible drummer.
Hopefully we'll have him
on Drumeo at some point,
but a couple more
questions for ya
before we wrap up, 'cause
we're getting close to the end.
There's a lot of
questions in here
from different members
that are all very similar
and the one question
I keep seeing a lot of
so I'll ask you is what kind
of technique are you using
to get that kind of speed while
you still look very loose?
Can you just maybe
talk a little bit,
or maybe give a
couple tips of how
drummers that want to
get into this style
can keep their tension down and
to get these kind of speeds?
- Actually,
I don't use any tricky things.
I don't use basically,
a Moeller or a push-pull
or this kind of things.
I play basically, simple
wrist and finger control.
That's it.
The only thing is I always
try to find the perfect balance
between the drum set and myself.
So I never play
by muscles.
I try to be always
very loose and relaxed.
Otherwise, like 85
of my concentration
would be to play out somehow
the things by muscles, by arms.
So I try to play
with wrist and fingers as much
as is possible.
I play actually with these beats
simple stickings,
like singles, doubles,
some paradiddle things.
I also did practicing
like to play right hand
simple eighth notes,
and during this
playing I tried to
change the single and double
beats of a snare drum.
Just like, if I would say like,
like I play eight eighth notes.
One and two and three and four.
(slow drum music)
Right?
So these little elements,
these little slices
are the really basics
of the really speed tempo.
Also, I'm sure if you
guys spent enough time
with the slow time practicing
and you would be extra careful
of your hands and feet.
Like no any pressure,
don't choke the sticks
because that would be a trap.
It's not possible ...
- [Dave] I like that
would be a trap.
- It's maybe possible, but
I would be suffering a lot
if I would have
to play by muscles
in these fast tempos.
- Which makes sense.
It's very loose grip,
especially because you do it
all in traditional grip too,
which is really crazy.
But we'll dive more
into your technique
in the course that we're gonna
be filming for Drumeo Edge.
And if you guys watching this,
we're gonna do a Q & A tomorrow
so you can dive in to
the more technical side
of your technique in there.
But the other question
I get a lot of
is your tuning and
your set up for this.
You talked a little bit
about having four snares
on your recordings at home.
Can you talk about why you
have your setup like this
and maybe why you chose the
tunings for your snares?
- Because I think in
this kind of music
we have to use different
type of snare drums
because most of the
time, like this music
doesn't contain
any long drum solos
or something like this.
I did a drum solo right
now in the first tune
and I will do one
more in the last tune.
That's why I use
three toms here.
But actually, when I
play these kind of beats,
I mean, it's not necessary
to use three toms
because this music
needs much more like
more right cymbal sounds
and more hi-hat sounds
and more snare drum sounds.
Maybe more kick sounds.
I also use
some triggers during
the recording sessions
to mix it,
the electronic trigger sound
with the acoustic kick
sound and a snare too.
So, basically this
is the reason.
So I usually play
like one snare drum,
two and three and four
when I do drum bass recordings.
And only one floor
tom here, that's it.
- Very cool, ya.
Well, I'm excited to see
what you're gonna
bring to us tomorrow
and I'm excited to see
you play one more tune
for us if you don't mind.
It is almost five so we're
gonna wrap it up there.
- Okay.
- A lot more questions came,
but we'll do that
tomorrow for the Q & A.
Just want to thank
everyone for watching.
Hope you got something from it.
I definitely got
inspired to want to get
into this style of music more.
- Thank you.
- You know, every time I'm
on your electronic drum set,
you scroll to the
drum and bass thing
and you're like oh, I
wish I could play this,
but I can't so I gotta
practice it more.
So very cool beats,
thank you very much.
- Thanks very much
for having me here.
That was a great
pleasure to be here.
It's a beautiful place
and everything is perfect.
- Well, thank you.
You're always welcome,
always welcome back here.
Make sure you follow him
on Facebook if you haven't,
just facebook.com/szendofi
and his name is
S-Z-E-N-D-O-F-I.
- Yes, that's correct.
- Yes!
I did it!
- You got it!
- Yes, alright so we're gonna
leave you with one more song.
What's the song called?
- This song is called
Shotgun Approach.
- Shotgun Approach?
- Ya, Shotgun Approach
because I have a band,
it's called Loop Doctors.
That's actually a dual formation
with a great keyboard player
and rapper guy from Hungary.
And we did our last recording
which was recorded in Brooklyn
a couple of years before
and we took like
two or three takes
from this tune.
And all of the takes contain
some big mistakes.
And we said, to the sound guy,
okay, let's do one more take.
And he said, "Okay,
shotgun approach."
And we just like it.
- There ya go.
- So that's why this is it.
- Those are sometimes
the best stories when it comes
to the studio, recording.
- Ya, ya, ya, absolutely.
- So, again, thanks
everyone for watching.
If you guys like this go
to Drumeo.com and sign up.
Also, for those
who are watching,
all the songs that he played,
or Peter played, sorry,
in this lesson are gonna be
available as a play-along
so you can try what he's
doing on them as well.
So, hey.
- Thanks very much.
- No, thank you.
- Thanks.
- We'll see you guys later.
("Shotgun Approach"
by Loop Doctors)
♪ Just listen to the groove
of the bass and the drums
♪ Beating a sonic
path, now here it comes
♪ The art of arranging
noise to the limit
♪ Thin airwave architecture
within a five- minute blueprint
♪ Prohibit the visual
♪ Free your mind, let
go of the usual concept
♪ See the music grow
graphics in your mind
♪ An exclusive personal blind
♪ Right now all you
need is imagination
♪ Some motivation, association
♪ Sound is open to
interpretation, a
sonic sensation
♪ Step up to the abstract plate
♪ Open the gate, never underrate
♪ The mental power
of instrumental
♪ Intercontinental music
♪ Which element is fundamental
(lively drum music)
