Give it up for Stro Elliot everybody.
How you doing, Sir?
- I'm good.
So, you're busy, man.
A little bit.
- For those of us who don't know why you're so busy,
most musicians either work full-time in the studio
part-time in the evenings, but
you've got some daily thing going on, you're busy.
- I do, yeah...
First of all, hi, how's everybody doing?
Yeah, I've had a pretty busy schedule as Stro Elliot
for the last couple years, picking up a lot more gigs and kind of
doing live sets, but as of 4 months ago I joined
the band The Roots....
And they are, as you know, one of the hardest working bands
in the world, so they're the house band for the Tonight Show
So we film 5 days a week, pretty much every week,
and we're there and then...
pretty much, which I'm surprised I was able to make this gig
because when we're not doing the Tonight Show
with Jimmy Fallon, we're doing Roots shows.
So any break of whatever it's like, okay, let's get on a plane
and go somewhere and do a show.
So I'm very very thankful that I have the time
to come and do this, 'cause I saw...
a lot of the clips from last year. A good friend of mine
Jazzy Jeff and a couple other people
attended last year and told me about how great it was so...
But yeah, besides doing that I'm still a full-time producer
and and out of studio sessions
doing a lot of work with other artists and producers
as well, so yeah, full plate.
I'm curious about the audition process for The Roots,
how was that? - The audition process?
Well there really wasn't an audition, as snobby as that sounds.
I had the privilege of working with them a couple of times
over the last couple of years,
kind of in out of the studio, they did a couple of live things.
One in particular,
they do this thing called The Roots Picnic, that they do
every year, one in Philly, and one last year in New York.
It's like a festival, right?
- Exactly. Tonnes of artist, big stage.
So the one they did in New York last year,
one of their big headliners was Wu-Tang Clan.
So Ahmir (Questlove), his idea was like, look,
I don't want this to sound like hip-hop karaoke.
So what I wanna do is, 'cause I know what you do
with finger drumming, I want you to play
the actual sampled drums that RZA sampled for the record,
and the band'll play on top of what you do
the homie Jeremy Ellis was there also, so we're triggering
samples and sounds as well as DJ J-Period
with all the little vocal and kung-fu vocal snippets and whatnot.
So that was kinda my first introduction to working with them
in a live setting.
And the thing just continued to escalate from there,
I started working with them on their album
in Electric Lady studios in New York a couple months after that
till, you know, eventually there was...
there was the call from Ahmir. He was like, look,
the guys really appreciate what you do
I appreciate what you do, we'd love to have you in the band,
you know, that means you gotta move from LA to New York
which I've never, I'll be completely honest, I've never had
a desire to move to New York, it's cold...
it's cold, and it's cold. On top of the fact that it's just far away
from the West Coast, where I spent the last 15 years.
but so far so good. I mean, winter is around the corner
so I'm not looking forward to that, but
the city is great, the guys are great, everyone down
at the network is great and of course The Roots are great.
Nice one. Curious, um, talk us through your early beat-making,
how you started making beats and when did you go from
making beats to actually knowing that being dexterous
is quite important?
Sure, I started yesterday...
- Course you did.
I kinda started... I don't come from a musical family.
So I have a lot of friends that came from a musical family
there was instruments around the house, there was music,
I did have music around the house
my father had a decent record collection.
I actually really appreciated his record collection
because it wasn't big, but he had a little bit of everything...
- What kinda records?
- You'd have soul,
so your Curtis Mayfield, your Earth Wind and Fire,
then you'd have like, a Carol King record,
you'd have a Led Zeppelin record,
you know, there was a little bit of everything in there
for me to go and say, okay, I like this, let me find more of this,
I like this, let me find more of that, so...
But my parents didn't have a clue about my infatuation
with music, that I loved listening to it.
but didn't know I was curious about making it,
so I begged and begged and finally one year
they bought me a PSR-400 Yamaha keyboard.
If anybody's familiar with this keyboard, it's crap, it's nothing.
But for me at the time it was everything. I was...
It didn't sample, it had kind of a very bear-bones sequencer in it
but it was enough for me to sort of get ideas out.
And I also came from this school of people who would find out
I did the stock tape dubbing,
I don't know if you're familiar with that technique?
But basically what you do, if you have a cassette deck
that has 2 decks in it
you play one deck, record on the other deck,
so what I would do is I would play let's say...
let's say I would play a Led Zeppelin drum-break.
I would play that drum-break, and record it on there
stop in on the loop, rewind it and do that over and over again
until I had a 4-minute drum-loop. And so that together
with the fact that my boombox has a mic-in
means I was able to come out of the keyboard
and plug into the radio,
which enabled me to put extra sounds on top of that drum-loop
and continue that Round Robin way
of working through the cassette.
It's very ghetto, it's very tedious, it was a lot of work for
probably minimal effort but
that was my introduction into kinda music production.
It was probably best that I started that way because that was
probably the most creative way that I could make music,
using the minimal tools.
And that's something that I still swear by these days,
there's tonnes of plug-ins and different DAWS and whatnot but
I find that when I do my best work is when I have
a minimal set-up and kinda minimal things to pull from.
And at what point did you kind of explore the whole
finger drumming thing?
Well early on... I came from being a drummer,
I wasn't classically trained or anything but...
my first instrument was trumpet actually, and I was stationed,
my father was in the military, so,
my father was actually stationed here in Germany
during my high school years, so what happened is that...
coming from the school I came from in the States,
it took them a long time to get my paper work so...
when I showed up to the school they were like,
okay, you're in a band, what do you play?
And I didn't tell them I played trumpet, I told 'em I play
drums 'cause I always wanted to play drums.
And so they were like, well let's see what you can do,
and I played and they were like, okay...
that works. By the time they got my paper work
it was kinda too late,
I was kinda already getting into playing drums
but that carried over until when I moved back to the States,
of course the problem with moving into any small apartment
in the States of course is you can't have a drum-kit
in your apartment without getting kicked out quickly.
So at the time I had an MPD Pad, which is 16 pads,
which is literally a 4th of what we're looking at here.
And so, just to kinda give you a back story, in my first
introduction to hip-hop, listening to people like Pete Rock
and Marley Marl and Erick Sermon
and some of the great producers,
in my brain I thought that when you heard a track
by Pete Rock, that he was playing the drums live on his pads.
And so I started saying, okay I have to learn to play pads
if I want to learn how to program drums.
It wasn't until years later, when YouTube came into the flow,
that I saw a video of him doing it one at a time.
And I was like, you gotta be kidding me, you know.
So I kind left it alone for a while.
It's always something that I used, you know...
as I'll explain when I'm working, it's something that I used
as a tool to get the idea out or for inspiration, but
but I didn't really start bringing it back into the flow
until maybe 2 years ago.
I was working at the good brother Jazzy Jeff's house,
and it was myself,
incredible, incredible musician Kaidi Tatham,
Daniel Crawford, also an amazing keyboardist,
and we showed up for these sessions
and were the first three people there.
And so we were waiting on these musicians
and the rest of these people to show up,
and we're itching to make music, we're like, look
there's a studio here, let's do something.
And so I had my MPD Pad and my laptop,
Daniel had a controller keyboard,
Jeff had a Rhodes and some other keyboards and stuff
there for Kaidi to play with.
And so we just kinda started jamming, and I think initially
what Jeff thought is that I would just pull up some drum-loops,
some pre-recorded stuff, but he comes in the room
and sees me playing the drums and he's like, wait, wait, wait,
he's like, you play drums live on pads?
And I was like, yeah.
And like, immediately, Jeff's brain is just like,
you need a Push.
And I was like, no, no, no, no, no. I'm good, I'm fine,
I'm comfortable in this particular thing.
And he's like, no, no, no, you need a Push,
so fast forward 2 weeks later...
I get home and waiting on my doorstep
is an Ableton Push.
And I didn't open it for the first 2 weeks, 'cause it's
an intimidating looking machine, there's a lot of pads,
a lot of knobs, and I also didn't know Ableton. Um, so...
I had a showcase that I was doing, and I wanted
to incorporate some more ideas
and so something a little bit more expansive
that what I had been doing, which is the MPD. So I tried it out.
And, you know, long story short, one thing
opened up a another door, opened up another door,
and it leads to me being here and this pretty much
being the brain of everything I do now.
Okay, so, we've got a bit of a treat for you guys.
It's called Track Deconstruction, but we figured we'd do a kind of
deconstruction-reconstruction, 'cause it's Stro, ain't it, right?
So, let's take it. What have you got for us?
Alright, are we up and running? Oh, yeah.
Okay, so...
what I have here is basically, you know, just an idea.
I didn't necessarily know...
Just like a lot of producers, I have a lot of ideas
that I sort of started and didn't finish,
this particular idea was something... I always liked
Beyonce's vocals on her album called 'Party'.
It's a real throwback kinda track but I thought her vocals
were really dope
and anybody who's familiar with my work, if you're not,
I do a lot of reworks and remixes and whatnot,
and try to bring something different out of the mixes.
It's saying my audio engine's off, hold on one second.
It's a very colorful array of...
- Yeah, now what this is...
So everyone has a template that they save
when they open Ableton,
so my template is basically set up for me to get going
as soon as it's up, so...
But that's a rainbow, man.
Yeah, but it's so my memory knows what everything is.
Red is low-end, orange is kind of high-end,
purple is kind of anywhere in between, some things are color
just based off the fact that I just kinda know what they are.
So this is literally just kind of an array of... percussion.
My gig with The Roots is pretty much a percussionist, so
at any given moment, like, I'll boot up something in case
they want me to start doing something
and so I have an array of percussion to use
for whatever they might wanna do.
So this is set as my template, so it opens with this,
I think there's another track with percussion on it,
there's a Drumrack opened up, just so that I can dive right in
as soon as I open up a session.
So this particular vocal...
That's Kanye, of course. But I don't know if you're familiar
with this track at all... But it has...
So as you can see there, I've already warped it.
And, you know, everybody warps a little bit differently...
I kinda go for the feel more than anything instead of having it
exactly locked in on every single grid point.
And especially this vocal is great example of that
because she kind of lays back in a lot of her vocals, so...
I don't wanna lose that all the time, there are some things
I want kind of locked on
but for the most part I wanna maintain the feel.
You see there are parts where I'm really busy
and parts where I'm not touching at all, like in this section.
And so basically with something like this it depends, like,
I'll take one of two routes where I'll say, okay,
I'm gonna do a flat-out remix, leave the vocals
just the way that they are,
and then just create music around it a different style,
or fashion or whatnot.
In this particular instance I think I tried that,
I think there was a thing I didn't like, which is...
why I left it the way that it is here.
I think what I'm gonna do here is try to just take
certain parts of it that I like, so...
Where to start, where to start... I think the first thing
I'm gonna do is I'm gonna first...
convert this guy into a Simpler.
Why is that useful?
- The Simpler?
To convert it from an audio track to a Simpler?
Because it allows me to lay it out, you know,
to use the amazing function that is actually...
What did I just do? Oh.
The amazing function that is the Slicing.
Sometimes what I like to do... If I'm stumped
or kinda stuck on an idea, I kind of...
let Ableton kinda decide where it thinks the chops are.
Sometimes it works, sometimes it doesn't.
In most cases I kinda end up doing it myself
because I already have an idea of the pieces I wanna take.
So in this instance we have...
- You're just adjusting the sensitivity right?
Yes, so I adjusted the sensitivity.
Actually it was shortened for some reason, I had it towards...
It only had a small section of it so I just kinda stretched it out
to where it gets to more of the track.
Now, no disrespect to Kanye but I'm not really interested
in his vocals here.
I might use it as an intro or something, you know,
on the finished version. But I really want Beyonce's.
Now I've probably turned the sensitivity down.
'Cause it's just getting little bitty pieces here.
See already right now I already know that I'm gonna wanna
do it manually because...
the piece that's it's grabbing and the way the sensitivity
is laid out it's leaving out...
huge blocks of things I want separated.
So I'm gonna turn the sensitivity all the way down...
and this'll probably be a little bit time-consuming
but I'll try to be quick about it.
What I'll do is I'll take just a section.
The hook is the money here.
It's about there.
You have to turn it on first.
And kind of a shortcut that I noticed, because the way
I was used to chopping in the MPD is that...
you sort of go in, you sort of decide where the chops are
in terms of moving a knob left and right, in and out...
when you do this is Manual mode...
So this next pad will just continue playing the rest of it.
But I don't want any of this section here.
So what I'll do is I'll set this and just use this...
I'll create another one, so this will just become a 'nothing' pad.
so this now becomes my next starting point
where I can decide where it starts.
Again, another 'nothing' pad.
Helps that you know the vocal, right?
So you know where your checkpoints are.
Don't want you either, Andre, sorry.
So this will be a good place for me to start.
I might go back in later and grab other pieces,
but I know from a creative standpoint that I like
what she's doing vocally here at this point.
Okay, and then... I usually adjust the volume a little bit.
Drum-wise it's gonna be louder.
So...
Let me see. Tempo-wise...
Let me see what we're looking at here.
What are you thinking?
We'll start here. I might speed it up...
- Any takers on the tempo?
Yeah, no? Fast or slow?
- Any takers?
89?-
- 85. - 85? Okay.
Beginning is always the hardest. It's finding that initial spark
that says, okay, this is where we're going.
'Cause the thing is I never usually... I make things much harder
on myself.
You know, everything in logic says we'll start
from the beginning of our vocal line.
No... Because it makes it more interesting for me to try to make
something different if I started from something else.
And it comes from what I feel is a good place
chord-structure-wise to start from.
Right, I'm gonna just play around with it
and see what it feels like.
So... I might no like it in the long-run but...
but I'll start from here just to start to build a rhythm around it...
So from this point forward it's literally just me
having a jam session with myself
until I come out with some things that I like so...
I'm a drummer so I always start with drums.
I'll try this out.
Think I'm gonna try something. I gonna play something...
and then resample it, I think that...
The thing with hip-hop, which is where I come from,
is it's gotta sound dirty.
There's gotta be a little bit of dirtiness to it, so um...
these drums are fine.
But also I'm tryin' to bring something else out if it,
I feel like I could take what's there and manipulate it,
then lay other drums on top of what's there,
so... bear with me for a second.
I'll just play around with this for a little bit.
Can we turn it up a little bit?
So I think...
So I think what's there...
I'll probably do that Beyonce chop,
that one I was a little a late on.
Now one or two things I could do here: I could quantize this
a little bit because...
the thing that I don't want to have, especially 'cause
I'm a little off with the Beyonce thing,
is I don't want everything to sort of fall off, so...
But the problem is because the way that I played it...
I like the feeling of the rolls and stuff in it, so...
So I think for now I'm gonna mute what Beyonce's doing
and redo that and come back to that,
and work with this drum shot right now.
I think what I'm gonna do is create an Audio Track.
So, did you quantize that?
- Did you keep them unquantized?
Yeah, it's not quantized.
It's a Stro-quantize? - Yeah, it's not quantized at all.
So what I'm gonna do here is resample the drum-kit...
I'm gonna resample this drum kit so I have an audio version of it
that I can then take and chop up if I want.
That's all I'll probably need,
'cause I'm probably not gonna use all of that. So...
So, again... convert this.
The whole thing into a Drum Rack?
- The whole thing. - Okay, cool.
Tune in this Simpler.
With this I'm not looking to chop it up into tiny pieces,
I'm looking for large chunks of loops.
Let's see what happens.
Just a question about your playing.
So, do you have fixed velocity on the pads or do you just know...
Well in the set-up over here I have this specifically set up
to my liking, which is...
Pad Sensitivity is at 8, Pad Gain is at 5. Dynamics is at 6.
I can't remember what the factory settings were.
But I remember that this felt more comfortable,
because of the fact that when I'm playing drums
just as a real drummer does
you like it to be as sensitive, you know, if I'm playing it lightly
on the snare, I want it to sound that way, so...
And here, the Push gives me the great flexibility,
being able to make it as velocity sensitive as I like it, so...
this is my personal set-up.
See, now I wanna do that again.
OK, I like that better. Let's do that again.
So... we get rid of the other one.
'Cause I like this one better... So...
So now it comes into the sound design part of it for me
because... that drum loop is great, it's cool,
but it's not the end goal for me. It's...
What I want those drum loops to be is more textured, if anything
for what I'm gonna put on top of that, so...
I use a lot of different plug-ins. Some favorites are...
not to name-drop other company's stuff, but,
there's some FabFilter stuff that I use quite a bit,
there's some Native Instrument stuff I use quite a bit.
I think here... what I'm gonna do first off to just try to
jumble it up a little bit is use...
I'm gonna use something with a delay or something. Maybe...
Let me see.
No, think we're in Delay. Where's the filter? No.
What did I use on you before?
Ah, I actually had it over here, so I'll move it here. Whoops.
Which one did you decide?
Hello?
I know you're in the zone and all that.
- Sorry.
We just wanna know what you chose, that's all.
- Oh, OK, well, I'm...
It's just the Complex delay filter that's in Ableton.
I don't know if I'm keep it which is why I didn't say anything.
I'm gonna try it though.
Put that there... The feedback...
OK.
That's interesting.
I'm gonna pull in a FabFilter Saturn, which is a go-to
that I use quite a bit.
Let's speed it up a little bit from there.
So now we're gonna drag in... just a kit that I always start with.
I might keep it in right now.
Oh, it's in there already.
What I do, is I do this in...
Now I'm just gonna use the sequencer...
We'll nudge a couple of these a little bit.
With this one I want a little bit more volume.
So I might come back and work with the drums.
- Cool.
Sorry.
- That's alright.
I've got loads of questions.
- Oh, sorry.
So, it was interesting how, the journey you went on
from having the acoustic-sounding drums,
you chopped those up, and it was almost like
the track could've gone one direction. - Yeah.
But it was almost like you did a switch. Right, OK,
it's gone from maybe what could've been the break...
and being the meat of the track, to actually being percussive.
Can you talk us through why you... why you switched? I know...
this situation's not... normal, but I'm just curious.
- It's probably a case of me making things harder for myself.
I just think it's makes things more interesting
the more that you push.
The more that you push on something rather than just leaving it
as it is... makes other things happen.
So, sure, I coulda left it as what it was...
I think I know, when I'm working on something and starting out,
whether or now it's gonna be interesting in the end,
at least for me.
I know, from where I started, that was a cool idea...
But just playing around with it, you know,
kinda branches that out. Now, this...
and this particular layout now gives me other
melody ideas
because I think melody I think has a lot to do
sometimes with... what happens rhythmically.
So, rhythmically what was happening there before, you know,
maybe some little funky bassline to it,
throw some keys on it and that was it.
This kinda opens it up a little bit more now for me
where I feel like I can do... I can still go a couple of different
routes if I want.
I can make it into something dance-y, if I wanted to speed it
up and go four-on-the-floor.
I can keep it as it is, maybe even slow it down
and go all-the-way-trap if I want.
Depending on what now melodically I add to it.
So, now, this is kind of a good starting point for me to build...
melody or a chord structure on top of it.
The melody and chord structure will then determine...
what happens with everything I just did.
It's very likely that all of a sudden, once I start working
with melody and chord structure,
that I go back and say,
OK, nah, I don't like what these drums are doing.
I either want to simplify it or make it more busy,
or sometimes it's just a matter of tempo...
which is hugely important, probably one of the most
important things I learned early on, is that...
is that tempo is everything. Not to sidetrack too much,
but there's this great quote from Quincy Jones,
where he was talking about a tune called "Little Darling,"
this classic jazz track.
And I forget who the writer was, but the writer brought him
this chart.
And the original tempo of the song was like...
And Quincy Jones was like, "Slower."
It was either Quincy Jones or it was Count Basie.
He coulda been quoting him. But he slowed it down, he kept
going, "Slower, slower." And till eventually it became...
And it's a classic tune now, but that's something
that I took note of because I was like,
that makes a big difference when you pay attention
to what tempo does, to the feel or either a melody or a song.
So, every time that I work, I'm never too stuck on a tempo
until I'm stuck on a tempo, if that makes sense?
Well you've got the flexibility of...
Absolutely, yeah, and that's again the power of being able
to warp everything and have everything...
sort of, move the way you want it, allows me to adjust tempos
on the fly.
Sometimes even in a live sense. In a live sense,
I use pretty much this and an APC.
And the APC is kind of like my two turntables,
and this is kinda my live instrument.
And I find that a lot of time that I'll end up playing tracks
either much faster or slower than even I made them because...
in the moment, just as every DJ knows,
when you're playing a track, sometimes it just feels good
at a certain tempo coming after...
whatever track you were playing before that, so...
that's the only time that that kinda differs from it,
but again, it just shows you that,
not track is every safe from a tempo change...
depending on what the feel or the vibe is, so...
Cool. Before you hit the melody I wanna see if these guys
have any questions to ask on the drums and beats kinda thing.
Anyone?
- Question at the front here, if you just hold for the mic please.
So, you just mentioned the MPC.
What do you use the MPC for and what do you ...
It's APC, right?
- The APC. - Oh, APC, I saw you do a volume...
Yeah, the APC, like I said, is my DJ decks.
Like, those is where I trigger the clips, where I do blends,
I have all the things mapped out on FX knows
that make it so they blend in and out of each other.
And this is what I play everything on,
whether it's drums, whether it's keys...
whether it's me triggering other samples or whatnot,
like, this becomes the instrument, the APC becomes...
the DJ decks, if you will.
Nice one. Anyone else?
Just keen to... Oh, a person at the front here.
Actually I was gonna ask after you said, "MPC,"
did you come from that background at all,
did you use the SP-404, or the MPC at all?
Yeah, well I was a late bloomer to the MPC.
My first drum machine...
after the crappy PSR-400 was... the ASR-X.
The ASR-X was... they made a red and a black one.
I had the black one.
The red one was the more powerful one
because it had multi-outs and a couple other features, but...
I had a choice when I walked into the music store, you know,
'cause everybody I knew had an MPC-2000.
That was.. .If you were making beats you had an MPC-2000,
when I got started.
The SP was a little bit before me,
even though I did know some who had it.
The reason I liked the ASR is because it was a musical
machine.
Even the layout of the pads were laid out
as an octave from a keyboard.
So the pads kind of went up in a octave like this way.
The were clingy, they were loud, annoying-ass pads,
but I liked the layout of it and also what you could do
internally to each pad.
It also had a resampling feature, which I don't remember
if the MPC had or not, at least the 2000, at the time.
And again, as you just saw, like,
resampling is a big part of what I do:
I like to take what I do, what I'm playing
and resample myself to be able to get more ideas.
So that particular machine was my weapon of choice.
I eventually ended up stepping up to an MPC-1000
which was the smaller guy, and using that in conjunction
with the ASR and my first foray into DAWs, which was Logic.
Nice one. OK, so, melody.
- Melody, yeah, so...
OK, this is gonna be really difficult to do with just the pads.
I'll go to an old favorite here.
I haven't used Massive in a while.
So, you're gonna layer the guitar?
- I like... I think I wanna just put a bassline under that
and try to go from there.
So what sound do you add next?
I'm looking for this...
something that I can just map out some chords with.
Again, not used to playing chords as well as I should
on the Push.
Let me find...
I didn't wanna go that high. My fault.
I think we've got some time to record those chords
and then some questions, and then... - OK.
You give the track to us and then we... dance to it.
Alright. We'll do this real quick...
So, yeah. That's like basically the skeleton of it.
- Sure, sure.
So, yeah, from that point I would add other little percussions,
I would add other sections to it.
Usually it's a little bit more evolved maybe chord-structure-wise,
but, due to this guy... But, yeah, that's pretty much... the...
the kind of format that I follow with everything, yeah.
- So just a couple of things before I offer it to the audience:
So two things: With the kicks and hi-hat business,
with the snares, do you the same snare but velocity...
'cause the kind of flam that you did...
- Oh... Well...
It depends. See, for the live drum things I was using a program
called Addictive Drums.
Which I use a lot just because of the realistic... feel of 'em.
Pretty much my go-to pattern for everything
and the way that I lay drums out is...
things are laid out in an open form so...
what these two fingers are doing...
are usually all hi-hat and ride-cymbal related.
Everything in the middle is everything else.
Which is kind of the way I think about drums, like, if I'm out here,
you're either playing this way with your cross stick, or whatever,
everything else happens in the middle.
Because I'm also playing kick with my fingers
that, of course, involves something a little bit different, but...
As far as the way I program drums...
I'm a big fan of layering drums.
Like, so let's say for instance this particular...
That's three different sounds.
And... I won't bore you with all that.
But basically with every drum sound I try to create...
I do what I like to call a "character sound."
The punch or attack of the sound.
And then maybe there's a third element thrown in there
depending on whatever it needs.
So... if you solo-ed everything out,
you might hear something that just sounds like...
You know what I'm saying?
And that's just a super compressed, something so...
And that's not meant for you to hear, it's more for you to feel.
So when it's layered with my 'character snare' as well as
whatever else I might lay on top of that,
and some of that goes into the way that it's layered.
Two snares might be here,
the character snare might be there in terms of where it's layered,
which might mean that I just take a lot of the Attack off of it.
I do that a lot with 808s on top of kicks
'cause I don't necessarily wanna hear the Attack of the 808 kick.
I just wanna hear the low end, so... it's the same thing
when I do... when I program snares as well.
Some things are layered according to what I want
you to hear and feel.
Nice one. Have we got a chance for one or two questions?
None at all? We're done?
OK. Well, Stro, thank you so much for that, man.
Give it up for Stro Elliot. Thank you.
