HOME STUDIO RECORDING VOLUME 2 
  
    These are patterns for Midi Master Drummer which was included 
in HSRVOL01.LZH,  These patterns were compiled from the magazine
"Home & Studio Recording". The article entitled "On The Beat" by
Nigel Lord shows examples of various basic rhythms that can be
programmed into any type of drum machine or sequencer. 
  
     Volume 1 contained the MIDI Master Drummer program and 5
 patterns. Volume 2 and future volumes will only include the
patterns from the "Home Studio & Recording" magazine articles on
drum programming. You should down load Vol 1 if you haven't already.
If you can use the patterns by themselves feel free to do so, just
down load the Volumes after Vol 1. 
  
     If demand requires, I might upload the patterns in SMF for
those that are interested in them. Just send me some E-mail....Enjoy! 
   
In Volume 1 the 5 examples demonstrated the change in emphasis 
away from the snare and onto the bass drum that has characterized 
much of the dance music of the last ten years. However, if we turn 
our attention to the snare line and add an extra note, we produce 
a pattern favored by punk bands in the late '70s...
     ______________________
    | PATTERN # 6          |                                                          
    |______________________|_______________________________________________
    | Beat:                1     2     3     4     1     2     3     4     |          
    |______________________________________________________________________|
    | Open Hi-hat          |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |
    |______________________|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|
    | Closed Hi-hat        O  O  O  O  O  O  O  O  |  |  |  |  |  |  |  |  |
    |______________________|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|
    | Snare Drum           |  |  O  O  |  |  O  |  |  |  |  |  |  |  |  |  |
    |______________________|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|
    | Bass Drum            O  |  |  |  O  |  |  |  |  |  |  |  |  |  |  |  |
    |______________________|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|
    | Time Signature: 4/4  |  Bar 1                | Bar 2                 |
    |______________________|_______________________|_______________________|

     Things get a little better with the reintroduction of a third 
bass drum note - but not much...
     ______________________
    | PATTERN # 7          |                                                          
    |______________________|_______________________________________________
    | Beat:                1     2     3     4     1     2     3     4     |          
    |______________________________________________________________________|
    | Open Hi-hat          |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |
    |______________________|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|
    | Closed Hi-hat        O  O  O  O  O  O  O  O  |  |  |  |  |  |  |  |  |
    |______________________|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|
    | Snare Drum           |  |  O  O  |  |  O  |  |  |  |  |  |  |  |  |  |
    |______________________|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|
    | Bass Drum            O  |  |  |  O  |  |  O  |  |  |  |  |  |  |  |  |
    |______________________|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|
    | Time Signature: 4/4  |  Bar 1                | Bar 2                 |
    |______________________|_______________________|_______________________|

      
  
     As if to prove 'less is more,' the next rhythm uses fewer 
snare and bass drum notes than any of the preceding patterns.Yet 
it produces a far more effective groove, which can form the basis 
for many rhythmic variations:
     ______________________
    | PATTERN # 8          |                                                          
    |______________________|_______________________________________________
    | Beat:                1     2     3     4     1     2     3     4     |          
    |______________________________________________________________________|
    | Open Hi-hat          |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |
    |______________________|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|
    | Closed Hi-hat        O  O  O  O  O  O  O  O  |  |  |  |  |  |  |  |  |
    |______________________|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|
    | Snare Drum           |  |  |  |  |  |  O  |  |  |  |  |  |  |  |  |  |
    |______________________|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|
    | Bass Drum            O  |  |  O  |  |  |  |  |  |  |  |  |  |  |  |  |
    |______________________|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|
    | Time Signature: 4/4  |  Bar 1                | Bar 2                 |
    |______________________|_______________________|_______________________|

     Try adding an extra bass drum note on the off-beat between 
the other two:
     ______________________
    | PATTERN # 9          |                                                          
    |______________________|_______________________________________________
    | Beat:                1     2     3     4     1     2     3     4     |          
    |______________________________________________________________________|
    | Open Hi-hat          |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |
    |______________________|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|
    | Closed Hi-hat        O  O  O  O  O  O  O  O  |  |  |  |  |  |  |  |  |
    |______________________|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|
    | Snare Drum           |  |  |  |  |  |  O  |  |  |  |  |  |  |  |  |  |
    |______________________|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|
    | Bass Drum            O  |O |  O  |  |  |O |  |  |  |  |  |  |  |  |  |
    |______________________|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|
    | Time Signature: 4/4  |  Bar 1                | Bar 2                 |
    |______________________|_______________________|_______________________|

     A further bass note on the off-beat just after the snare 
gives the pattern yet another feel...

     ______________________
    | PATTERN # 10         |                                                          
    |______________________|_______________________________________________
    | Beat:                1     2     3     4     1     2     3     4     |          
    |______________________________________________________________________|
    | Open Hi-hat          |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |
    |______________________|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|
    | Closed Hi-hat        O  O  O  O  O  O  O  O  |  |  |  |  |  |  |  |  |
    |______________________|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|
    | Snare Drum           |  |  |  |  |  |  O  |  |  |  |  |  |  |  |  |  |
    |______________________|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|
    | Bass Drum            O  |O |  O  |  |  |O |  |  |  |  |  |  |  |  |  |
    |______________________|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|
    | Time Signature: 4/4  |  Bar 1                | Bar 2                 |
    |______________________|_______________________|_______________________|

  
     Linking patterns 9 and 10 together produces a simple but 
highly effective groove that works well as a framework for a more 
complex bass line to be woven through it.

     Finally, those into heavier musical styles might like to try 
omitting every other hi-hat strike from any of these patterns. The 
effect is more ponderous, but it can be very usable if it's 
somewhat speeded up. (You might also try using your ride cymbal 
instead of your hi-hat for this example.)

     This article excert appeared in the June 1990 issue of 'Home & 
Studio Recording' by Nigel Lord.