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Clicktrack, how do you guys deal with it? Drum Machines & Samplers
Old 29th November 2006
  #61
Quote:
Originally Posted by lflier View Post
How do I deal with a click track? I don't. I hate the friggin things, and I'm sick of listening to music that has been cut to a click, even if the musicians are good at playing with one. IMO, music was not meant to be played at exactly the same tempo throughout the whole song and you can't calculate ahead of time at which points the tempo should slightly increase or decrease to let the music "breathe." ... Let the humans run the show instead of machines, now there's an idea.
My feeling exactly. I'm recording a demo soon with some talented young musicians who have always used a click in the past. Since they aren't paying me, I'm insisting they not use one. This is for educational purposes as much as musical. Straightjacketing rhythm is very bad for music, imo.
Old 1st December 2006
  #62
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Most people would say ACstikeDC drum is pretty much like a click (boom, tah, boom, tah, boom, tah...), but I once had to recreate "Back In Black" drum using a drum machine.

Starts at 89 bpm, all the punches/fills are at least 2-3 bpm faster and the song ensd at 95 bpm if I remember correctly. Do I feel this is sloppy timing? Not at all. Speeding in the fills adds excitement. Faster at the end keeps interest as it boosts tension.

"To click or not to click, does it have to be the question? Whether 'tis nobler in the mind to suffer the slings and arrows of outrageous machines, or to take arms against a sea of troubles, and by opposing end them?"

Some music lends better to click, some don't. Bad drummers can be better or worse with clicks, I've seen both (painful editing at extra $$$ can also help them)
Old 1st December 2006
  #63
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I was wondering, did someone here ever tried to use a delayed version of the snare as a click to the drummer? That way, he maybe wouldn't have to "catch up" to the click as it adjusts itself on every drummers' beat.

Never tried it myself, but was thinking of it. Does someone knows if this works? (Of course, needs quite regular drum patterns, such as ballads, some rock, etc)
Old 26th January 2014
  #64
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Hey all! New guy alert! +1 on use of click.I consider it the universal language and control to musical experiments.Playing ahead/ behind or on the beat requires a reference, otherwise it's just your interpretation of how music feels to you. Also takes some guess work out of who's not as awsome as they may think. Anyone here not striving for almost perfect timing?
Old 7th February 2014
  #65
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mute
Old 8th February 2014
  #66
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Quote:
Originally Posted by PhilRanger View Post
I was wondering, did someone here ever tried to use a delayed version of the snare as a click to the drummer? That way, he maybe wouldn't have to "catch up" to the click as it adjusts itself on every drummers' beat.

Never tried it myself, but was thinking of it. Does someone knows if this works? (Of course, needs quite regular drum patterns, such as ballads, some rock, etc)
Jazz trumpeter Don Ellis used to start a song playing riffs into an echoplex and the timing of the delay became the tempo for the song.

People people manage to play with clicks and people manage to play with no timing reference at all. People manage to play with delays that are not inherent to the rhythm, and with delays that are.

I don't see any reason why this would not work. The echo being a gentle (but consistent) reminder of the tempo, but without the "Umpire" status that a click has.
Old 19th February 2014
  #67
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Quote:
Originally Posted by Ryan Oakes View Post
Hey all! New guy alert! +1 on use of click.I consider it the universal language and control to musical experiments.Playing ahead/ behind or on the beat requires a reference, otherwise it's just your interpretation of how music feels to you. Also takes some guess work out of who's not as awsome as they may think. Anyone here not striving for almost perfect timing?
But… isn't this:

"your interpretation of how music feels to you"

sort of the thing that musicians are supposed to be doing?

I get that the tragic flaw of recording engineers is wanting to control everything (and I include myself), but this is taking things a little too far.

Yes, it's easier (for the engineer and/or producer) if everybody plays to click, for when someone says, hey, let's use that third verse b vox for the first verse. And everyone expects to cut and paste and have miracles done for them, even when they've said they don't want them - at the beginning.

The tension between what's offered by drum machines and live musicians has existed since the first Linn drum, or even earlier (There's a Riot Going On, for example). But it's a matter of choice and aesthetics, and yes, I understand you can't make a choice if you can't play to click. Some can, some can't, or won't. But being prescriptive about this stuff just seems like it's going against the very thing we're supposed to be helping people do.

And the "separating the men from the boys" thing… nah. Come on.
Old 27th February 2014
  #68
How do I deal with clicktrack?

Easy: play with it, not against it.

A clicktrack is just a precise, boring, percussionist. If you played with percussionist with impeccable time, you wouldn't wander around the tempo (if you did, you wouldn't be much of a drummer as one of our jobs is to establish time).

Clicktrack is easy-peasy if you don't fight it.
Old 6th March 2014
  #69
Dave Weckl once said that he treats a click track like any other player in the room. You want to groove with it, not in spite of it. Someone else once said that the goal is make the click disappear behind your playing; that's what I usually strive for. Usually works pretty well once you get good enough with it that you can forget about it.
Old 8th March 2014
  #70
Lives for gear
I've had more luck playing to a groove with a mix of quarter notes and 8th notes in a two-bar phrase too; that plus using programmed bongos/congas, shaker/woodblock combo, tambourines, tablas, etc. Feels great to play with, keeps you in time and you don't even notice it. Just feels like you're jamming with Santana's rhythm section...
Old 14th March 2014
  #71
Quote:
Originally Posted by Masecar View Post
Someone else once said that the goal is make the click disappear behind your playing; that's what I usually strive for. Usually works pretty well once you get good enough with it that you can forget about it.
Exactly

Quote:
Originally Posted by gravyface View Post
I've had more luck playing to a groove with a mix of quarter notes and 8th notes in a two-bar phrase too; that plus using programmed bongos/congas, shaker/woodblock combo, tambourines, tablas, etc. Feels great to play with, keeps you in time and you don't even notice it. Just feels like you're jamming with Santana's rhythm section...
Cool, I'm gonna try that for sure!
Old 14th March 2014
  #72
Here for the gear
 

playing with a click track ....

for me there are 2 separate thoughts: LIVE and STUDIO

LIVE:
i am doing this now since over 15 years with various live bands ... from top40 via rock bands or originals ...

being able to play with the click track is based on having a good monitoring system in place where the click is well set into the band ... being the "additional" band member (however only for the drummer ...in the most of the cases) ... I have all my drums split into my own desk, with an additional channel for the click and a channel for the rest of the band to be able mix all into a perfect L/R feed for my In-ears!

live, if the groove fluctuates around the click this is still human feeling which keeps the groove alive ....

STUDIO:
whereas in the studio this is only partly true!
in the studio the click has to stand well above the band in order to be able to play right to the click ... on each beat

or ... using Protools all will be "on the click" at the end anyhow ...



serge
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