Lukas T Ditto!!

Who?

@@ddev96 if you pay attention when he provides the commentary while sitting on the couch you will find your answer

ze ferrarii !

you can :-) looking forward to meet you www.bennygreb.de/mastersession/

Benny Greb Thanks!! 😈

Benny Greb Haaa, that's so awesome! I may jump on that too

Imagine how good he'll be in 2073 ; )

Time Machine...Benny Greb...hmm 👍🏼

Frank Itt has awesome playing on Two Day Trio. I would love to hear more Frank Itt somewhere.

Cymbal stands are Sonor 600 series. Drum cases are Hardcase, I think.

tf?! no you don't.

HA HA HA GREAT COMMENT !!

haha

really childish as shit, man... grow up and GET IN THE CHOPPAA! NOWWW!

Damn though, doing some quarter note sixtuplet along to the video made me rethink. My theory makes some sense, as the ''Early'' ones were dab-smack right on the 5th sixtuplet.

Hello! You could probably quantify it, but I wouldn't and I think Benny would agree. There are a few common examples of music that is played rhythmically different than the notation would suggest due to the style of the tune. American swing is probably the most familiar example people in the states, but many samba sub-genres have wildly different swing feel. What's really important is that, as Benny said, the group is swinging together. There are no hard and fast subdivisions that swing players follow when performing, it is dependent on the tempo and even more importantly, the combined swing of the ensemble as a whole. This concept applies to behind the beat and on top of the beat playing as well. All that being said, people develope their swing and beat feels by listening to others play. Over time, an expectation of what a certain, "feel" plays like will develop and a consensus groove will often prevail. So if you want to play like this, listen to a lot of stuff with beat-play in it. Check out "trilogy," by lettuce and there are plenty of lo-fi hip hop jams that use this beat play concept (famously Dilla). Another caveat: experienced musicians will often take these consensus feels, or expectations and play with them (thanks Mozart). Lemme know if anything I said is unclear!

@@alexstewart966 Glad someone saw my comment and answered! I love lettuce, and the roots! All is clear, I am quite interested in all those ''playing around with the feel'' and delaying and tuplets and all, so I'm aware of the ''felt'' more than ''quantified'' way of doing it. But it's still quite interesting to attempt to quantify it or at least talk about it's quality: say, closer to triplet feel, or closer to sixteenth note, or closer to quintuplet and so on. It was still interesting to see that their ''before the beat'' locked very precisely with the fifht sixtuplet of the beat! Did you see the new foundry reserve Meinl line video? Greb plays some nasty trick in it.

We can also extrapolate something from what I found, that I didn't in my original comment: The ''before the beat'' was further from the ''true'' beat than the ''after the beat'' one.

@@rumblepac6823 that is interesting. I would have though behind the beat was further

Its evident when they play different versions, but not when they play the same

I can hear it, and this is how I visualise it: So benny is playing mainly quarter notes on hi-hat. But you need to imagine hearing where the eighth notes are in your mind. The key is focusing on the last eight note, and subdividing that one into a triplet: 4 e + trip let 1 When they rush, they are both playing the "trip" note, and when they drag, they are both playing the "let" note. Hope this helps!