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This tutorial will show you how I program a one drop reggae drum beat with a syncopated hi-hat groove. I begin by recording a rough midi performance, then go.

Prosonic's Reggae & Ska Drum Library is packed with thousands of professional midi drum beats, in both common and complex time signatures, and they're all royalty free! Prosonic's Reggae Drum Beats have been inspired by greats like: Bob Marley, Peter Tosh, Toots and the Maytals, Jimmy Cliff, Burning Spear, Bunny Wailer, Black Uhuru, Sly and Robbie. Most of the styles and patterns you`ve heard in our beats are now available in midi format. It’s as easy as drag and dropping them in your DAW and create your own reggae beats. Acoustic Guitar 28 acoustic guitar patterns and basic strums Bass 40 base patterns and progressions in minor and major chords Drums.

Buy reggae midi files get your VST instruments ready and make reggae beats like never before. All you have to do is buy the midi files here and use them as shown in the demo on this page below. Most of the styles and patterns you`ve heard in our beats are now available in midi format. It’s as easy as drag and dropping them in your DAW and create your own reggae beats.

Reggae Midi Drum Patterns

Specifications

Acoustic Guitar
28 acoustic guitar patterns and basic strums
Bass
40 base patterns and progressions in minor and major chords
Drums
66 drum patterns along with intros and files
Mute Guitar
14 mute guitar patterns in minor and major chords
Organs
5 major bubbling patterns in major and minor chords
Piano Strums and Rifts
7 piano strums and rifts
Rhodes
12 major and minor chords
Work In any DAW

We are now at the point where we have a full instrumental track. But we're not quite there yet. We have to take our 128 measures of music and change things. The created full riddim is rather boring without any drum breaks and other variations and that's what we're gonna work on a little bit in the following chapters.

Right now, let's focus on the drums as this is the reason why we want to start our raw instrumental Reggae riddim at the ninth bar. About 95% of all Reggae tracks start of with a drum roll. You could say that this is the 'Reggae way' of counting off before a track. Where others tick the drum sticks or simply say 'one, two three four', in Reggae this is done by means of a drum roll. There are many non-musical reasons to think of why this is done but let's not go there in this tutorial. Let's just take it as a musical fact to consider.

Go to the eight bar of your drum track, make it so that you will be able to create 16th notes and make the following introduction roll:

Another thing in Reggae Music is that the first eight bars often function as an intro part. This is where horns play their theme or singers introduce the track with one or more vocal hooks. Very often, the first eight bars end with a drum roll that starts the sixth or seventh bar. As we will keep it a bit simple, we'll just make a short break at the eight bar. In the sequencer,this is the 16th bar as we start of with 7 bars of silence and a one-bar intro roll.

Go to the 16th bar and create this break (click image to enlarge):

The start of your rhythm should now sound something like this:

EXAMPLE0021.MP3.

Izotope iris 2. Actually, you will recognize the Reggae standard of the intro roll and the break in the eight bar of the actual musical track. We've now reached a point wherein freedom can be enjoyed to the fullness when it comes to the drums. At least, freedom in responsibility.

Most tracks will have two or three breaks after the introduction part, or even more. Breaks can last sometimes up to four bars but you will have to know exactly what you do when you go there. More short and simple breaks will do for now, as you don't need this tutorial at this stage when you know how to make a four bar break.

Sure, when you know exactly what you want, or perhaps you have lyrics for which you need a riddim. In these cases it is quite important to place your breaks strategically. You do not want a break in the middle of a verse unless you deliberately want such a thing, for example.

There's more you don't really want unless you really do.

Take the beginner's mistake of putting too many breaks in the rhythm. A break should signify an important part like the end of a chorus or verse, or it should just do what the word says: give the riddim a break. When you hear a break every let's say 16 bars, the break becomes part of the rhythm and you'll end up creating a new style, call it breakbeat and become famous.. But wait.. that has been done a long time ago already so just don't do it. Limit yourself to two or three breaks next to the introduction parts. So let's say no more than 5 in total during the whole instrumental track.

You do not want your Hi Hat pattern to continue during a break, either. A real drummer would never be able to do this and so you should avoid such unnatural things like the plague. Only do such things when you know what rules you are breaking and why you are breaking them. The human brain simply does not accept such things, even when it's just on a subconscious level. You can alter your hi hat pattern like in the example of this chapter, though. End it with an open HiHat hit that sounds during the break, fine. But always keep in mind a drummer usually has two arms and hands, not three or four.

Now, the best way in a situation like the one we created now is to go with your feeling. One way of determining the place of the breaks, especially when your intention is to make Dub primarily, is to simply let the drum and the bass play without the piano. Press play and listen intensly. You hear the introduction roll and the first eight bars that end with a break. Now listen, feel the drum and bass line and there will be a point wherein you will want to do something with the drums.

Let's do something with the drums. Let's put the shortest breaks of all somewhere: a simple crash on the thirn with nothing else during the rest of the bar. You will recognize this thing, especially in live concerts. It shows the power of taking things away, which -after all- is the strength of Dub as well. Go to bar 40 in your sequencer and do this with the drums:

Yes, you simply change the HiHat his on the third count into a crash cymbal hit and delete everything afterward in the bar. By doing so, you effectively created a 24-bar part in which you can do a thing and end it at bar 40 in your sequencer. This can also be a thing you will in your Dub mixing at a later stage.

Now, let's continue our drum alteration session. Instead of putting a break or crash cymbal,you can also slightly change the drum pattern intself. We're going to

Midi Reggae Drum Patterns