Let’s repeat the exercise with some drums. I’ve created 5 MIDI tracks in session view, the last one with a Drum Rack using Live’s 707 kit. In the I/O tab, route the first four MIDI tracks to the last, and set the Drum Rack’s monitor to ‘In’.
I’ve named each track Bd (bass drum), Clap, CH (closed hat) and OH (open hat). We can use the same odd length loops to create drums. I’ve used a simple 1/4 for the kick and a 5/16 for the clap, but in addition I’ve offset the clap by 3/16:
Here’s the two hat parts together. What’s neat about drum samplers is that they often (or should) choke the hats, so only one can play at a time, as if they were monophonic. This can lead to some unexpected results from time to time. Here’s the closed hat pattern (7/16):
… and the open hat (9/16):
And here’s how they sound:
When you put all of that together you get this:
To make this slightly more interesting, I’ve switched the kit out for some hits from Sample Magic’s Minimal Tech House pack and used one of the lighter MPC 16th swing groove templates that Live comes bundled with:
Lastly let’s add that to our Analog synths from earlier with some light sidechain compression courtesy of the kick drum:
This is only really scratching the surface of the potential of both polyrhythms and MIDI resampling in Live. You can take this much further experimenting with MIDI FX, Max4Live and Reaktor Euclidean sequencers and much more to boot.
YouTuber and bass player-extraordinaire Adam Neely recently made a great video on what he calls Harmonic Polyrhythms, something I linked to in my recent article on Frequency, Pitch, Overtones, Harmonics and Timbre. It’s a bit more hardcore than what we’ve discussed but a great video, well explained.