Mike Will Made It Drum Kit Free Download

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Thanks! Well the idea sort of came as an extension to my drum groove and loop library at my Bandcamp site. That library is made up of loops and grooves that I have recorded over the past year specifically for that site. As far as the custom drum loop gig on Airgigs goes, I thought it would be a cool idea to offer people a cheaper alternative to the full song recording price. Also, people may just want a couple of loops of a certain vibe or style to write over. On the other hand, a client may want me to record a loop that fits nicely over a pre programmed drum part to give the final track some life. I have also had some custom drum loop orders on Airgigs to replicate a specific drum groove for a living room cover band. So the work can vary a bit, but all of the transactions have gone smoothly.

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A leading force in Atlanta's commercial rap supremacy for the better part of the 2010s, Mike WiLL Made-It began working with Gucci Mane as a teenager and rode that momentum to establish and sustain mainstream presence with lean, sleek, and imposing productions for an assortment of high-profile artists spanning hip-hop, R&B, and pop. Since topping Billboard's Hot R&B/Hip-Hop chart for the first time with the Kanye West-led "Mercy" (2012), not a year has passed without a major hit from the producer. Among his post-breakthrough highlights are Top Ten pop entries with Lil Wayne's "Love Me" (2013), Miley Cyrus' "We Can't Stop" (2013), and Beyonc?'s "Formation" (2016), and number one hits with Rae Sremmurd's "Black Beatles" (2016) and Kendrick Lamar's "HUMBLE." (2017), the last of which won a Grammy for Record of the Year. Mike WiLL has also released an assortment of collaborative headlining projects, including the proper full-length Ransom 2 (2017) and Creed II: The Album (2018), both of which were issued through his Interscope-supported Eardruma label.Michael Len Williams II grew up surrounded by music in his native Marietta, Georgia, a suburb of Atlanta. His mother Shirley has performed and recorded with Dottie Peoples, his father DJ'd in clubs, and one of his sisters was a drum major. Williams himself was into playing keyboards, programming drums, and production by his early teenage years. While in high school, he started supplying tracks for Gucci Mane, as heard on the 2007 mixtape No Pad No Pencil. After graduating, he attended Georgia State but put his studies behind after he landed his first Billboard entry with Meek Mill and Rick Ross' "Tupac Back," a number 31 hit on the R&B/hip-hop chart in 2011. Williams rose to mainstream prominence the next year with a string of hits characterized by lean, sleek, and imposing beats. Future's "Turn on the Lights," Kanye West's "Mercy," 2 Chainz' "No Lie," and Juicy J's "Bandz a Make Her Dance" either topped or nearly topped the R&B/hip-hop chart, with the latter three also crossing into the pop Top 40.Accolades multiplied in 2013, a year that also entailed stylistic diversification into full-blown pop. Six singles bearing the Mike WiLL Made-It stamp reached the Top Ten of the R&B/hip-hop and/or pop chart: Rihanna's "Pour It Up," Lil Wayne's "Love Me," Ace Hood's "Bugatti," Ciara's "Body Party," and Miley Cyrus' "We Can't Stop," as well as the producer's first hit as a headliner, "23," featuring Cyrus. "23" was Williams' debut for Interscope, where he soon established the boutique Eardruma label for developing rappers and fellow producers. Most of Williams' production success in 2014 was tied to the label's first big act, exuberant sibling duo Rae Sremmurd, whose "No Flex Zone!," "No Type," and "Throw Sum Mo" were Top 40 hits across the year. Shortly after Williams helped take Beyonc?'s "Formation" to the Top Ten in early 2016, he and Rae Sremmurd reached a peak with "Black Beatles," a number one pop hit. "Formation" was later nominated for Grammy awards in the categories of Record of the Year and Song of the Year.With several mixtapes behind him, Williams finally released his first proper solo album, Ransom 2, in March 2017. Packed with at least one star artist on most of the tracks, the set entered the Billboard 200 at number 24 but was instantly outdistanced within weeks by a Williams-related LP by one of its guests, Kendrick Lamar's DAMN. Williams either produced or co-produced three tracks from that album, including "HUMBLE.," his second number one hit, and "DNA.," another Top Ten single. The former became Williams' 16th production to go either gold or platinum, and made him a Grammy winner when it took the award for Record of the Year. All the while, Williams continued to devote time to Eardruma as a label head and producer with Edgewood, an album co-billed to Mike WiLL Made-It and rapper Trouble. The March 2018 release was followed eight months later by the Top 50 companion to the Creed II soundtrack, Creed II: The Album. Williams was directly involved with almost every track, joined by the likes of Gucci Mane, Rae Sremmurd, and Kendrick Lamar, as well as 2 Chainz, ScHoolboy Q, and Bon Iver. The song "What That Speed Bout!?," featuring Nicki Minaj and YoungBoy Never Broke Again, arrived in November 2020. ~ Andy Kellman, Rovi

Typically, drummers aren't concerned with keeping their drums "tuned" to specific pitches. In fact, if a drum has a very obvious pitch, it may interfere with the music. It's more appropriate, in general, to project a set of high and low-pitched "tones". So, although I use pitch as a reference below, it's ONLY a reference. I chose to use pitch, because the terms "pretty taut" and "pretty loose" are vague. Don't obsess over pitch, though. Most drums have a "sweet spot" that tends to be in their middle tuning range, which works the best. Try putting the bottom head on first, gradually tensioning the head while tapping on it, and when you find the spot that sounds right, duplicate it with the top head. That will give you a good starting point.

The pitches I reference below are for the drums I play. If your drums are different sizes, and/or made of different material, you may have to do some adjusting. The intervals between your drums are more important than the actual pitches. Drummers with fewer drums tend to use intervals of 4ths and 5ths, and drummers with many drums tend to use smaller intervals, like minor 3rds, or even whole steps. If you're not familiar with these terms, just ask your keyboard player or guitarist for a little help. One approach to this is to (with the drum heads removed) actually tap the outside of the shell with your knuckle, and listen for the fundamental pitch, then try and tension the heads to that pitch. I've tried that, but don't use it as my method.

A drum is such a simple instrument... Although someone will always claim to invent a new construction method, new kind of head, new kind of stick, etc., there's really no reason to make it very complex. There are only two approaches to tensioning drums. You can have both heads the same, or one head tauter than the other. (top or bottom) So how do you know which is the best for you? Try it yourself, and see what you like. It's the only way you'll ever know.

I prefer for the bottom head on my toms and bass drum to be slightly tauter than the batter head. If you start with the pitches above, especially using thin heads like "Diplomats", the batter-side head will stretch over the first few days, and you'll end up with the bottom head tauter, automatically.

The example above is from a performance at the Buena Vista Palace, at Disneyworld, Florida, with a "show band" I was in, in about 1984. It's the same setup as above, except for two things. First, I was using Remo (clear) "Pinstripe" heads as the batter head on the toms and bass drum, and second, (to try and get some more resonance) the toms and bass drum are one step lower in pitch. Notice how flat and "dead" the Pinstripe-equipped drums sound, compared to the Diplomat heads? In this case, the drums were close-miked, and the sound man was adding some reverb to the mains. (This recording was made with a portable cassette recorder simply sitting on the floor near the drums, on stage.)

Obviously, it works both ways... If you're a drummer who likes the sound of very loose heads, you may find that a simple turn (tauter) of the drum key will make your sound more appropriate for the blues, jazz, or funk gig that you're filling in on. It only takes a minute, so if it's appropriate to make the adjustment, then just do it and get on with the show.

I remember an interview with Buddy Rich, who made these remarks when the interviewer asked him why the drums sounded unusually loose. He said, (paraphrasing here) that the heads were new, and that he'd play them for a few days, to let them "sink in". He then said that "when they're pulled up, they're perfect". Buddy knew how to produce a great sound, and he certainly knew how to install a drum head! So, his approach was to "let the heads sink in" for a couple of days, then "pull them up". If you think in terms of these "creases" at the edge of the shell, it makes perfect sense. After the heads "sink in", you're then pulling these creases outside of the shell, which simply makes more sense to me. That's how I've always done it, and I think it produces better results.

The first step is to evaluate the drum set acoustically in the recording space in context with playing dynamics and the style of music. This will help you to determine if the musical goal for the recorded drum sound would be better served by a more organic minimalist miking approach, a hardcore multi-mike setup for greater control in the mix to achieve a produced sound, or a moderate approach somewhere between the two extremes. The mikes you use and how you deploy your setup have a significant impact on the overall sound. Be prepared with a plan. ff782bc1db