One Drop Reggae Riddim Mix Vol 1 Mp3 Download ((TOP))

Disclaimer: Roots reggae grew out of a strong tradition of live performance. This tutorial describes some stylistic parameters for programming a roots-style riddim, but a programmed beat will inevitably lack the dynamics and "human" feel of a reggae riddim played by accomplished instrumentalists. Nevertheless, reggae producers have been programming roots-style riddims since the 1980s, and you can do quite a lot with music software these days, including, with some work, achieving subtle dynamics and a "humanized" feel. With these caveats in mind, please think of the following recommendations as rough guidelines for getting started on roots riddims. Departing from these conventions, as much as adhering to them, will be important in crafting your own voice as a reggae producer.

Additionally, the snare--which frequently takes the form of a "rimshot" in roots reggae--will often deviate from this pattern, providing syncopated "turnarounds" every few bars or so (especially on the final bar of a 4- or 8-bar section of a verse or chorus--try to use these fills sparingly, which will make them more effective):

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Often, roots-reggae riddims also feature additional percussion. You could add, for instance, a shaker to complement the hi-hat line. Making the shaker play a slighly asymmetrical rhythm can help it to stand out and provide some nice rhythmic texture:

Finally, due to the influence of Rastafari on roots reggae, one often finds hand-drums in roots riddims. One will want to acquaint oneself with the Kumina/Burru traditions in order to create a better informed hand-drum line. Still, some experimentation can yield pleasant results. Try to complement the riddim you've already constructed by adding hand-drum "attacks" at various points in the timeline. To make the hand-drums sound more "real" add some delay, perhaps "pitching down" the echoed attacks. As usual, and in line with West African approaches to polyrhythm, 3:2 relationships can provide some effective rhythmic drive.

(You will want to make sure that you are within a tempo range that works for roots reggae. Since roots reggae has many forms, from ballads to rockers, quite a range of tempos will work. Although there are no rules here, there are conventions. Try something between 50-100 bpm and adjust it as you go, depending on whether you want to build a riddim for a slow-, medium-, or up-tempo song. Feel free to depart from this, too, if you think it can work.)

No one-drop riddim will sound complete without an emphasis on the upbeat, usually played by guitar, though a keyboard or organ can also substitute or complement the "skanking" chords on the "and" of each beat. Rhythmically, a "skank" will look like this:

Roots riddims often complement this simple skanking with what is referred to as an organ "shuffle," where an organ accents the 16th notes, or boxes, just before and after (and often along with) the upbeat:

A short word on chords: unlike loop-centered styles such as hip-hop and dancehall, roots riddims often employ chord progressions, outlining a set of harmonic changes over the course of a measure or two, or four, or eight. Sometimes these chord progressions can be quite complicated, though often the simplest two-chord or four-chord vamps can be the most expressive. If you don't know much about chords, there are a few, simple conventions to be aware of when building a roots riddim.

First off, roots riddims tend to employ a fairly small number of chords, though there are many variations on the chords' voicings, or the way they are "spelled"--that is, the series of simultaneous pitches that create a chord. (A chord is generally thought of as a set of simultaneous pitches.) Here are several chord-spellings that you could use in a roots riddim--try building these chords for a guitar or keyboard, as is customary. To keep things simple, let's build these chords in the key of C, which will restrict us to the white keys. You'll probably want to experiment with key in your own compositions, but that can always be done by pitch-shifting the channel itself, so it may be easier to compose in C and then move things around. For simplicity's sake, let's also stay within the range of just over one octave, though you should feel free to reproduce the same pitches above and below this range. (The following chords are displayed in FL's piano-roll window.)

Roots reggae riddims tend to focus on these chords, often using only a couple at a time. I don't want to go into much "formal" theory here, but you should know that in a major key (as in many reggae songs) the 1, 4, and 5 chords are major chords and the 2, 3, and 6 are minor. (Note the differences in spaces between each pitch in the major and minor chords above.) This contrast in mode allows for some interesting, affective changes. Try simply moving between 1 and 2 chords, two beats per chord, for a nice alternating progression:

Reggae is, of course, known for its heavy, bubbling basslines. And it's not exactly easy to come up with the inventive, melodic, mesmerizing, and yet minimal basslines that define classic roots reggae. Not everyone can live up to the standards set by Leroy Sibbles, Robbie Shakespeare, Aston "Family Man" Barrett, and others. But you can try. And listening to great basslines is a pleasant way to study up.

Typically, reggae basslines follow the song's chord progression, outlining the chord's vertical stack of pitches in "horizontal" time. In addition to playing these tones, or some smaller set of them, the bassline usually provides an underlying rhythmic drive. Try landing on the strong beats, the 1s and 2s and such, but also place a note or two on the syncopated boxes around them:

Finally, despite what you may program harmonically and rhythmically, the "tone" or timbre of the bass is, of course, crucial. Try to filter out a good amount of the treble and mid-range frequencies if you can, leaving a fat, low bass tone. FL's BooBass, which emulates the classic Fender P-Bass, a commonly used instrument in much reggae, allows you to do this pretty easily:

At this point, you should have a decent, if somewhat bare-bones, roots riddim chugging along. But you will probably want to add some additional elements to give it some distinction and to fill it out. These can take all kinds of forms, from additional guitar or keyboard melodies, to synthesizer lines or synthesized orchestral elements (best when mixed low), to additional percussion and various samples (vocals, sirens, field recordings, etc.). Since reggae has become a global music, producers have been adding all kinds of things to roots riddims, from sitars to vinyl hiss. Keep your ears and mind open and decide what sounds good to you.

One rhythmic variation that you might want to be aware of connects roots reggae riddims to dancehall reggae riddims. If you take the one-drop and add kicks on beats 1 and 3 (making it a four-to-the-floor kick pattern) and snares creating a 3+3+2 pattern, you get a rhythm that was rather popular in the late 80s and early 90s, taps into much older Caribbean currents (from calypso to son), and has seen a recent resurgence, as on songs like I-Wayne's "Can't Satisfy Her." Try substituting the following pattern for the one-drop pattern and see how it changes the feel of your riddim:

Reggae is a rich musical tradition with a vast catalog of classics. For greater guidance on building your own roots riddims, check the artists and producers who built the solid foundation on which your new tracks will rest. You might start with the Studio One and Treasure Isle staples, dig into the dub of King Tubby and Lee "Scratch" Perry, move through Channel One's "Roots Radical" re-versions, check Jammy's digital revolution, don't miss Sly and Robbie, Steelie and Cleavie, and Bobby Digital on your way, and catch up with the latest explosion of roots riddims coming from the likes of Donovan "Don Corleone" Bennett. Nuff music lessons out there. Keep your ears peeled. Seen?

The backbeat is characterized by the dominant snare drum stroke (usually a click produced by cross-sticking) and bass drum both sounding on the third beat of every four, while beat one is left empty. Thus, the expected hit on beat one is "dropped," creating the one-drop effect. Dropping out the bass on the "one" of the measure further accentuates the downbeat of the drums creating the rhythm.[12]

Examples of songs using the one drop from Bob Marley and the Wailers' album Legend, with Carlton Barrett on drums, include: "No Woman, No Cry", "Three Little Birds", "Get Up, Stand Up", "Waiting in Vain", "Stir It Up", "One Love/People Get Ready", and "I Shot the Sheriff".[3] Other examples include Peter Tosh's "Legalize It", Steel Pulse's "Higher Than High", and Bob Marley's "Exodus".[8] Also The Upsetters's "One Step Dub" (1976) and Bob Marley & The Wailers's "Crazy Baldhead" (1976).[13]

The one drop style has also been used and referenced in numerous non-reggae songs, including "Lucille Has Messed My Mind Up" by Frank Zappa, "The Spirit of Radio" by Rush, and "You Enjoy Myself" by Phish all placing their own twist on the one drop rhythm.[14]

One Drop Reggae Riddims Mix by Dj Francol is a new release that showcases some of the finest Jamaican musicians in the genre. The mix features artists such as Tarrus Riley, J Boog, Chris Martin, Busy Signal, Alaine, and many more. The mix celebrates the unique and vibrant culture of Jamaica and its influence on reggae music. No one can match the originality and creativity of Jamaican musicians when it comes to reggae and ragga music. This mix by Dj Francol is a testament to that, and it has already gained more than 2.4 million views on YouTube.

Surprise. In case you haven't heard, reggae is hardly the stoner hippie grooveshit you may have been mislead into believing it is by the stench of tie-dye that's clung to it at least since the turn of this decade. There's also a helluva lot more artistic merit in that riddim than can be discerned from even a cursory listen to a recent stack of local releases (see sidebar), none of which captures the fire and heart of live performances by Austin's keepers of the reggae flame, Killer Bees or Tribal Nation. Bass Culture (Some History, Briefly) Three or four years ago, Island Records issued Tougher Than Tough, a comprehensive, 3-CD overview of Jamaica's musical progress from the late Fifties on. It began with the caveman primitive boogie of "Oh Carolina" by the Folkes Brothers, which sounded like Fats Domino out in the bush with 50 King Kong extras banging the hell out of some hand drums. What did it end with? "Oh Carolina," covered nearly 30 years later by dancehall artist Shaggy, who filtered the song through all manner of sampling and digitizing technology that's characterized Jamaican skank since the mid-Eighties. 2351a5e196