I played in a Radiohead tribute show and I got to play the electronic part on 15 step with a real drummer and once the groove clicked at rehearsal, it all made sense but was very nervous when playing it live
5/4 time rocks! You can also create some great variations by splitting the 5/4 count into 3/4 and 2/4 to shift the downbeat earlier or later, and to add some contrast to the cadence (waltz and march). So it could be: “1 and 2 and 1 and 2 and 3 and” or “1 and 2 and 3 and 1 and 2 and”
So elegant! My first wife was Austrian and when shopping in the local supermarket I was always so enamored with the color choices and fonts on the packaging of everyday items. In America, every product has to assault your eyes with it's crass imagery. Your productions are so pleasing to the senses, allowing the viewer to truly focus on the content. Must be a European sensibility. Thank you for such high quality work. America. Cavemen with credit cards.
Thanks so much Brian! We have to disagree on the last part though - one of our main style inspirations for the set design and look is the work of Wes Anderson who is from Texas :)
@@CaptainPikant OMG! He is an American treasure. Perhaps it was the glaring absence of any of his stable of great actors that disallowed my making the connection! Yes, of course! Had you had Willem Defoe explain the beats of Kraftwerk I would have pondered, “Is Wes Andersen doing a documentary on the greatest art movement in German history aside from Dadaism?” Which would be keeping with the Dada philosophy of, “There is no such thing as Dada! Once you classify it as Dada it ceases to exist because Dada doesn’t exist therefore we never had this conversation and wait…what are you writing down? Give me that scrap of paper.” Struggle ensues, fade to black. Scene. Lunch everyone.
its like a clave stretched out to5/4...lol. I personally love layering these "off" meters over 4/4 drums...the tension and stability...best of both worlds!
04:24 Didn't know which song that was from the name but as soon as you added the claps it couldn't be anything else. It was like i could hear the whole band
This is amazing, the quality of yur content is something different. In aesthetic, musical, educational or entertainment terms, you name it, it's simply fantastic. Thank you very much for sharing this talent! Greetings from Argentina.
I love my polyend play so much that I just sold my elektron syntakt for $777. I don't think I'm the only person who suffers from a gas thirst for gear hype. If there's anything thing I've learned it's that getting yourself a midi controller and just using the daw with some plug-ins, sample bundles of loops, patches, arps and a bunch of different things to help make a decision about how making music works best for you. Sometimes it's all you need, even with my toys and devices I still have to master or finish my music in the daw. Don't let hype get the best of you.
This was very interesting. Love your videos, you always keep my attention and describe things in a digestible manner 👌🏻 I don’t know if it’s a testament to the design of the sequence, but it doesn’t sound off to me. I can tell it’s not the norm, but my ear quickly gets used to it. It’s a sequence of two halves, the cadence seems to alter between two states, a sort of oscillation in itself, a push and pull, with a little irregularity about it …a bit like a heart beat, it’s very clever. I’m not a massive fan of Radiohead, but I totally appreciate their popularity. They don’t need me to big them up, they’re doing very well on their own 😁
I loved this video and it's what got me to subscribe. I'm somebody who never gets the more "non standard" musical ideas on an instinctual level but you explained 5/4 really well. Have you ever tried to use a synth/sequencer/drum machine do any of those really mind bending jazzy polyrhythms and odd time signatures? Can the sequencers even physically do that? I've always been curious about how that would work.
Thanks! There are some sequencers that are capable of polyrhythms, but many drum machines are limited to polymetric patterns at most. Did you have any specific songs in mind?
@@CaptainPikant I don't have a very finely tuned musical ear so forgive me if these aren't fantastic examples, but a lot of KNOWER's work has (what sounds to me like) polyrhythms on it, and they just released a new song a few days ago: ua-cam.com/video/O2F0oTqfL3E/v-deo.html The drummer (Louis Cole) is also one half of Clown Core: ua-cam.com/video/sR_rPd_ufK4/v-deo.html I'd eventually like to incorporate something that sounds like that into my own music, but I'm not even anywhere close to the starting line on that one. It'd be neat to see a drum machine veteran put something like that together, though!
This is exactly something I keeo on thinking. I love my Push but for some stuff it's so much more agile to see all the channels running in parallel. There are no Polyends to demo here in Mexico City, I've been looking over and over for a better option setup.
This is really great! Time signatures other than 4/4 are really easier to understand than people make them out to be. Also, the elektron sequencer's trig conditions makes patterns longer than one bar easier
Meanwhile I shouted at Vai that Bulgarian wedding music isn't that complex so that he'd get on and play "Freak Show Excess" at a show. Luckily he knew I was having a laugh. 17/16 is quite the mind bender.
@@CaptainPikant First of all, thanks for this 5/4 demo, it was great. I dont have any good recommendations really, I like Photodementia/Dave Monolith and Last step. It would be best if the track is not too busy Maybe Analord would be a good place to look?
How exactly do you do your MIDI setup between the Deluge and the Play? Do you have a master clock that gets split between the two? Is there a software to do that?
The Play sends clock, transport and notes via MIDI Out to the Deluge's MIDI In, which sends the notes of both devices via its MIDI Out (we enabled MIDI Thru in the options so the notes of the Play get passed through).
I still dont understand how you can get the polyend to play after the deluge and then go back to the beginning of the deluge pattern. How is this set up? Why does the polyend not just scroll 1 bar as the deluge does four. How do you get one to start when the other has finished?
On both devices we created a pattern with a length of 20 steps. The Deluge always shows steps 1-16, the Play steps 17-20. Either that or occult magic ;)
@@CaptainPikant aah now I see so the deluge last bar is blank and the polyend first four bars are blank and they play together . Does the polyend trigger the deluge via midi then using sounds only on the deluge. ?
@@Turdbassist Yes the Deluge's last page and the Play's first page are blank. The Play provides the clock signal and also sends its notes via MIDI Out to the Deluge.
@@CaptainPikant Perhaps "Time Traveler"? Though this band's drum beats sound like continual improvisations, so this might be tricky (maybe downright impossible to transcribe on drum machine/sequencer).
Correct me if I'm wrong, but since you programmed it in 8th notes, the deluge could have been set to 10 steps and displayed one measure (the 10 8th notes of 5/4) per... screen..., which is what we're used to seeing (with 16th notes/steps in one measure of 4/4). Giving yourself 20 steps with the polyend let us view two measures at once (or one 5/4 measure in 16ths had it been necessary). But now I wish that all these devices had a 32 step display in order to view 2 measures of 4/4 (in 16ths) at once.
That's true, we could have made the split 10/10 instead of 16/4, but there's actually a reason we didn't. The Polyend Play operates a little different than most sequencers in that it can have any sound on any track - the rows are not limited to one specific sound. This means to place a particular sound, I always need to "pick" it from an existing step if I don't want to dial it in again. That's why I have those steps on the upper row. To minimize this "picking up" of sounds we decided to give the Deluge the bigger share of the pattern.
@@CaptainPikant thank you! Is it roughly fair to say that the play is a half priced, half featured deluge? (samples only, memory but a few of it's own tricks, etc). I saw two reviewers claim that they're nothing alike beyond the buttons, but then demonstate the play as having a subset of deluge's feature.
@@jasonjayalap They both have in common that they have a pad matrix and can fire one-shot samples. But other than that they're pretty different. The Deluge for instance offers timeline zooming, arranger/song mode, sample recording, timestretching, kits, realtime streaming from the SD card, stereo samples, unlimited tracks and track length while the Play gives you a clearer and more streamlined interface, better effects, comfortable step and track selection, swing per track, beat fill and a ton of performance and randomization features.
are people actually scared of leaving 4/4? i know the intro is a bit, but it just doesn't make any sense to me. i barely actually use 4/4, maybe it's cuz i listen to weird ahh stuff. i really like using 9/8. edit: he said a theory like 3 minutes in i'm pretty sure i got it. it's cuz electronic software makes it hard to go outside of common time. me and my creating drum sounds with an acoustic guitar and audacity have simply never encountered this issue
Great solution (budget willing). Being stuck in 4's is the single reason that stops us buying any hardware sequencers every time - Even falling in love with a certain £2k analog drum beauty let us 'non-western composers' down. Even stinky old Roland drum kits are limited to 10/4 - which is one beat less than my singers usual time sig. Back to LogicPro it is!
@@CaptainPikant sorry, 32 per instrument. So you can only see one instrument at a time :(. but ill check. EDIT: With drums, its a yes but no. Since every drum is a note you can kind of see alle at once but all have the same color.
15 Step is actually incredibly fluid and natural to play on a drum set. Really fun tune
Yep, really fun to play along to
Absolutely! It does not feel weired at all!
Yes, and no one makes it look like more fun than Yoyoka! ua-cam.com/video/oxdd6yOKzx0/v-deo.html
ua-cam.com/video/oxdd6yOKzx0/v-deo.html
Yeah, very clickbait title. It's not that weird, or difficult to play.
The solution to use both the deluge and play to show the full pattern was such an excellent solution, great work you guys
Thanks so much Jorb :)
I played in a Radiohead tribute show and I got to play the electronic part on 15 step with a real drummer and once the groove clicked at rehearsal, it all made sense but was very nervous when playing it live
5/4 time rocks! You can also create some great variations by splitting the 5/4 count into 3/4 and 2/4 to shift the downbeat earlier or later, and to add some contrast to the cadence (waltz and march). So it could be: “1 and 2 and 1 and 2 and 3 and” or “1 and 2 and 3 and 1 and 2 and”
Absolutely, that's some solid advice! :)
Fun fact: Multiply any Björk song with any Radiohead song and you get every Euro Dance time signature ever! 🧐
Instructions were unclear, the drum machine exploded ;)
Fantastic production - love how naturally you explain things. Prime example of good music content on YT
holy shit this production quality is insane. you can see theres really been time put into this! really enjoyed it.
15 Step is my gateway to the realm of odd time signatures. Loving the detail of this whole transcribing process ♥
If you want the next level, try black midi. The band not the genre.
@@Thegbear Ah black midi, love em' too 👍
@@anakutara_ There’s nothing I can recommend to someone with great taste, good day.
I'm so happy Captain Pikant did a video on one of my favourite songs in his style which is always so clear and entertaining to watch.
In rainbows is my favourite Radiohead album and it's just so intricate and unique yet so Radiohead at the same time
This is probably the best and most entertaining drum programming tutorial I've seen so far. Nicely done! 👌👏👍🥰
So elegant! My first wife was Austrian and when shopping in the local supermarket I was always so enamored with the color choices and fonts on the packaging of everyday items. In America, every product has to assault your eyes with it's crass imagery. Your productions are so pleasing to the senses, allowing the viewer to truly focus on the content. Must be a European sensibility. Thank you for such high quality work. America. Cavemen with credit cards.
Thanks so much Brian! We have to disagree on the last part though - one of our main style inspirations for the set design and look is the work of Wes Anderson who is from Texas :)
@@CaptainPikant OMG! He is an American treasure. Perhaps it was the glaring absence of any of his stable of great actors that disallowed my making the connection! Yes, of course! Had you had Willem Defoe explain the beats of Kraftwerk I would have pondered, “Is Wes Andersen doing a documentary on the greatest art movement in German history aside from Dadaism?” Which would be keeping with the Dada philosophy of, “There is no such thing as Dada! Once you classify it as Dada it ceases to exist because Dada doesn’t exist therefore we never had this conversation and wait…what are you writing down? Give me that scrap of paper.” Struggle ensues, fade to black. Scene. Lunch everyone.
…and upon doing my research, Dada had it’s beginning in France. So making Kraftwerk the most important thing to come out of Germany since the 1970’s.
More Drum Patterns Explained please!
These are truely actionable.
its like a clave stretched out to5/4...lol. I personally love layering these "off" meters over 4/4 drums...the tension and stability...best of both worlds!
04:24 Didn't know which song that was from the name but as soon as you added the claps it couldn't be anything else. It was like i could hear the whole band
The quality of this video and channel is top notch. Very well done!
More odd tempo please. This was so good.
This is amazing, the quality of yur content is something different.
In aesthetic, musical, educational or entertainment terms, you name it, it's simply fantastic.
Thank you very much for sharing this talent!
Greetings from Argentina.
What an incredible rhythm! Amazing opening to an amazing album. Thanks for the transcription and the video!
This video was a total blast. Wes Anderson Vibes :D and what a great analysis. I learned so much just by watching.
Thank you so much :)
Great and informative video as always. Keep up the good work 👽👍
Amazing, thank you for this 😍
Thank you for doing this amazing video!! 😍😍
What a marvellous analysis. Love it.
How am I just seeing this now?!? This is the video I’ve been waiting for for YEARS 🔥 Thanks Captain! Gotta turn notifications on I guess haha
It was time for someone to analise this masterpiece!!! It's literally my favourite song. ❤❤❤
Fuck, I love your channel so much. I get chills every time you switch out to the intro
Thank you so much :)
Thats freaking insane! . You guys are the best ! Thanks do much for sharing the knoledge
Love this so much, thanks for this!
Insightful…. Love this song….well, I love everything they do. You made this look so easy. I know I would have been lost from the beginning.
actually fenomenal video congrats!!!!
I love my polyend play so much that I just sold my elektron syntakt for $777. I don't think I'm the only person who suffers from a gas thirst for gear hype. If there's anything thing I've learned it's that getting yourself a midi controller and just using the daw with some plug-ins, sample bundles of loops, patches, arps and a bunch of different things to help make a decision about how making music works best for you. Sometimes it's all you need, even with my toys and devices I still have to master or finish my music in the daw. Don't let hype get the best of you.
This was very interesting. Love your videos, you always keep my attention and describe things in a digestible manner 👌🏻
I don’t know if it’s a testament to the design of the sequence, but it doesn’t sound off to me. I can tell it’s not the norm, but my ear quickly gets used to it.
It’s a sequence of two halves, the cadence seems to alter between two states, a sort of oscillation in itself, a push and pull, with a little irregularity about it …a bit like a heart beat, it’s very clever.
I’m not a massive fan of Radiohead, but I totally appreciate their popularity. They don’t need me to big them up, they’re doing very well on their own 😁
Very well said :)
excellent vid loved the split screen work. really superlatively good.
i like how bro just knows
I need to try this with my industrial techno, the erratic pattern kicks full distortion always go nice with this styles
Quality content again from the captain.
Genius demonstration!
Fantastic presentation. Thank you
god i love this channel, every time you upload i click faster than the speed of synth
Thank you so much :)
Amazing!
That outdo was some of the best content I’ve ever seen on UA-cam. And I’ve seen a lot of UA-cam.
Great video Captain!
Captain Pikant Back :) Regards :)
OMG such a beauty!
I loved this video and it's what got me to subscribe. I'm somebody who never gets the more "non standard" musical ideas on an instinctual level but you explained 5/4 really well. Have you ever tried to use a synth/sequencer/drum machine do any of those really mind bending jazzy polyrhythms and odd time signatures? Can the sequencers even physically do that? I've always been curious about how that would work.
Thanks! There are some sequencers that are capable of polyrhythms, but many drum machines are limited to polymetric patterns at most. Did you have any specific songs in mind?
@@CaptainPikant I don't have a very finely tuned musical ear so forgive me if these aren't fantastic examples, but a lot of KNOWER's work has (what sounds to me like) polyrhythms on it, and they just released a new song a few days ago:
ua-cam.com/video/O2F0oTqfL3E/v-deo.html
The drummer (Louis Cole) is also one half of Clown Core:
ua-cam.com/video/sR_rPd_ufK4/v-deo.html
I'd eventually like to incorporate something that sounds like that into my own music, but I'm not even anywhere close to the starting line on that one. It'd be neat to see a drum machine veteran put something like that together, though!
This is exactly something I keeo on thinking. I love my Push but for some stuff it's so much more agile to see all the channels running in parallel. There are no Polyends to demo here in Mexico City, I've been looking over and over for a better option setup.
This is not weird, this is just amazing, I love this song since I was born
Master-level stylophone playing 🤘
very good tutorial! 🙏
Didn’t understand anything but drum goes pow
10/10 🤠👍
Great vid!
the grid overlay makes me miss my polyend seq haha
Funny you mention it, that's the first sequencer we thought of when we wrote the script for this video. Too bad it's not produced anymore!
Bloody amazing
thanks for the video bro
Please make "Present Tense" next!!! (the CR-78 version)
I love the performances they did with the CR-78! "The Numbers" is one of my absolute favourites, so I already transcribed that one :)
@@CaptainPikant I love that perfomance too! If only you could do all radiohead songs 🤣🤣
As always, awesome work… would be awesome if you organize a a full drum pattern course… you’ll got it fully booked in seconds ❤
This is an unreal edit.
i asked my teacher about odd time signatures and this was the first thing he gave me
Yes.🔥
Awesome video
Amazing.
you should try analyzing some machine girl song! they love using odd time signatures in their songs, especially on their albums WLFGRL, and Gemini!
This is really great! Time signatures other than 4/4 are really easier to understand than people make them out to be.
Also, the elektron sequencer's trig conditions makes patterns longer than one bar easier
Subbed coz you are a genius... no idea what's going on...
what you don't know...is not worth knowing. brilliant
Brilliant! I love some Radiohead. Any plans on covering a Crosses track in the future?
Any specific recommendations?
@@CaptainPikant From their latest EP I would suggest Vivien or Holier. From their debut I think Prurient would be a good one.
Meanwhile I shouted at Vai that Bulgarian wedding music isn't that complex so that he'd get on and play "Freak Show Excess" at a show. Luckily he knew I was having a laugh. 17/16 is quite the mind bender.
5/4 is easy and fun in renoise or almost any tracker really
If 5/4 is "one of the weirdest drum patterns ever", your head will explode if you try to listen to prog metal.
Neat!
Very interesting and excellently presented!
Incredible work!
So clever!!!!
I dont think it sounds uneasy.
It is a cool groove. Reminds me of latin clave
This makes my brain hurt. Wonderful deconstruction as usual.
Only then you're doing it right ;)
Really good teaching! What's the font with the names in the end, please?
Thanks! No font, it's my handwriting :)
could someone please tell me the name of the instrument that is used in the end jam to simulate the vocals? i'm in love
It's a stylophone :) Probably the cheapest synthesizer you can get, but we love it!
@@CaptainPikant thank you very much! and thanks for the video too, I really appreciate your work :)
16:00 what kind of paper is that? I want everything I print to remind me of homework :)
YAHOO
Can we do a Venetian snares or Last step? I have issues with triplets on the Octratrack
Actually we've been looking for patterns to demonstrate triplets on. Any specific recommendations?
@@CaptainPikant First of all, thanks for this 5/4 demo, it was great. I dont have any good recommendations really, I like Photodementia/Dave Monolith and Last step. It would be best if the track is not too busy Maybe Analord would be a good place to look?
Nice Wes Anderson visiual language in your videos
How exactly do you do your MIDI setup between the Deluge and the Play? Do you have a master clock that gets split between the two? Is there a software to do that?
The Play sends clock, transport and notes via MIDI Out to the Deluge's MIDI In, which sends the notes of both devices via its MIDI Out (we enabled MIDI Thru in the options so the notes of the Play get passed through).
@@CaptainPikant aaah but then you put a blank page on the Deluge for when the Play is playing (and conversely), right?
@@ywenp exactly :)
Can you do:
Pet Shop Boys - So Hard
94.5bpm. i was listening to this song while running, and i checked my cadence. It was 188-189. I thought briefly that it would be a nice song for 10k.
You're correct, it's 189 BPM. The explanation is at 5:20 in the video :)
I still dont understand how you can get the polyend to play after the deluge and then go back to the beginning of the deluge pattern. How is this set up?
Why does the polyend not just scroll 1 bar as the deluge does four. How do you get one to start when the other has finished?
On both devices we created a pattern with a length of 20 steps. The Deluge always shows steps 1-16, the Play steps 17-20. Either that or occult magic ;)
@@CaptainPikant aah now I see so the deluge last bar is blank and the polyend first four bars are blank and they play together . Does the polyend trigger the deluge via midi then using sounds only on the deluge. ?
@@Turdbassist Yes the Deluge's last page and the Play's first page are blank. The Play provides the clock signal and also sends its notes via MIDI Out to the Deluge.
Polyent tracker... and it's done in 5 minutes ! 🙂
❤
i was just writing an article about my relationship with radiohead band. thats a bloody coincidence
and then you get King Gizzard and the Lizzard Wizzard using 7/4 tempo...
This may sound like a strange request, but would you analyze/transcribe some of Louis Cole's drum playing into drum machine beats?
Haven't heard of him before, but that's some really great music! Can you recommend any specific tracks?
@@CaptainPikant Perhaps "Time Traveler"? Though this band's drum beats sound like continual improvisations, so this might be tricky (maybe downright impossible to transcribe on drum machine/sequencer).
@@davelanciani-dimaensionx I think it's possible, but it's a lot of work ;)
@Captain Pikant please please do flat earth by clowncore
@@CaptainPikant I should have said that's one of Louis Cole's side projects
Correct me if I'm wrong, but since you programmed it in 8th notes, the deluge could have been set to 10 steps and displayed one measure (the 10 8th notes of 5/4) per... screen..., which is what we're used to seeing (with 16th notes/steps in one measure of 4/4). Giving yourself 20 steps with the polyend let us view two measures at once (or one 5/4 measure in 16ths had it been necessary). But now I wish that all these devices had a 32 step display in order to view 2 measures of 4/4 (in 16ths) at once.
That's true, we could have made the split 10/10 instead of 16/4, but there's actually a reason we didn't. The Polyend Play operates a little different than most sequencers in that it can have any sound on any track - the rows are not limited to one specific sound. This means to place a particular sound, I always need to "pick" it from an existing step if I don't want to dial it in again. That's why I have those steps on the upper row. To minimize this "picking up" of sounds we decided to give the Deluge the bigger share of the pattern.
@@CaptainPikant thank you! Is it roughly fair to say that the play is a half priced, half featured deluge? (samples only, memory but a few of it's own tricks, etc). I saw two reviewers claim that they're nothing alike beyond the buttons, but then demonstate the play as having a subset of deluge's feature.
@@jasonjayalap They both have in common that they have a pad matrix and can fire one-shot samples. But other than that they're pretty different. The Deluge for instance offers timeline zooming, arranger/song mode, sample recording, timestretching, kits, realtime streaming from the SD card, stereo samples, unlimited tracks and track length while the Play gives you a clearer and more streamlined interface, better effects, comfortable step and track selection, swing per track, beat fill and a ton of performance and randomization features.
@@CaptainPikant thank you!
mans sounds like Ramattra at the beginning
vaya marcianada colega
How come I always end up where I started?
Why is 127 the max?
It's probably because the velocity is encoded as a 7 bit binary in the MIDI protocol. This gives you 128 values ranging from 0-127.
are people actually scared of leaving 4/4? i know the intro is a bit, but it just doesn't make any sense to me. i barely actually use 4/4, maybe it's cuz i listen to weird ahh stuff. i really like using 9/8.
edit: he said a theory like 3 minutes in i'm pretty sure i got it. it's cuz electronic software makes it hard to go outside of common time. me and my creating drum sounds with an acoustic guitar and audacity have simply never encountered this issue
This has pretty intense reggaeton/middle eastern dance music vibes. Sorry, can't unhear it 😂
Great solution (budget willing). Being stuck in 4's is the single reason that stops us buying any hardware sequencers every time - Even falling in love with a certain £2k analog drum beauty let us 'non-western composers' down. Even stinky old Roland drum kits are limited to 10/4 - which is one beat less than my singers usual time sig. Back to LogicPro it is!
😎
launchpad pro mk3 might be able to sequence that on its own
Hmm, I don't know, there don't seem to be enough pads on there for 7 lanes with 20 steps each?
@@CaptainPikant sorry, 32 per instrument. So you can only see one instrument at a time :(. but ill check.
EDIT: With drums, its a yes but no. Since every drum is a note you can kind of see alle at once but all have the same color.