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A complete groove library with all the afro latin rhythms you can imagine with the highest sound quality. Revised by the great Cuban master percussionist Yoel Paez.
Very easy to use, allows to edit or create your own rhythms. The song mode allows to create your structures in seconds and with the Jamming Tool you will feel playing with human percussionist. No more boring repetitive percussions!! Audiobus and Inter-App compatible! Stream live audio directly to other Audiobus-compatible apps!
Now you can play instantly authentic latin rhythms like son, guaguanco, columbia, bembe, chacha, mambo, merengue, bachata, and more!!! Bunker 8 uses proprietary sample looping technology so that each cycle of either format seams perfectly throughout your jams.
That means you can stretch these loops really far with limited or no digital artifacts. These are made by the same world famous producers who brought you "Hitzone 1,2,3", "Hybridizer 1, 2, 3," " Below," etc. If you have any questions about this product then please contact us. Our Customer Service department is open days a year.
It takes y Passionately crafted Sit back and relax Let 'Manana' take you on a tour of the Mediterranean coast as we explore the warm evening cli Loopmasters are proud to present Modern Bossa by the prolific contemporary composer known as Pastel! Rainbow Sounds presents 'Bossa Nova Flavours' - an impressive sound bank representing a slice of the very best of t Production Zero-G Instant download on all products. Preview pack. Buy now. Download Details Download Includes Loops. For more variations on the African bell pattern, see number 13 on this list — rumba Columbia.
Knowing how to play the ballroom rumba has helped me a lot on both big band and blues gigs. This groove reminds me of pseudo-Latin attempts to play a mambo groove on drum set. Pay particular attention to the way the snare drum part is voiced, which is played with the snares off. Adapting these parts to the drum set is no easy task. The conga part and timbale rhythm are probably the most recognizable voices in this groove, so I focus on those instruments.
The toms are my go-to for conga parts, and the timbale shell rhythm works on rims or hi hat. I usually go with the remote hat or a tight cymbal stack on the left side of the kit to make it easier for me to play the toms. Like the mambo, cha cha, and bolero, the conga part in cumbia is crucial if you want to adapt the groove to drum set. Since most bands playing cumbia have a drum set player, most of this groove is already voiced for the kit. The galloping timbale part in the Mexican cumbia groove is the key, like clave, to holding the entire rhythm section together.
I play it on the hi hat or a jam block, but it can be interpreted several differents ways, as it should in different phrases. The conga part is a slap on the first upbeat and an open tone on the second upbeat. This is easily voiced as a cross stick on the snare to simulate the slap while your rack tom works for the open tone. Soca is one of two grooves on this list that were developed on drum set.
The songo was developed on a drum set and timable hybrid while the soca has been a drum set groove from the start. The soca was created to add some funk into calypso music played in Trinidad and Tobago.
The kick is quarter notes on the downbeats, while the hi hat plays upbeats. The snare is the most syncopated and funky. Its first hit is just between the first hi hat upbeat and the second kick, and the second is with the second hi hat upbeat.
The Malabe and Weiner book nails it with a simple folkloric rhythm example, exercises to voice the parts on drum set, and some groove variations that become increasingly more sophisticated. The only other book that nails it is Timba Funk by the drummers from Talking Drums. Once again, the toms are the congas, the clave and kata are played on rims and shells, and the inner beats are on snare or other toms.
The tambora drum is the part to focus on for adapting merengue to drum set. The guira part is the only other one you could voice on the kit, but I recommend nailing down the tambora. If you want to figure how to improvise within this groove, YouTube has several videos of excellent tambora players.
Listen for the phrases that play off the last half of the groove over the following phrase and to the end before getting back into the groove. I like to play the guira on hi hat with my left foot. This adds a balance to the syncopation as well as the timbres. The metal of the cymbal cuts without overbearing the busier pattern on the rim of the snare drum. This groove is another Afro-Cuban folkloric rhythm that uses the African bell pattern as its main ostinato to which all other parts are related.
Like guaguanco, rumba Columbia is about drum conversations, so the improvisations should keep clave and these basic conversations in mind. The first variation is commonly played at the beginning of a song in the rumba Columbia.
It is similar to the parts played by shekeres for a guiro folkloric arrangement.
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