Quote:
Originally Posted by Neapolitan
I don't know what you mean "on a fine-grained" level.
|
What I mean is this: from bar to bar, or if you compare bar 10 to bar 14, say, you can keep things steady in terms of bpm, but let's say that you're playing a syncopated eighth note note figure across those four bars. Well in terms of what we'd call "quantization" a la electronic gear, some of those eighth notes might be ahead of perfect mathematical divisions, and some might be late.
Keeping the same bpm across a number of bars (and the whole piece) is being metronomic on a broad level--and usually that's desired, at least unless you're intentionally straying from it for some reason.
The eighth notes being quite a bit ahead or behind the beat within those bars would be an example of
not being metronomic on a fine-grained level. Some of us prefer this, too, as it helps the music groove and lets it "breathe"--it doesn't sound like we've got a TR-909 playing four on the floor.
Quote:
|
Palmer is very tight, accurate and maybe this comes from his studying. Palmer is very profient, what he does is very rudimentary. I'm not saying he can't do the shuffle or strike the Toms at a odd time, but when he does it's exactly where it should be.
|
If you were to match his playing up with a perfectly quantized sequence of a transcription of what he's playing, he'd often be ahead or behind the sequencer. (As would Lars and Ringo)