Swingbeat; How do I do it?

[toonertik]

https://youtu.be/jPcXABJVjI8?t=421

Yup, gold.. loved the (excuse the spelling) Galand?? and Baff .. the piano and drums...
The thing I found when I first used DAWs as opposed to tape was seeing my conga hits off any grid...
as I mentioned earlier about push and pull and criss_crossing the rhythm. With tape, you just record/playback.. sounds right..
with the DAW .. rec/play_and_see... looks wrong and plays on the mind. Well it did when I first started with DAWs.
Anyway, thankx for posting that... haven't seen the second vid yet.

[jancivil]

As to getting it in teh DAW, for years I never established a tempo or bars at all and the editing I would do was just not grid-related.
At one point I got tired of that m.o. and I decided to become proactive with the Warp Time and really knowing what my numbers were. I was playing things which were extremely complex and it became compelling to quantify it and test hypotheses out of what I found, and learn that as a performer. But I needed to establish bars and subdivisions in order to arrange other things with some solid idea of, what is 1 really? Am I obliterating the bar? Where are the real emphases?

I developed chops; but when you deviate from the grid there is really no simple methodology for groove per se, and the numbers/percentages can be quite mystifying. It just takes practice, it's experiential before theoretical. I've done things which feel exactly right and the thing hits at '450'; wth is that. It's not 2/5ths of the way to the next 1, it's not 1/2, wth is it.
"Criss-crossing", pretty much, it's a product of more than one level of your feel.

You could look at Braff's notations all day but you have to feel the thing. Such as the one thing which superimposes 11 on the 7/8, there is a fairly consistent laying back off that 11 grid in the middle but if all you do is find it once and copy/paste that isn't breathing. Human movements are not predictable on a machine level, and therein lies the interest.

[IncarnateX]

Well during this thread and the restoration of some old 90s demos I found on tape, I realised that I have neglected my rhythm work big time the last decade on software. These 90s demos were made in the age of workstations where we quantified like sht because it was seen as progress then. Now you had these tight drum tracks, which had been hard to achieve in studios with real drums, click tracks and peaky compression tricks, unless you could pay a really pro drum player. Yet we made use of accents and varied samples and they could carry a lot. Another thing realized is that I made more stuff in 6/4 or 6/8 then and have forgotten how well I can work within this parameter. In these, I occasionally change between a base feel of straight six, of tripled 4/4 or simply 6 against 4 polyrhythm, all within same parameter but altered with instrumental accent, instrumental sounds, or additions of percussions instruments, which add a new feel.

The last decade my rhythms have been very basic and lazy in 4/4 apart from one in 5/4 and one on 6/8. They have lost a great deal of the complexity and excitement of the past. R8 is hopefully going to help me get back to my roots and with much more than just accents and varied sounds to play with. I can do a lot better and feel guilty as hell neglecting that part for so long.

[BertKoor]

Talk about swing.. There is this, lets call it "postmodern" style of swing that exhibits a kind of spasms that makes me cringe.
An example: Jacob Collier - Saviour

https://m.youtube.com/watch?v=MZNq9on-FYo

(side note: picked it random from a local jazz station, which would not play such a tune for weeks if you need just one single esoteric example)

What are your feelings towards such a style? Does it have a name?