The pattern
72 BPM · 4/4 · 16 step · swing 30%
| Instrument | Beat 1 | Step 2 | Step 3 | Step 4 | Beat 2 | Step 6 | Step 7 | Step 8 | Beat 3 | Step 10 | Step 11 | Step 12 | Beat 4 | Step 14 | Step 15 | Step 16 |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Kick | hit | rest | rest | rest | rest | rest | rest | rest | hit | rest | rest | rest | rest | rest | rest | rest |
| Rim shot | rest | rest | rest | rest | rest | rest | rest | rest | hit | rest | rest | rest | rest | rest | rest | rest |
| Closed hi-hat | hit | rest | hit | rest | hit | rest | hit | rest | hit | rest | hit | rest | hit | rest | hit | rest |
| Open hi-hat | rest | rest | rest | rest | rest | rest | hit | rest | rest | rest | rest | rest | rest | rest | rest | rest |
How to play it and where it comes from
Jamaican dub (King Tubby, Lee "Scratch" Perry, Scientist) between 60 and 90: a rockers reggae base (kick on 1 and 3, rim on 3) stripped down and reassembled at the mixing desk. The identity is not in the pattern but in the effects: tape delays synced to the dotted eighth, spring reverb on the rim, sudden instrument mutes, filters. Swung eighth-note hi-hat (30). Variants: steppers (kick on the quarter notes, used by UK dub and dub techno), one drop, rim with long feedback delay as a fill.