The pattern
| 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 | Beat 5 | Step 18 | Step 19 | Step 20 | Beat 6 | Step 22 | Step 23 | Step 24 | Beat 7 | Step 26 | Step 27 | Step 28 | Beat 8 | Step 30 | Step 31 | Step 32 |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Kick | hit | rest | rest | rest | hit | rest | rest | rest | hit | rest | rest | hit | rest | rest | hit | rest | hit | rest | rest | rest | hit | rest | rest | rest | hit | rest | rest | hit | rest | hit | rest | hit |
| 808 | hit | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | hit | rest | rest | rest | hit | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | hit | rest | rest | rest |
| Clap | rest | rest | rest | rest | hit | rest | rest | rest | rest | rest | rest | rest | hit | rest | rest | rest | rest | rest | rest | rest | hit | rest | rest | rest | rest | rest | rest | rest | hit | rest | rest | rest |
| Rim shot | rest | rest | rest | rest | rest | rest | hit | rest | rest | rest | rest | rest | rest | rest | hit | rest | rest | rest | rest | rest | rest | rest | hit | rest | rest | rest | rest | hit | rest | rest | hit | rest |
| Closed hi-hat | rest | rest | hit | rest | rest | rest | hit | rest | rest | rest | hit | rest | rest | rest | hit | rest | rest | rest | hit | rest | rest | rest | hit | rest | rest | rest | hit | rest | rest | rest | hit | rest |
How to play it and where it comes from
Jersey club (Newark, late 1990s – early 2000s: DJ Tameil, DJ Black Mic, Brick Bandits) between 130 and 145. The identity is the five-hit kick per bar, spaced 4-4-3-3-2 sixteenths (steps 1, 5, 9, 12, 15): it sounds like three regular quarter notes followed by a fake "triplet" that bounces into the next turnaround. Clap/snare on 2 and 4, hi-hat on the eighth-note offbeats. The rim lane shows where the "bed squeak" (the sample of the squeaking bed from the intro of "Some Cut" by Trillville, 2004) and one- or two-syllable vocal chops usually fall. In the second bar the kick "rolls up" with tight hits (13, 15) before the turnaround. Variants: kicks doubled in sixteenths at the end of 4 or 8 bars, the "Think (About It)" break by Lyn Collins underneath, an 808 that doubles only hits 1 and 13.