RRLR RLRL

Playing the kick on the R, as follows:

XooX ooXo

You can scat this sixteenth note pattern as:

TAkadeeTAkadee TAka
TAkadeeTAkadee TAka
…etc.

Lay a snare on that single R (the upbeat ‘and’s of 2 and 4).

Source: Stanton Moore

Right hand’s playing eighth notes. While you can play the kick on the first or last note of the triplet, here it’s played as the second. This works a little better in the context of a groove:

Source: Rick Latham

A useful one bar pattern:

Playing eighth notes with the hands in unison (left hand on hat, right hand on floor tom with a snare backbeat), drop the double kick in between the eighths as sixteenth triplets. Then throw in a couple basic sixteenth note double bass pattern every couple bars to better realize the triplet feel of the double drop.

Source: Bobby Jarzombek

Between hat and snare in a shuffle thing. In halftime feel, the kick’s on 1, snare’s on 3:

RLRRLL RLRRLL

Source: Akira Jimbo

A cool pattern courtesy of John Blackwell. He’s shared it on his DVD, having learned it from his friend Marcus.

The hands:

LRL RLR

Then fill in the bass drum in between the notes. The pattern turns out to be two groups of seven, played linearly:

LfRfLffRfLfRff

It’s a seven note thing. You can count it: “taka taka takadee taka taka takadee…” etc.

Play it around the kit, experimenting with different voices.

Each row appears to move horizontally.

Source: A. Kitaoka

“If you have any trouble sounding condescending, find a UNIX user to show you how it’s done.”
— Scott Adams

Nice.

Source: Anonymous

“Some days you get up and put the horn to your chops and it sounds pretty good and you win. Some days you try and nothing works and the horn wins. This goes on and on and then you die and the horn wins.”
— Dizzy Gillespie