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Caleb3221 · 10-13-2005, 01:38 PM

The one thing is often misinterpreted, though, in my experience. The one must always be FELT, but not necessarily HEARD. Sometimes you can emphasise the one with complete slience in the middle of a busy beat, or accentuate it by playing a 16th after it. And, sometimes the ONE can even be moved a bit. I was recently introduced to this concept, and don't comprehend it quite enough to explain it, but the way this guy does it makes some **** funky grooves, and as I said, funk is about feel, and if it feels funky, I'm not going to argue that it isn't because there isn't a huge bass hit on beat 1.

EDIT:
Now that I think about it, the 1 is also mainly from the James Brown/George Clinton school of funk. This is probably the best known, most popular, etc, but not the only one. Garibaldi didn't necessarily directly emphasize the one, and there are a few other guys who did unique things breaking away from the "one".

10-13-2005, 01:38 PM	#17
Caleb3221 Registered User Join Date: Jan 2005 Posts: 1,681	The one thing is often misinterpreted, though, in my experience. The one must always be FELT, but not necessarily HEARD. Sometimes you can emphasise the one with complete slience in the middle of a busy beat, or accentuate it by playing a 16th after it. And, sometimes the ONE can even be moved a bit. I was recently introduced to this concept, and don't comprehend it quite enough to explain it, but the way this guy does it makes some **** funky grooves, and as I said, funk is about feel, and if it feels funky, I'm not going to argue that it isn't because there isn't a huge bass hit on beat 1. EDIT: Now that I think about it, the 1 is also mainly from the James Brown/George Clinton school of funk. This is probably the best known, most popular, etc, but not the only one. Garibaldi didn't necessarily directly emphasize the one, and there are a few other guys who did unique things breaking away from the "one". Last edited by Caleb3221; 10-13-2005 at 01:42 PM.