| Instrument | Steps (1 = start of the bar) | Velocity | Timing and chance |
|---|---|---|---|
| kick | 1, 9 | 90-100 | on the grid, always plays |
| snare | 9 | 127 | on the grid, always plays |
| tom-low | 6 | 70 | on the grid, always plays |
| tom-mid | 7 | 85 | on the grid, always plays |
| tom-hi | 8 | 100 | on the grid, always plays |
| hat-closed | 3, 11 | 35 | on the grid, always plays |
An original pattern built around the single most famous drum-machine-era production technique of the 1980s: a tom roll ascending in pitch and velocity across three toms, landing exactly on one massive, artificially cut-off snare hit per bar. The technique -- popularised by Hugh Padgham and Steve Lillywhite's work with Peter Gabriel, and made iconic by Phil Collins's 'In the Air Tonight' -- is a noise gate strapped across a reverb return, so the tail goes from full to nothing in milliseconds rather than decaying naturally; that gate has to live on the mixer/FX chain, not in step data, so the parameter locks here just get the dry hit maximally short and loud, leaving as much reverb as possible to be gated. Not a transcription of any specific song.