Overmono Rimshot Garage Chop
Genre: UK Garage, Bass House · Tempo: 139 BPM · Time signature: 4/4 · Length: 16 steps · Style: Overmono's 'So U Kno' drum programming as broken down by Attack Magazine: a rimshot instead of a snare, offbeat hats every other 8th, a dense varied-velocity 16th hat layer, and a chopped shaker with silence at the top of the bar
Open this pattern in the interactive Patchpad (with playback)
The pattern
| Instrument | Steps (1 = start of the bar) | Velocity | Timing and chance |
|---|
| kick | 1, 7, 15 | 65-95 | step 7: late by about 21% of a step, plays 60% of the time; step 15: late by about 21% of a step, plays 65% of the time |
| hat-closed | 2, 4, 6, 8, 10, 12, 14, 16 | 42-62 | step 2: plays 95% of the time; step 4: plays 90% of the time; step 6: plays 95% of the time; step 8: plays 90% of the time; step 10: plays 95% of the time; step 12: plays 90% of the time; step 14: plays 95% of the time; step 16: plays 90% of the time |
| rim | 5, 13 | 88-90 | on the grid, always plays |
| perc1 | 11, 13 | 44-50 | step 11: late by about 8% of a step, plays 55% of the time; step 13: plays 70% of the time |
Digitakt II
Tracks
- T1: kick
- T2: rim
- T3: hat-closed
- T5: perc1 (chopped shaker)
Settings
- Kick (T1): TRIG page 1 micro-timing p-locked to +5 on the two syncopated off-grid hits (steps 7/15), with PROB 60-65% so they don't fire every loop; the downbeat hit (step 1) stays at micro-timing 0
- Rim, not snare (T2): used in place of a snare entirely, per the sourced technique of rimshots instead of traditional snares in garage-adjacent production - AMP page DEC kept short and FLTR page 1 machine EQ used to cut bass and add a slight boost around 700Hz-2kHz for a short, higher-pitched crack
- Hat-closed (T3): plays on every 8th note as an offbeat layer (steps 2/6/10/14) AND fills every remaining 16th (steps 4/8/12/16) with VEL varied step to step (42-62, never the same value twice) so the dense 16th layer doesn't read as a 'machine gun' repeat, per the sourced varied-velocity technique
- Chopped shaker (T5, perc1): step 9 (beat 3) is deliberately left with no trig at all - the underlying shaker loop is cut out entirely for that 16th - before the shaker fades back in at step 11 (PROB 55%, low VEL) and builds through the rest of the bar, matching the sourced 'cut out entirely for the first 16th note, then faded in' shaker-chopping technique
- Kick and rim/hats (T1-T3): FLTR page 1 machine set to a HP-leaning type with sidechain-style ducking simulated via an AMP page envelope dip on the hats immediately after the kick, matching the sourced high-pass-plus-ducking treatment on the hat layer
Digitone II
Tracks
- T1: kick (ALGO 4, low RATIO C)
- T2: rim (ALGO 8, short bright click)
- T3: hat-closed (high-FDBK FM noise)
- T5: perc1/chopped shaker (high-FDBK FM noise, slow-fading AMP)
Settings
- Kick (T1): SYN page 1 ALGO 4, RATIO C 0.50; micro-timing p-locked to +5 on steps 7/15 with PROB 60-65%, downbeat at step 1 stays at 0
- Rim (T2): SYN page 1 ALGO 8, RATIO A 3.50, FDBK 25, AMP page DEC 10 for a short, bright, higher-pitched crack, used in place of a snare entirely
- Hat-closed (T3): base sound SYN page 1 FDBK 95; AMP page VOL p-locked with continuous variation step to step (42-62) across all eight hits so no two are identical
- Chopped shaker (T5, perc1): no trig at step 9 at all (the loop is cut out for that 16th); AMP page ATK 40, DEC 60, MODE ADSR set so step 11 (PROB 55%) fades in gradually rather than hitting hard, matching the sourced volume-envelope fade-in
- Kick vs hats (T1/T3): FLTR page 1 TYPE toward HP on the hats (~70) plus a MOD page LFO in MODE ONE ducking AMP level briefly after each kick hit, simulating the sourced sidechain-style ducking
Syntakt
Tracks
- T9: kick (BD HARD)
- T10: rim (RS HARD)
- T12: hat-closed (CH CLASSIC)
- T11: perc1/chopped shaker (SY DUAL VCO)
Settings
- Kick (T9, BD HARD): TRAN and DEC set for a punchy modern-garage kick; micro-timing p-locked to +5 on steps 7/15 with PROB 60-65%
- Rim (T10, RS HARD): used as the pattern's only snare-role hit, per the sourced rimshot-not-snare technique - short, bright, no low end
- Hat-closed (T12, CH CLASSIC): the offbeat-8th layer (steps 2/6/10/14) plus the filled-in 16ths (steps 4/8/12/16) with VOL/NCOL varied per step so the dense layer never repeats a value
- Chopped shaker (T11, SY DUAL VCO): no trig at step 9 for the genuine silent gap; AMP-equivalent envelope set with a slower attack on step 11 so it fades in rather than cutting in hard
- Kick vs hats (T9/T12): FX page ducking (or a short AMP envelope dip on the hat track) applied right after each kick hit, simulating sidechain compression between the two
Notes
A rimshot stands in for the snare entirely, a dense 16th-note hat layer never repeats the same velocity twice, and a chopped shaker drops out completely for one 16th before fading back in - all drawn from Attack Magazine's technical breakdown of Overmono's 'So U Kno' production. An original pattern in that spirit, not a transcription of the track itself.
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