| Instrument | Steps (1 = start of the bar) | Velocity | Timing and chance |
|---|---|---|---|
| hat-closed | 1, 7, 9, 11, 16, 17, 19, 27 | 55-85 | step 7: late by about 12% of a step; step 9: late by about 21% of a step; step 11: early by about 29% of a step; step 16: early by about 42% of a step; step 17: late by about 12% of a step; step 19: late by about 33% of a step; step 27: early by about 33% of a step |
| hat-open | 5, 13, 21 | 105 | on the grid, always plays |
| snare | 8, 24 | 85-105 | step 8: late by about 50% of a step; step 24: late by about 4% of a step |
| kick | 20, 32 | 85-125 | step 20: late by about 46% of a step; step 32: late by about 42% of a step |
| fx | 24 | 105 | step 24: late by about 12% of a step |
| perc2 | 25, 26, 27, 28, 29, 30, 31, 32 | 55-125 | on the grid, always plays |
| perc1 | 28 | 85 | step 28: early by about 12% of a step |
Halftime bass music at 160 BPM, so a backbeat on beat 3 is an 80 BPM feel. The steps follow the MIDI grids in Attack Magazine's breakdown of halftime bass drops, taken from the last two bars of its four-bar loop: a kick pickup into the downbeat, snares that arrive a little ahead of beat 3, loosely played closed hats and an open hat that is left out of the second bar. The fill is a texture hit with the last snare, a vocal chop and a snare roll that builds in velocity. It is a beat in that style, not a transcription of any track.