Okay, so this is awesome fellas - you're like some explosive cocktail of cool. Kicking major butt, three times!

Each of you kick ass. Together you three are magical! Excellent work fellas. JR

Norm, you are the freakin' coolest! This tune meant a lot to me and now it's on a pedestal. T is gonna love this when he hears it! Thanks, bro - Perfectly done.

wow, what a cool collab. the 3 musicians and instrument sounds mix well. I would crash into this late night show any day of the week

excellent!! I really like this collab! The voice perhaps could be a touch louder other than that this is excellent!

Damn that's a tough count. Super job man. Super.

This is fantastic Norm. Keep bringing me the lessons. I love it. Gotta go try this one now!!!!

I like all your tracks, so excellent sounding.

This is fantastic, seriously.

complex pattern and really good timing. Great percussion track S to F

Hey..call me at st. john Lutheran. we need to talk! I love this sound!

that's sooooo voodoo! technique's great yes, but the vibe is simply excellent! and your timing is just getting better and better O_o

Good point, Gumbo! That is the nature of "cross-over" patterns: they involve 2 rhythms with *different meters* which are played at the same *tempo*. So, regardless of listening to this pattern through the lens of 4/4 (8 beats/bar) or 3/16 (12 beats/bar), both patterns are played at the same tempo, i.e. 180bpm in this case. These patterns have measures that start at the same point, but do not end at the same point until cycling through 24 beats each - at which point they "cross-over"; a point that is illustrated by the clave in this example.

LOVE IT!

Excellent!!

Crazy great.

Oh my, sublime, El Norm! Would you be terribly offended if I had a play around with this?

thanks for explaining the count btw - that helps a lot

lovely - my only connection to this kind of polyrhythm is thru the Grateful Dead whose two drummers used to explore and experiment thusly. I like that you can say it has 4 beats AND 6 beats to the measure and then say that it has 180 bpm ;-)

I don't know how you keep time like this, but it's incredible!

One of my all time favorite songs. Great job!

Awesome, sax man!

Beautiful, once again!

Menacing!

Great set. I really enjoyed it.

So when you are playing this song on the Fender Mustang, you are hearing it in Sorog tuning, right? But the note that you are playing on the guitar is changed to another pitch by the Roland, so you must have the headset plugged into the Roland output, right?

Vaisvil's response to my question was enlightening: wild stuff! "well, no actually, it is the Roland GR-20 that gets re-tuned. Performing in many tunings with acoustic instruments is problematic and while I've seen a few attempts none of them I could afford. One could de-fret and re-fret a guitar but not only is it time consuming you then have either many guitars or a commitment to one tuning for a good space of time. So.. long story short - musical electronics are making microtonal music practical. Of course this is purely from a western perspective - other cultures have been performing microtonal music for millennial. Or, as a Turkish composer told me - the west is the real microtonal music because its the compromise compared to other cultures."

This is brilliant. Perhaps my favorite of your work so far.

Way to collaborate, guys! Bravo!

Great tune/voice. It is interesting how a particular smell or sound can instantly summon the gift of recall.

You actually tune the Fender Mustang to the Sorog tuning, right?

You've done a great job of really listening to the conga pattern - you picked up the "melody" the drums are playing and duplicated it nicely with your guitars. Man, when I hear it together, it becomes very clear how off key my drum tuning is, and how a membranophone, by its very multi-tonal nature, is really tough to accompany when it is played in a melodic fashion. It is very brave of you Brian to even attempt to collaborate with such unconventional drumming – if I expect others to collaborate with my percussion tracks, I would probably be wise to produce patterns that are less melodic… and leave the melody up to my fellow collaborators on the chordophones, aerophones and electrophones. Well done!

The vocal harmony work on this one is right-on!

I still love it.

I've seen that video before, and always cherish it when I can have dreams like this at night. One of my favs! And listening to this song while watching it adds another dimension! Great voice, mix, orchestral support and over-all production. Well done!

Very nice!

Great voice work!

All of your stuff sounds so pro. Well done!

@Sha-Pink: Thanks! I have a wide variety of different drums - you can get one view of my studio from the cover of my "collaborations" playlist. Various congas, bongos, djembes, bass drums, bells and effects instruments... but no trap-set.

Yes! In the groove. I love it when that happens... it remains a mystery to me how that works, but I think part of it is really listening to each other.