End of fills


Active member
I´ve seen an interesting Video by Benny Greb about how to approach fills in general some time ago, and have been trying to switch it up since then.
always depends on what works within the Song of course, sometimes a big ole Crash on 1 is just what it needs, but more often than not it steps on parts of other Instruments I think, so I try to avoid it.
What I have been using sometimes is an Idea I´ve heard from Mike Johnston, its hitting the bell of the ride on the "e" of beat 2. works surprisingly well for Fills aswell


Well-known member
A few of fills I kind of like to do:
(1) Back to 4th upbeat snare, but not always complete with hi-hat;
(2) A triplet followed by a quaver on a bass drum.
There used to be a thread about fills that last slightly shorter or longer than a bar (I forget if it was here or over at DFO). I guess some of my approaches are inspired by it. Next time I'd try maybe a choked crash cymbal on beat 4.
As for the crash at the beginning of the next bar - Bill Bruford used to crash a gong drum. Works for those King Crimson tunes with intricate guitar arpeggios.


Senior Member
For me, it mostly depends on the singer. If a singer seldom starts a phrase on "1", I'll likely crash on "1" a lot. If a singer usually starts on "1", I'll set them up by crashing on the "4" ahead of the vocal line.

The crash provides a bigger target to hit. It's a lot easier for other musicians to line up with a nice blurry "kshhhhh..." than a sharp "pop".

Sometimes crashes on "1" are required just to keep the musicians oriented, or if someone is losing track of the beat.

These days I play crashes a lot, but softly, so they blend in with the HH and don't overpower the vocals. That's just because I'm playing with someone who can actually sing. In a different band, I might go back to breaking a lot of cymbals and crashing every time the singer opens his mouth.