Drums That Pop: Tamuz on Texture, Pocket & Purpose

You’ve probably experienced it much like we have: you’re in scroll mode, half-distracted, and then—boom—you hear it. A ridiculously groovy drum loop jumps out of your feed and locks you in. Suddenly, your head’s nodding, your imagination’s racing, and five song ideas show up uninvited. That’s the magic of Tamuz. His drums don’t just sound good—they feel good. Built from a lifelong obsession with rhythm, texture, and the emotional core of music, his grooves have a way of grabbing your attention and holding it. In this interview, Tamuz breaks down how that magic comes to life—from his earliest rhythmic impulses to the thought and soul behind his latest sample pack, Drums That Pop.

Our Interview with Tamuz

Background & Musical Origins

Splice: Many people know Tamuz the visually laid-back drummer with the cool hair on social media, effortlessly laying down drum break after break… each one more inspiring than the next. But take us back a bit and tell us how you got started playing drums?

Tamuz: Before I ever touched a drum set, I was already getting yelled at for being loud. I used to annoy my mom at the breakfast table just by tapping on everything. Utensils, plates, glasses, anything that made a sound. I didn’t know what I was doing, but I couldn’t stop. There was always a rhythm in my head, and somehow it needed to come out.

I remember the radio frequently being on in the background, and I’d play along with it like I was part of the band. No drum teacher, no clue what I was doing, but I was locked in. In fourth grade, someone gave me a pair of drumsticks. Just sticks, no drums. But that felt like gold. I carried them everywhere, hitting tables, school desks, my legs, whatever was in front of me. People around me were definitely not fans, but I couldn’t help it.

It wasn’t until I was thirteen that I finally had my first real drum lesson. I had waited years to be allowed anywhere near an actual drum set. But the rhythm had been there the whole time, long before I learned how to count time or hold a groove. It’s like drums chose me before I even knew how to play them.

Splice: What kind of music was playing in your house growing up? Were there any artists that made a lasting impact on you?

Tamuz: Nobody in my house was a musician or anything like that. But music was always there, just part of life in a very real way. My parents weren’t players, but they loved listening, and the way they experienced music definitely rubbed off on me.

My mom used to play Louis Armstrong a lot, especially on weekends after work when she was finally able to relax. She’d encourage me to really listen to it. I remember those moments clearly. Louis’s voice would fill the room and everything would slow down. I fell in love with him instantly. His tone, his phrasing, his trumpet, even the way he spoke through his melodies — it all hit me hard, even as a kid. There’s something about his music that made me feel something deep, and that’s still true today. He taught me that music could be both raw and beautiful at the same time.

Then there was my dad, who was a huge Dire Straits fan. He didn’t play them constantly, but when he did, it felt like an event. Dire Straits was probably the first rock band that made me start thinking about rhythm. really listening to the relationship between the drums and the bass. That sense of groove, of locking in, kind of cracked something open in my head. And of course, Mark Knopfler’s guitar tone left a big mark on me. His playing had this mix of precision and emotion that I still think about today.

Even though no one in my family played instruments, those early experiences shaped how I feel music. The emotion, the pocket, the storytelling.

Splice: Were there any mentors or pivotal moments that helped you shape your sound?

Tamuz: My first drum teacher was definitely important at the beginning. He gave me the basics, the foundation I needed to get started. But I only stayed with him for about a year. After that, it was really all self-driven. I never went through a formal path with lessons or conservatories. Instead, I found my own version of mentorship.

Honestly, YouTube was my school. I used to come home from class, practice on the kit, and then fall asleep watching videos of drummers every single night. It became this ritual. I’d watch everything I could find, just soaking it all in — old performances, interviews, drum cams, whatever. And I wasn’t just watching, I was studying. Transcribing parts, breaking things down, trying to understand what made each groove feel so good.

So in a way, I didn’t have one mentor. I had dozens. Drummers like Steve Gadd, James Gadson, Bernard Purdie, Dave Weckl, and so many others. Some were legends, others were modern players I found online. Each of them added something to my playing, even if we never spoke. I think that’s why my sound feels like a mix of different eras and styles. It’s not built on a single path, but on years of obsessively digging through the music I loved and trying to figure out how it worked.

Creative Process

Splice: Fast-forward a bit and you’re now into production and sample creation, in which you have your own collection of sample packs and of course, this latest sample pack with That Sound, Drums That Pop. This pack seems to draw from a deep well of influences—Timbaland, Dilla, Dre, Quincy Jones. What was your vision for the pack when you first started putting it together?

Tamuz: I am drawn to music that has depth and history behind it. My favorite stuff usually falls into two worlds. Either the classics from the 50s, 60s, and 70s, or the producers from the 90s and early 2000s who studied those legends and flipped their sound into something new. You’ve got people like Quincy Jones, Herbie Hancock, and Miles Davis on one side, and then you’ve got J Dilla, Timbaland, Dre, and the Neptunes on the other. All of them had this ability to make something feel timeless.

When I started working on this pack, I saw it as a way to study those influences more deeply and pay homage to them. It’s a reflection of the stuff I’ve been obsessed with for years, the texture of 70s disco and pop drums, but with a modern bounce that could live in today’s pop or R&B records. I wanted the grooves to feel like they could have come from an old record, but still hit hard and clean in a new mix.

I also leaned into the percussion side of things, which is something a lot of those producers did really well. There’s a lot of rhythmic layering and ear candy in their work that keeps the groove moving. So this pack is packed with drums that feel vintage but are shaped and performed in a modern context, a kind of hybrid that feels both nostalgic and fresh.

Splice: What qualities do you feel define a pop-worthy drum groove in today’s music?

Tamuz: For me, it starts with the groove. That’s true now and it was true back in the day. The drums have to bounce, they need to make your head nod, your shoulders move, just give you that feeling. If it doesn’t feel good, nothing else matters.

Texture is a big part of that too. The sound itself has to be interesting, but not overwhelming. I think the best pop drums today are often really simple. They leave space for the song to breathe. The drums should never fight the vocal or the melody. They’re the heartbeat, not the spotlight. They carry the energy, but they don’t take over.

And a lot of the time, what really makes a groove pop is the stuff around the drums, subtle percussive elements that support the rhythm and add movement without drawing too much attention. That little extra swing or sparkle can make a groove come alive without crowding the track.

Splice: What do you feel are the biggest differences between working on production for commercial records and working on sample pack production?

Tamuz: The intention is completely different. When I’m working on a commercial record, everything I do is about serving the song. The groove, the tone, the way the drums sit, it’s all shaped by what the track needs. I’m thinking about how to complement the vocal, support the chord progressions, and enhance the emotion. It’s not about showing off. It’s about locking in with what’s already there and helping bring the whole thing to life.

With a sample pack, it’s almost the opposite. The drums are the starting point. My goal is to give producers the best possible toolkit, something that can spark an idea or help them manifest one they’re already chasing. There’s no song yet, so the sounds need to be strong enough to inspire one. That means the textures, the grooves, the one-shots, everything has to be versatile, inspiring, and built with care.

In a way, a sample pack is like giving someone a set of keys. You’re not driving the car for them, but you’re giving them the tools to get where they want to go. Whether they use the sounds as the backbone of a final track or just as a reference point, my job is to make sure they’ve got what they need to create something great.

Sound Design & Preferred Gear

Splice: You tracked these drums on a ‘70s kit and processed them through a 1973 Pioneer Reel-to-Reel. What makes that setup so special sonically?

Tamuz: Honestly, part of it is just the feeling. There’s something about knowing that I’m recording and processing through gear that the artists I love once used. I’m always chasing that sound from the 70s, the warmth, the grit, the way the drums sit in a mix and feel alive. I don’t think I’m reinventing anything. I’m just trying to recreate something I admire and give it my own touch.

The kit I use has a story, the mics have a story, the reel-to-reel has a story. And I really believe that when you care about the tools you’re using, when they have weight and history, that energy ends up in the recording somehow. It’s not just about tone. It’s about connection. And I think that connection gives the sound a certain depth that you can actually hear.

Splice: What’s your philosophy on balancing vintage character with modern punch in drum production?

Tamuz: For me, it’s about keeping that vintage feel and texture, but shaping it in a way that fits today’s sound. I’m really drawn to old-school grooves, the kind you’d hear on records from the 70s. But instead of just copying that sound, I try to design it in a way that feels fresh and hits harder in a modern mix.

A lot of times, the groove might feel like it came from an old record, the swing, the pocket, the texture, but the sound design is different. It’s cleaner, tighter, more adapted to how music hits today. That balance is what I’m trying to achieve. Something that feels familiar but still pushes forward.

Were there any happy accidents or unexpected textures that made their way into the final pack?

Definitely. A big part of my process when making sample packs is just staying open. I’ll usually have a specific sonic goal in mind, but I never know if I’ll actually get there, or if I’ll end up somewhere even better without expecting it. A lot of the percussion grooves in this pack came from just catching a moment, letting things happen, and running with it.

That unpredictability is part of the fun. It keeps the process exciting, and sometimes those little surprises end up being the most inspiring parts of the whole thing.

Music & Mentality

Splice: How do you keep your drum programming or live grooves feeling alive—with that bounce that moves people?

Tamuz: For me, it’s all about thinking like the musicians I admire. Not just the drummers, but also the bass players, keyboardists, singers, the ones who really make the music feel alive. I ask myself, what would they do to make this groove feel good?

At the end of the day, I just want the drums to bounce. I want them to groove, to move like a song, not just like a drum part. I love music. That’s where it starts and ends for me. I’m not trying to overplay or get fancy. I’m just trying to make something that feels like a real record.

Splice: For drummers or beatmakers trying to elevate their rhythm game, what’s something you wish more people focused on?

Tamuz: I think it starts with not being afraid to study what you actually love. What really makes you feel something. A lot of times, it’s not the most flashy or technically impressive stuff, it’s the simple grooves that hit you in the chest and make you move.

So I’d say, pay attention to what makes you feel good. Go deep into that. Once you know what moves you, everything else starts to fall into place. You’ll naturally start trying to recreate those feelings in your own way. And that’s where your real rhythm starts to come out.

Splice: Your style seems to fuse genres effortlessly, but still sound like you. Is there anything specific you’re doing or thinking about to make all those genres coexist in such a cohesive way?

Tamuz: I just really love music. All kinds. And over the years, I’ve spent a lot of time listening to and learning from so many different genres. I am still a student, and I always will be.

When I’m creating, I’m not trying to mash styles together. I’m just pulling what I love most from each one and letting it shape what I’m making. If it feels good and honest, it usually ends up sounding like me, even if it came from a bunch of different places.

For the Producers

Splice: You’ve included everything from full drum breaks to hi-hat loops and one-shots. How do you hope producers use this pack in their own work?

Tamuz: I just wanted to make something that feels like a real toolkit, something producers can keep coming back to no matter where they are in the process. My hope is that it does one of two things. Either it sparks an idea and gets someone inspired to create something new, or it gives them exactly the sound they’ve been looking for to finish what they’re already working on.

Whether it’s a scroll-stopping loop that suddenly unlocks a whole track or just that perfect snare that ties the whole thing together, I want the pack to feel useful and inspiring at the same time.

Splice: Where would you recommend producers start when first diving into this pack?

Tamuz: Just start scrolling. That’s the beauty of Splice, you can search for exactly what you need, whether it’s a loop, a snare, a hi-hat, or a percussion groove. But sometimes the best ideas come when you’re not even looking for something specific. Just dive in, follow your ear, and have fun with it. Let the sounds guide you.

Splice: Is there a specific groove or break in the pack that you're especially proud of or think producers should check out first?

Tamuz: There are so many in there that I love for different reasons. I’m especially proud of how the kick sounds came out, along with the side sticks and snares. They’ve got the texture and character I was chasing.

If I had to point people to a few standouts, I’d say “110 BPM Drums Percussion House” has a really nice old-school disco feel, but with a fresh sound and layered percussion that gives it a unique bounce. “70 BPM Break 2” has a crispy side stick that just sits perfectly. There’s also “95 BPM Drums Crunch”, that one’s more in your face, with a lot of energy. And “115 BPM Percussion Punch Groove” has so many subtle layers, it creates this rhythm that just moves.

In the end, I’m really proud of the whole pack. Every groove and sound has something I put real time and love into, and I hope producers hear that when they dig in.

Final Thoughts

Tamuz’s passion for groove, texture, and storytelling runs through every beat of Drums That Pop—his new sample pack on That Sound. Designed to inspire producers at any stage of their process, the pack blends classic drum tones with modern clarity and bounce, offering a versatile toolkit that feels both familiar and fresh. Whether you're looking for a spark to start a new track or that final piece to tie a mix together, Drums That Pop brings the heart of Tamuz’s sound straight to your session.