US garage producers like Masters at Work used syncopated 'skippy' drum programming that UK producers studied and copied

A defining element of the US garage sound that UK producers emulated was the syncopated, non-four-on-the-floor drum programming described as ‘skippy’ — drums with irregular, lively patterns rather than a straight kick on every beat. Producers like Kenny Dope (of Masters at Work) were studied carefully by UK producers learning to make garage tracks. This programming style contrasts with straight house or techno patterns and creates the characteristic looseness and groove of both US and early UK garage. UK producers then put their own stamp on it by making the bass drum ‘snappy and heavy’ and the bass lines more melodic than the US equivalent.

Examples

One UK producer recalls: ‘masters at work were doing really skippy drums as well and a guy called e smooth so i kind of got my head around those drums and kind of thought oh god i gotta make some jumps like that.‘

Assessment

Describe what ‘skippy’ drum programming means rhythmically — where does the kick land, how does it differ from four-on-the-floor? Sketch a 16-step pattern that demonstrates the concept.