I agree-thats how I often play them.  Bonham wasnt too difficult to figure out.  Its the "feel" the "groove" the "style" that makes it difficult.  The "how" is the EASY part IMO

Eighth-notes work IF you are playing sextuplets or sixteenth-note triplets. We are talking about a sticking here ... R L F ... not a particular notational figure.

I highly suggest that you just learn and own the RLF thing first. If you are playing sixteenth-note triplets, then sure, anchor it to eighth-notes. If you are playing 32nd-note triplets, then you would "anchor" it to the sixteenth-note. All of this is only good if you are playing consecutive triplets ... otherwise you wouldn't need to anchor anything.

Thanks to all of you for this wonderfully educational thread.  I have alway tried to do this by feel and I had no idea there was so many different ways to play it.  You all have giving me something to work on.  Thank you all for the lesson. This is why I am here at the best drummer forum around.  Thanks again. You guy and gals are the best!!!!!
                                                  Nutty

This accent pattern also works well by doing it on one hand. I built up my singles by doing it one time through with the right hand, then repeated by doing the same pattern as a skeleton pattern for sextuplets (just add left-hand grace notes). Then do the same pattern with the left-hand and left-hand lead. If you have a weak hand, focus on accenting with that hand.

I also know of two cool extensions to the pattern that go like this:

(1) | Rlr Lrl rLr lRl | rlR lrL Rlr Lrl | rLr lRl rlR lrL |

(2) | Rlr lRl rlR Lrl | rLr lrL Rlr lRl | rlR Lrl rLr lrL| R ...

I usually play the pattern you wrote out fluidly with the above two patterns for practice. My routine is to play first only the right hand, then only the left hand. Then I play with right-hand lead, then left-hand lead. After that, I alternate lead hands with the following additions:

* Drags on the accents
* Tap rolls
* Flams on the accents
* Paradiddles (great for strength triplet double-strokes, because you really have to focus on the accents)

If I'm feeling really ambititious, I will try 32-note triplets (with varied sticking) with the same triplet accents. I have to be really loose to try that, though.

It is indeed a good exercise for just that. Along with the other two phrases, playing it around the kit is a good way to learn about playing against the meter and over the bar.

Of all the corps exercises I've been handed, this is one of the best and most versatile patterns!