MADVILLA Studio Session: Drums | Secret Tricks - Ableton Live

Summary

In this insightful video, Matt Villa shares his workflow and techniques for crafting compelling drum sounds in music production. Starting with the kick drum as the foundation, Villa discusses the importance of sample selection, subtle processing with saturation and transient design, and custom limiters to preserve punchiness. He also covers drum top separation, bus compression, EQ, and the use of vintage plugins for a warm and crisp sound. The video offers a deep dive into Villa's approach to drum production, emphasizing minimal processing and sound source quality for a polished result.

Takeaways

• 🎶 Matt Villa starts his drum production with the kick drum, considering it the foundation of the track and setting the tone with a good sample.
• 🔊 He adds subtle processing like saturation and transient design to enhance the attack of the kick, making it punchy and clear in the mix.
• 🚀 Villa uses a custom limiter in Ableton to manage the kick's dynamics, preserving the transients and maintaining a sharp punchiness.
• ⚙️ For the drum tops, he separates them from the kick to prevent the compressor from being overly triggered, allowing for better control over the drum sound.
• 🔁 Villa employs a bus compressor, such as the API 2501, for a warm and musical sound, adjusting settings like attack and release for optimal drum compression.
• 🎛️ He uses EQ and transient designers to shape the drum sound, aiming for clarity and crispness without harsh distortion.
• 📐 Villa discusses the importance of preserving dynamics until the mastering stage, advocating for minimal processing to maintain the original sound's integrity.
• 🛠️ He shares his approach to sound design, using tools like the Soundtoys Transit to reshape and fit drum loops into the track's groove.
• 🎵 Villa mentions starting with a bassline or musical hook before building drums around it, as it can lead to a more engaging and cohesive track.
• 🔧 He emphasizes the value of using hardware in the studio for a more hands-on and expressive production process.
• 🎚️ Villa highlights his preference for certain pieces of gear, such as the Casio CC 701 and the Behringer RD-8, for their unique sounds and hands-on control.

Q & A

What is the first step Matt Villa takes when setting up his drums in the studio?

Matt Villa starts with the kick drum because it serves as the main foundation of the track, setting the tone with a good kick drum sample.

How does Matt Villa process the kick drum to make it stand out in the mix?

Matt adds saturation and transient design to the kick drum to boost the attacks, making it sharp and clear in the mix. He then uses a custom-made limiter in Ableton to limit the signal at minus 0.5 dB, preserving the transients and punchiness of the kick.

Why does Matt Villa prefer using Ableton's Glue Compressor for his kick drum?

Matt prefers Ableton's Glue Compressor because it preserves the transients better than other limiters, maintaining the sharp punchiness of the original kick drum sound even when heavily driven.

What is the purpose of sending the kick drum to a high-pass filter in Matt Villa's workflow?

The high-pass filter is used to control the amount of low-end frequencies during different sections of the track, such as the breakdown, allowing for dynamic changes in the sound based on the track's structure.

Which compressor does Matt Villa use for his drum bus and why?

Matt uses the API 2501 compressor for his drum bus because he finds it to be the nicest sounding compressor for drums, offering a musical sound with warmth and preserving the dynamics.

How does Matt Villa enhance the clarity of his hi-hats?

Matt uses a MIDI drum rack with different hats and cymbals, and processes them through a vintage exciter from Waves, which helps to clear up muddy hi-hats and provide more clarity.

What is Matt Villa's approach to processing chopped sample loops in his drum tracks?

Matt sends chopped sample loops to a bus with a vintage supercharger GCI, using saturation to create a crisp and sharp sound without boosting the overall level, thus preserving the harmonics and making the loops stand out.

Why does Matt Villa separate his kick from the drum tops when compressing?

Separating the kick from the drum tops prevents the compressor from being overly triggered by the kick, making it easier to tame the drum tops and get the most out of them.

What is Matt Villa's advice on sound source selection and processing?

Matt advises to start with a good sound source and use minimal processing to enhance it. He emphasizes that you can't polish a turd, meaning it's better to find a good sound from the beginning rather than trying to fix a poor sound with excessive processing.

How does Matt Villa approach the creation of his drum patterns?

Matt uses a combination of hardware drum machines, like the D16 Group's Drummers and Neato, and software tools like Max for Live's Instant House to create and randomize drum patterns, which he then customizes to fit the track.

What is Matt Villa's strategy for preparing drum tracks for mastering?

Matt leaves enough headroom, aiming for around minus 6 dB pre-master, to give the mastering engineer space to work with, avoiding over-squashing the mix and preserving the dynamics for the final master.

Outlines

00:00

🥁 Drum Production Techniques and Workflow

Matt Villa discusses his approach to drum production, emphasizing the kick drum as the foundation of the track. He selects a good sample and applies subtle processing with saturation and transient design to enhance the attack. Villa uses a custom limiter in Ableton to manage the kick's dynamics without losing punchiness. He also explains the use of high-pass filters and a 1176 clone compressor for further shaping the drum sound, advocating for minimal processing and maintaining dynamics until the mastering stage.

05:00

🎛️ Advanced Drum Mixing and Processing

The paragraph delves into advanced drum mixing techniques, including the separation of kick and drum tops to prevent compression issues. Villa uses a MIDI drum rack for hat design and various effects for build-ups. He highlights the use of the API 2501 compressor and EQ for a transparent sound, as well as a vintage exciter for clarity in hi-hats. Additionally, he discusses the use of chopped sample loops, saturation from a supercharger, and the importance of sound source quality in drum production.

10:00

🔧 Creative Sound Design and Drum Groove Enhancement

Matt Villa shares his creative process for sound design and enhancing drum grooves. He uses SoundToys' Tremolo for a stutter effect and discusses the importance of fitting drum breaks to the track's groove. Villa also mentions his preference for plug-in emulations of old drum machines, such as the D16 Group's Drummers and Neato, and how he uses them to create unique drum patterns. He touches on the use of hardware for a more hands-on approach and the excitement it brings to the creative process.

15:02

🎵 Music Composition and Drum Sound Integration

Villa talks about his shift from starting with drums to beginning with a bassline or musical hook, finding it more effective for creating engaging tracks. He explains his process of constructing the drop first and then deconstructing it for other parts of the track. The paragraph also covers Villa's preference for working with hardware in the studio, the use of the Korg Monotron Delay for unique dub effects, and his approach to integrating drum sounds with the overall music composition.

20:03

🎼 Vintage Gear and Music Production Philosophy

In this paragraph, Matt Villa reflects on his love for vintage gear, such as the Casio CC-701, for its unique organ sounds. He discusses the benefits of using hardware sequencers like the Akai MPC and the Keystep for creating 'happy accidents.' Villa also mentions the Behringer RD-8, an 808 clone with added features, and how it contributes to the hands-on experience of music production. The paragraph concludes with a nod to Villa's minimalistic approach and the importance of getting the most out of each sound.

Keywords

💡Kick drum

The kick drum is the foundational element in many music genres, particularly in electronic and drum-focused music. It sets the rhythmic pulse and is often the first element addressed in music production. In the script, Matt Villa emphasizes the importance of the kick drum as the 'main foundation of the track,' highlighting its role in establishing the tone of the music.

💡Transient design

Transient design refers to the process of shaping the attack or initial impact of a sound, often used to make certain elements like the kick drum or snare more pronounced in a mix. Villa mentions boosting the attacks with a transient designer to achieve a 'nice, sharp click coming through' in the mix.

💡Custom-made limiter

A custom-made limiter is a tool created by the producer to control the dynamic range of an audio signal, often used to prevent clipping and distortion. Villa describes using Ableton's glue compressor as a custom limiter to manage the kick drum's dynamics while preserving its transients.

💡High-pass filter

A high-pass filter is a type of filter that allows frequencies above a certain cutoff point to pass through while attenuating lower frequencies. Villa discusses using a high-pass filter on the drum bus to manage the low-end content and create variations in different sections of the track.

💡1176 clone

The 1176 clone refers to a software emulation of the classic Urei 1176 compressor, known for its aggressive and musical compression characteristics. Villa mentions using a 1176 clone from Marteria for its punchy sound, illustrating its use in shaping the drum sound.

💡API 2501

The API 2501 is a renowned compressor known for its warm and musical sound, often used on drum buses. Villa describes using the API 2501's feedback mode for a 'nice musical sound,' showcasing its application in achieving a balanced drum mix.

💡Vintage exciter

A vintage exciter is a type of processor that adds harmonic content to audio signals, making them brighter and more defined. Villa uses a vintage exciter from Waves on his hi-hats to achieve clarity and definition in the drum mix.

💡Sound design

Sound design involves the creation and manipulation of audio elements to fit a specific context or to create a unique sonic identity. Villa discusses using sound design skills to integrate drum loops into the track's groove, ensuring they match the track's rhythm.

💡Max for Live

Max for Live is a feature in Ableton Live that allows users to create custom instruments and effects using Max/MSP visual programming. Villa mentions using a Max for Live device called 'Instant House' for drum sequencing, demonstrating its utility in generating drum patterns.

💡Drum machine emulation

Drum machine emulation refers to software or hardware that mimics the sound and functionality of classic drum machines. Villa uses emulations like the D16 Group's 'Drummers on' and 'Neato Not' for their authentic sound and processing capabilities.

💡Mastering

Mastering is the final stage of music production, where the track is polished and prepared for distribution. Villa discusses leaving headroom for the mastering engineer and providing them with a track at around -6 dB to ensure optimal dynamics and clarity.

Highlights

Matt Villa emphasizes the importance of the kick drum as the foundation of a track, using it to set the tone.

He uses Ableton's glue compressor with a soft cut feature to limit the kick drum signal at -0.5 dB, preserving transients.

Matt discusses the use of saturation and transient design to enhance the attack of the kick drum.

A custom-made limiter in Ableton is employed to drive the kick drum, maintaining punchiness.

High-pass filters are used strategically for different sections of a track, such as breakdowns.

Matt prefers the 1176 clone from Maag Audio for its punchy sound in drum processing.

He advocates for minimal processing to bring out the best in the source material.

Drum tops are separated from the kick to prevent compressor overdrive and achieve better sound.

The API 2501 buss compressor is Matt's choice for its musical sound and ability to preserve warmth.

EQ settings and the use of a transient designer are discussed for creating sharp and crispy drums.

Matt uses a vintage exciter for clarity in hi-hats, especially with open hi-hats that can be muddy.

Chopped sample loops are processed with a vintage supercharger for added crispness and clarity.

SoundToys' Trim plugin is used for sound design, creating a stutter effect and fitting loops to the track's groove.

Matt shares his approach to using old drum machine emulations for adding character to drum sounds.

He discusses the use of plugins like D16's Drummers and Neato for emulating classic drum machine sounds.

Matt explains his preference for starting with a bassline or musical hook before building drums around it.

He mentions using hardware for a more tactile and expressive music-making process.

Matt highlights the use of the Cord Monotron Delay for its unique dub delay and filter capabilities.

The Akai MPC Live is described as Matt's main hub for MIDI and drum sequencing.

The Casio CTK-701 is appreciated for its rare and smooth organ sounds, adding a vintage flair to tracks.

Behringer's RD-8 is praised as an affordable and feature-rich 808 clone that enhances the hands-on experience.

Transcripts

we're here in the studio today with Matt

villa we've come down for some key

insights into your workflow some drum

techniques and a basic overview of your

studio thanks for having us

it was should we dive in and see what

you've got

yes get into so usually when I'm doing

my drums I'll start with the kick

because the kick is like the main

foundation of the truck so I like to set

the tone with a nice kick drum so

usually I find a good sample that sounds

good straight away and then I'll add

subtle processes it to it so I add a bit

of saturation and a bit of transient

design I like to boost the attacks for

the transient designer so you get a nice

you get the click coming through nice

and sharp through the mix so after that

I'll send it to a custom-made limiter

that I've made with Ableton so I use

Ableton's glue compressor when you use a

soft cut feature on the glue compressor

it limits the signal at minus 0.5 DB so

I Drive the kick and so you see that

orange light flash in there that means

it's clipping out at minus 0.5 DB and

the reason why I use Ableton screw

compressor is because compared to the

actual limits of plug-in itself it

preserves the transients a lot better so

when you drive Ableton's limiter it does

a lot of squashing it's a lot of

squashing words when you drive the glue

compressor that transient information

still stays preserved so you still get

that nice sharp punchiness that you

would have in the originally yeah it

likes to keep my dynamics there until

the very end when you master and you

published of it but after I pump it to

minus 0.5 DB I'll bring that down about

minus 11 DB then I send that signal to a

bus where I

of my high-pass filter so for sections

such as the breakdown I'll have you know

the filter will engage or go up and down

have depend on what track and in and

then I have that running into a

compressor I like to use the 1176 clone

from martyria doing some great stuff

yeah yes out of all the clones I've used

they've they have the best I think it

sounds nicest plugin wise anyway so I

use a very slow attack but very fast

release as this helps this this is like

the punchy is setting you could use when

you you know processing drums coming in

taking a while to actually engage so you

get that punch coming through and then

once they once it hits then the release

is very fast so it's not holding on to

that compression for too long so by the

end that's peaking around minus 5 dB and

then I mix everything else around that

so it's a nice case of making sure

you've got a good source material from

the get-go

less is more minimal processing and just

kind of take that best source Olivia to

get the best out of it you can't yeah

yeah you want you want a good sound

source from the beginning you don't want

to try and polish a turd

cuz that's not gonna help you in the

long run just find a good sound source

and use minimal processing just to bring

it out for whatever track you're making

or whatever style so then I'll move on

to the drum tops I separate my kick from

the drum tops because when I'm

compressing my drums if I have the kick

in that bus it's gonna make the

compressor go a bit wild and it's hard

to kind of tame and get the most out of

your drum tops when you've got a kick in

there you know really setting the

compressor off so I'll start by

explaining the bus in this bus here I've

got I've got some effects so these are

just like a delay effects and some

reverb for the build ups and stuff and

then the main effects I use for my drum

buss is I start off with a compressor

which is usually a buss compressor the

API is 2501 allows the API to yeah I

think this is the nicest sounding

compressor for drums I've used hardware

and software as a way to yeah this is

waves version so there are the versions

but I just stick to waves because I have

in you can't go wrong with the way it's

tough to be anything you know you can't

so I use same similar settings for what

use for the kick you know very slow

attack fast release usually between

minus 3 and minus 5 DB on the game

production and the cool thing about AP

i-- is they have this you know modeling

feature where you can adjust the turn

you have old feedback of feed-forward

compression type I use the old type

because it has a nice musical sound

compared to the feed-forward which is a

bit more harsh and yeah yeah as a bit of

warmth and then I'll use for EQ in I use

I used to use the API EQ but now I'm

using at least your stuff because it's

very transparent you know you could

boost it quite high and not get any

harsh distortion you know it's very

clean you know a nice clean transients

and SPL 20 began for some harmonics

transient designer to boost the attack

again and that just you know that gives

you nice sharp crispy drums and then

that runs into my custom limiter again

where I'm minus 12 dB yeah it's I just

find when you're trying to balance

everything it's good to have something

that is preserving you know the

transients and the dynamics of the

original sounds rather than you know

over squash and everything and during

the mixing process and then by the end

you're kind of you don't really have a

good you know a good idea of what's

going on because the limiters are you

know squash and everything you don't

know if everything's coming through how

it should do so I just like to keep it

nice and clean until the end about your

hats where they like your hats come from

sound really great yes so I use

basically when I'm designing my hats for

drums I use a MIDI drum rack with

different hats and you know cymbals and

stuff that I got rid of our different

Middies MIDI clips so here in this track

I've got nothing too complicated you

know it's a nice groove the high hats

and cymbals

but some reverse symbols going on some

effects will delay than echo and then

that that hi-hat bus runs into a bus

I've set up inside the drum group with

the effects vintage exciter from waves

this I find this sounds best on say like

909 open high hats because when you have

like a muddy hi-hat and you send it

through this it just really like it

makes it sound a lot more clear you got

a lot more clarity out of it which is

usually a problem I have open hi-hat so

I just sent my whole hi-hat group to

this exciter and then I'll have maybe

other smaller like loops that I send so

I have these two buses here which are

chopped basically chopped sample loops

where I've taken maybe like a drum break

or a top loop and I've cut the bits out

that I want and then I send them to

another bus in the drum group which is a

vintage supercharger GC I put the

saturation up it's about eight on the

mild setting and then turns some

brightness up on the character and this

the saturation you get from this is

different to other such traitors I've

used I really like creates a crisp sharp

I got a Chris short saturation where you

get a lot more loudness of the sound but

it's not boosting the level it's

actually reducing the level but you're

getting more quiet yeah yeah it's

bringing out the harmonic so you you

perceive it as louder but it's actually

quieter in level so I used that I sent

some chopped loops to that claps and

snares this is really good for sending

claps and snares to and percussion

because it makes it just a lot sharper

and a lot clearer and who's that problem

that's Native Instruments and me yeah so

you know this is the they have the

supercharged and supercharged GC which

has the added saturation in character

functions yes

on top of our hearts obviously you have

the craps and snares I usually keep it

quite simple I just have you know

standard clap where would be for our

house track for some off B snares and

percussions then to really like fill out

the drum groove

I'll have layers such as breaks which I

kind of I use some sound design skills

to kind of place those into whatever

track I'm working on because often you

get loops that the groove of the loop is

not the same as the groove in your truck

so a way around that is I will use

soundToys trim later which basically I

have this setting that I've made this is

a preset that I made

it's on sixteenth time time division so

if you think of like a sixteenth I had

notes you know study the shape of it is

a trapezoid so I'll open up the setting

so you could visually see so every

sixteenth note it's kind of the volumes

ducking in and out like a gate but it's

not like an on/off gate it's like a ramp

so extreme yeah yeah it's a sixteenth

intervals so it's kind of creating a

like a stuttery kind of gate effect base

not it's a bit more smooth than our on

off case and I'm matching the swing to

yeah so you have a crew function there

on the tram later where you can

basically off offsets the envelope so

that it creates like a like a swing so

the the gate is moving in like a swing

manner so and you have that on full and

you have to swing up so or we have a set

or whatever the groove of your track is

you could then you're basically the

reshaping the sound to fit your track so

it's gonna cut all those bits were that

would clash usually and then actually

make it fit in a lot better

modeling your the brakes and also making

it a bit more unique and adding that

your own flair to I suppose in yes

because lately I've been kind of gone

for a more minimalistic approach and

I've been trying to really get the most

out of you know sounds that maybe would

originally be big and sloppy and then

really try to tame those down and get

them a bit more intricate and fitting

into my style of music so you can see

without doesn't sound bad but you can

hear how there's a tiny bit of clash

between what I've got going on in the

original loop so when you have that

generator go and it just really slots

the loop into where it needs to be for

the track so another main part of my

drums is I've been using plug-in

emulations of old drum machines so here

I've got drummers on from D 16 which is

really it's a 909 emulator it looks

exactly but in work sounds almost

exactly like a 909 I'm just here so plug

in so it's gonna have that that digital

aspect but if you process it right you

can get really nice turn out of it this

I'm just using for a rim shot so I use

the internal sequencer and that's just a

little rim going off every on every

tenth and eleventh step yeah a tiny

little things that add more to the

groove but you know it's not over the

top

that's I pair that with another one from

D 16 called neato not which is a 6 or 6

emulator yeah yeah so that's another

basic groove I've got going but I'm not

using the internal sequencer need enough

I'm actually using a max falar device

called instant house which is basically

trigger for drum machines there has like

pre saved patterns for you know like a

drum sequencing so I just

I usually just click randomize on the

pattern and you can get loads of

different kinds of drum patterns

[Music]

cycle three a onesie attack cycle

Durance you find one I find one that I

like and I'll just make that work in the

track yeah other than that I'll just

usually just chop up loops and just try

and slot in just little tiny cuts and

layers here and they just really fill

out the groove and by the end I've just

got a full sound in control group you do

any overall processing on your drum

group apart from the bus I went there on

the top see that's about it because I

think that's that's all you need to

really you don't after you can the

attraction and get master as it is

anyway so you don't want to go too over

the top and not have you know not let

your mass and you're mastering engineer

have anything to do when you're

preparing for your master if you kind of

leave about minus six

pre master and yeah modest enough better

head room to work with yeah - 60 B is

usually the average some people go a bit

quieter I think Siana so you don't even

need - 6 - 4 5 like that's enough as

well but depending on what I don't know

what the mastering engineer does

sometimes they might need they might

work in a way where they need a lot of

headroom or they might work in a way

where they don't need much Headroom but

just like to give them that space anyway

because you know you might as well and

then other than that I just have a

couple of cent and returns for a reverb

so on this drum group of some sections

where the reverb automates and

breakdowns I've been using about how the

vintage verb for reverb it's a go-to for

me I've heard better sounding reverbs

but this reverb I think is really nice

because you know when you're trying to

get a really nice I don't like overly

bright reverb for your hair and see much

detail like and you have like

high-frequency percussions and stuff

going off and it's you can hear it in

the reverb it doesn't sound good whereas

this blends in really well for drums so

you could obviously set the high cut

down a bit and you're just getting that

nice like warm rich tone rather than

something that's

they're bright and over-the-top then you

just mix it in nicely and it has all

these different room emulations so you

have like plates bright halls concert

halls random space and I'll have

different modulations and you know

attack times and different you know

parameters that create different

characteristics all right so that's kind

of your drums overall and that's the

main focus of today we're kind of

looking at production tips for you for

your drums and then I suppose from your

personal kind of composition style from

that point on did you kind of normally

work with drums first create some drums

and then build the musical elements up

around it or you so idea in the first

place before you so usually I would have

stock I used to start with drums first

always start the kick and then I build

the hi-hats clap snares around that but

lately I've been getting into maybe

starting with the bass line you're

starting with a musical idea and then

building my drums around that because

I've realized when people are listening

to music they don't they're not you know

they appreciate the drums but the main

attention drawer is going to be the bass

line or the musical hook so if you

create a really if you can create a

really good base on a musical hook idea

you know maybe you just have a metronome

setup where you might just use a kick

that's just a timing marker but if you

create a really good musical idea and

then you build your drums to suit that

the track would usually ends up coming

out sounding a lot better no do you

start with the kind of drop part of your

bass line

yeah yeah yeah so I started with the

main the main bit the chorus to drop

because once usually when I make a track

us I'll make the drop first so that's

the main action that's where mostly

everything is going to be get out the

way and it's easier to deconstruct that

into intro a break-in out so rather than

trying to I used to start the intro and

then work all the way up to the build up

and then just drop and just like I don't

know what to do never try used to do it

always wooly struggled to make my drop

as I'm really happy and then I just

could not get it from

herself that problem yeah how's my

problem as well so I've just started I

start with the truck now and get that

main thing out of the way and then I

could deconstruct that and say they

insure now true one thing is about to

top touch on is you know we can see that

you've got a nice bit of gear here in

the studio what are your favourite bits

and you know how often do you use them

for your you know I'm right in or

property because I'm really nice organ

pieces over in the corner there so I use

most of stuff I use in here daily like

are you try and utilize everything as

much as I can because I have it so why

not yeah and I these days I'm working

more with hardware because I find it's a

totally different process to you know

pointing and clicking on the computer I

feel like I can get into the music bit

more actually put some more like feeling

and expression into one day because you

know having that tangibility overweight

Dino it's like you have a cape on you

and you're plugging it into here and

really Leeds feel like you're more in

charge of what's going on and when you

make something you feel a bit more

excited about it because you know you're

not just loading up a preset and you

know making some MIDI notes you actually

sitting there and testing our ideas and

you know plugging in cables different

places and going through settings on the

sim sort of drum machines and we trying

to make your own thing rather than

relying on presets and stuff that was

already kind of like pre-made for you

with plugins and stuff

however what's the cool thing so this is

the cord monotron delay it's a very

noisy box but it's really nice because

it has a really nice dub delay it's got

a filter on it which is modeled after

the korg ms-20 filter so that's my main

attraction behind using it when you

drive signals into it you have to be

really careful because it can overdrive

quite easily but when you get the sweet

spot on the overdrive you get a really

nice distortion that sounds nice on some

sounds such as like

pads or bass lines sometimes I might

even run like a kick drum bit just to

get that audio in and out and you ran

into it yeah

audio in and out through normal mini

jacks and then that goes into my patch

space so I could just route stuff in and

out whenever I need

- yeah it's got a saucer got a synth on

it or it's just so basically just a sine

wave and has some LFO and you can make

really spooky like sci-fi sounds fits

really nice and then you've got some

Akai staff there

yeah the Akai exercise funny which is

basically a simplified MPC still has

most of the main features of MPC it's

just not as elaborate in terms of you

know sequencing and that but I use this

as like my main hub for the MIDI so I

use it I was like a stop-start for

everything also you know making drum

sequences with it I'll use it as like a

controller so it has like an oak repeat

function which I might use to control

other things unable to saying that other

since it's just basically my main hub

for all of my my instruments so you've

got the key step from materia yep the

auto key step which has been a favorite

process of mine lately because like I

said I like to work out of the box and

if I could have an external sequencer in

the sequence of my since out of the box

and that's just a lot better than trying

to use Ableton MIDI to control

everything so I usually this this key

step is really good for making happy

accidents so I'll sit and I might try

and record something and it might come

out wrong but then if you play around

with the settings you can actually make

something that sounds really interesting

even though it wasn't on purpose okay so

you spoken about the little bit you got

here I can't help but can't ignore it

we've got a really amazing looking Casio

so this is the Casio CC 701 this is

basically one of the very first Casio

since I've ever made back in 1981 I

think it was but as you can see it's

very 70s models still got the old push

buttons and the would design and

switches it's mostly organ sounds but I

picked it up for red sheep in London off

a guy and I don't think I'll ever get

rid of it because it's so rare and the

organ sounds really nice and it really

smooth and

I just want to keep that as my little

tool for a studio

yeah I think some people might overlook

in you see it as a keyboard which I

think the guy did but I actually see us

something that's very unique in musical

because organ sounds you know you can

get organ sound anywhere but the type of

organ sounds this produces is very

smooth very rich like think of maybe

like disclosures music very much yeah

the final thing we'll touch I need

you've got the movie designer the rd8

yeah is it's the 808 clone obviously I

think behringer have done a really good

job at creating and affordable not 808

for people to actually and it's not just

an 808 the added functions on it they

put a filter they put a wave design they

put added like sequencing functions so

it just makes it a bit more than a

doorway a bit more fun than maybe an

original 88 would be some purist and

they may turn the knows about it but I

think you know I haven't seen it I don't

even think roll into new boutique

versions of the 808 and other drum

machines can compare to this because it

just it just feels so hands on yeah is

this thing is it's it's big enough but

it's still quite portable and it's not

you know big and heavy like an original

808 would be but I think I like to have

you know a nice size or something like

that I would like to have it a nice size

everything like somewhere small and

dainty yeah

so thanks I understand and really

appreciate that it's been a real

pleasure

we've bring some real insight into your

workflow and to the way in which you get

your drum sound and so so like you just

I feel that that kind of vintage Flair

that you bring to those drums really

sets you apart from other users so again

thanks for havin us choose those as

always like if you like dislike if you

disliked Chuck has a comment in the

comment section and I'm sure if you've

got any questions

we could probably direct them towards

Matt Villa and like there to get

something extra bit of tips and tips

there and as always be sure to subscribe

to the channel

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