MADVILLA Studio Session: Drums | Secret Tricks - Ableton Live
Summary
TLDRIn 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
- πΆ 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.
- π He adds subtle processing like saturation and transient design to enhance the attack of the kick, making it punchy and clear in the mix.
- π Villa uses a custom limiter in Ableton to manage the kick's dynamics, preserving the transients and maintaining a sharp punchiness.
- βοΈ 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.
- π 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.
- ποΈ He uses EQ and transient designers to shape the drum sound, aiming for clarity and crispness without harsh distortion.
- π Villa discusses the importance of preserving dynamics until the mastering stage, advocating for minimal processing to maintain the original sound's integrity.
- π οΈ He shares his approach to sound design, using tools like the Soundtoys Transit to reshape and fit drum loops into the track's groove.
- π΅ 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.
- π§ He emphasizes the value of using hardware in the studio for a more hands-on and expressive production process.
- ποΈ 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
π₯ 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.
ποΈ 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.
π§ 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.
π΅ 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.
πΌ 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.
Mindmap
Keywords
π‘Kick drum
π‘Transient design
π‘Custom-made limiter
π‘High-pass filter
π‘1176 clone
π‘API 2501
π‘Vintage exciter
π‘Sound design
π‘Max for Live
π‘Drum machine emulation
π‘Mastering
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
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