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So let's dive in!

Here are some of our favorite ways to make an ableton drum rack. Hopefully, you'll want to use it and share with friends.

Layer Drum Samples That Compliment Each Other

Rather than going on some lengthy vision quest in search of the perfect kick sample, find 2-3 sounds that almost work. Then, see if you can layer them together. You will need to do some EQ work. But this is a great way to mix the best aspects of a couple complimentary samples.

Another approach you can use here is to break down the sound you need make into components.

An interesting and functional kick can usually be made by layering a synthesized kick drum, like an 808, with a more colorful, vinyl sampled kick drum in another chain on the same drum rack pad.

For the snare in your new Ableton drum rack, try layering 1 or 2 snares. Then, add a clap sound or foley effect to give it extra character.

In Ableton, the way to accomplish this is you drag a Simpler instance onto a drum rack pad.

Then, click on the Simpler instance you just made and put it into a group. You can now make multiple chains in that group.

All the samples will play back together as one sound when you hit that drum pad.

It's always nice to find that sound that "just works" but Ableton Live is excellent for sound design when you need to take a more DIY approach and build the sound you need from scratch.

Spread Time and Midi Effects Across The Kit

Don't forget that each of the drum rack pads in Ableton Live is a full on effect rack!

Simply adding time effects to certain sounds can make the whole kit feel more interesting and dynamic.

Time effects are things like reverbs, delays, chorus, or even heavy compression.

A time based effect is simply some kind of process that happens over time to the sound. This is different from an amplitude based effect like EQ.

You can also use MIDI effects to manipulate the data going in.

A fun example of using MIDI effects is to set a hi hat sound on a few different drum pads with Arpeggiators set to different rates, like 1/8th notes, triplets (1/12), and 1/16th notes.

Then you just hold down the pad on your controller and it auto triggers at the specified rate.

Some controllers like the Ableton Push have this as a built in function, but remember you can always built this feature yourself.

Then you can use it with any MIDI controller you want, even your computer keyboard.

Copy The Stock Drum Racks (sort of)

A lot of people aren't super excited by the stock drum racks that ship with Ableton Live.

However, you can learn quite a bit by picking apart the techniques used to construct them. Then just tweak them to your production style, or substitute your own sounds from your favorite sample packs.

This isn't so much a specific technique, but a way of going about studying another sound designer's work. See if you can understand what they did, then make it your own.

For example, you could start by opening 10 drum racks and analyze each of the individual drum rack's return chains. You can radically shape sounds with just these alone.

Try using similar techniques in your own racks.

Map Some Macro Controls

Macro controls in Ableton Live are really well done and you should use them. Automate them. Map an LFO to twist the Marco controls for you. Or can map them to a controller and twist a bunch of Marcos at one time.

The beauty here is you can can easily create some very complex mappings.

This can be much more time consuming to make in other DAWs.

Tip: Map a bunch of device parameters to a Macro and set different range limits on each parameter using the map menu. When you turn the Macro controls, each individual parameter will move at different rates. This can create some wild results!

Mix In Texture, Tones, & Other Samples

Just because its called a drum rack doesn't mean you are obligated to use only drum sounds. You can use any kind of sound you want or even entire instruments.

A more accurate name for a drum rack could be a signal flow rack. Why? Because each pad can have a really complicated chain of effects and MIDI effects before the sample.

Or you can not use a sample at all.

Get this:

You can drag a whole synth VST onto a drum pad and trigger it.

Try using Wavetable, Operator, or 3rd party synth plugins

This is one of those mind-blowing features of Live the first time you see it.

You can have several pads trigger melodic sequences, chords, or whatever you want. When you trigger your midi controller, you're just sending a note to a chain that you can process like any other MIDI note.

If you haven't noticed, when you load an empty drum rack, each pad is labeled with the MIDI note it sends. You can use MIDI effects to change what that output pitch is.

Get Wild With Return Chains

Most producers use send and returns on tracks in the Arrangement view of Ableton for things like reverb and delay effects.

But remember, you can also have returns that are contained within an individual drum rack.

In this way, a single ableton drum rack is like a mini DAW within your DAW!

Delay and reverb are the usual place to start for blending in effects.

Experiment with more drastic effects like the native Corpus effect or any of the new Live 11 Spectral effects.

Spectral Resonator or the Spectral Time plugins are all great places to begin.

If you have a lot of 3rd party plugins that are good for sound design (we like what Unfiltered Audio and Melda Production is doing) this is another place to get creative when you build your drum racks.

You can have up to 6 return chains in a drum rack. So, it's possible to create many interesting sounds with just a single midi clip playing a quarter note over and over in a single track, then processing that sound with different effects returns.

Use Choke Groups In Your Drum Rack Chains

A choke group is usually used as a practical way of making sure similar sounds don't trigger as the same time. You might not want two different snares to trigger at the same time, or more typically, you want a closed hat sound to cut off an open hat sound, like a real life drummer.

The way you do this is put the elements you want to control in the same choke group.

You can have a bunch of them too. Snares might be in choke group 1, hi hat in choke group 2, and so on. You can have up to sixteen choke groups within a drum rack.

This is especially useful if you're playing in parts from a midi controller or converting an audio track into a MIDI track. In both cases, the MIDI data will likely be kind of messy and will be double triggering some sounds.

Choke groups help save you the time of having to go through the entire MIDI clip note by note and removing the doubled sounds by hand.

Use Pan Automation On Certain Drum Sounds

The next two items go hand in hand because they have to do with the sense of space in your drum rack. Let's start with the simpler of the two: don't leave those pan sliders untouched!

It's ideal if your drum rack works completely in mono, panning some elements helps give it a more open, interesting feeling for someone listening in stereo. Most people listen in stereo these days, so it is worth spending the time to get it right.

Here are a few panning strategies to try:

• Pan cymbals or tonal sounds slightly left and right.

• Do an "LCR" style pan. Everything in the drum rack gets panned center, hard right, or hard left.

• Use the Autopanner plugin to create some motion around the kit. Things like snares and kicks should probably stay centered, but hi hats, cymbals, percussion and or tonal FX sounds can sound really interesting if you automate their panning.

Create an Unusual Stereo Image In Your Drum Racks

Panning is certainly a part of this, but its always good to take a step back and think of ways to spice up the overall stereo image of the drum rack.

What does this actually mean?

Through sample selection or use of plugins to manipulate samples, you want to have a variety of events in the stereo field.

Have some samples that are totally mono, like your snares and kicks.

Then, complement that with really wide stereo sounds. Next, put something between the two. Then a sound that autopans from right to left.

Or use stock plugins to build a device chain that only widens the midrange.

The sky is the limit here, especially if you combine creative stereo activity with other audio effect racks that use stereo effects.

If you really want to go nuts, you can use multiple parallel chains of effects and set the on/off switches to different ranges on Macro controls to scroll through them quickly using a MIDI controller or DAW automation.

Utilize Random Sample Playback In Ableton Drum Racks

It's always interesting to build drum racks with some element of randomness incorporated into the design.

A common example of this is a simple round robin playback. This is when you tell a drum pad to not play back the same sample two times in a row.

You can use round robin sampling with a set of 4-5 slightly different samples to achieve a more realistic playing experience, like a real drum would behave.

Or you can try loading in a few completely different samples so you don't really know what sound the drum pad will throw at you next.

The standard way to do this in Ableton Live is to use nested drum racks. You open a drum rack, then put another drum rack on that pad. Then, you add instances of Simpler on the nested drum rack and place the Random MIDI effect before it.

How To Achieve Round Robin Playback In an Ableton Drum Rack

Use The following settings on the Random plugin:

1. Chance should be 100%
2. Choices should be the same as the number of samples you want to round robin
3. The Mode needs to be set to Alt
4. Sign should be Add
5. Scale must be 1.
6. You will also need a Pitch plugin set to -24 before the Random plugin.

Go back and re-read that as many times as you need to figure it out. You can make extremely realistic multi-sampled drum kits like this that you will be able to use over and over again.

If you got it right, you'll see a bunch of separate chains in the list and you'll see playback jump all over the chain list when triggered with MIDI notes.

This is exactly how our GRITMATTER pack is constructed. You can always just grab our pack then copy the settings or substitute your own samples if you want to make it easier on yourself.

Optimize Your Workflow In Ableton When Creating Drum Kits

Sometimes when you're building instrument racks or audio effect racks, it is easy to lose momentum just because your workflow is too clunky and slow.

Or you aren't organized and lose things a lot after you build them so you lose time and energy looking for what you need.

Making a system for yourself and utilizing the existing workflow tools will only help you get to making music faster and keep your creative momentum.

Use Those Hot Swap Buttons!

Quickly swap out a drum sound or anything else. Generally when you're working with computers, the less time you spend fishing around with the mouse, the better.

In music production there's always some amount of that, but the hot swap button is designed to save you time on tedious drag and drops from the brower menu.

Instead, you can engage Hot Swap and use the arrow keys on the keyboard to scroll through sounds quickly and try them out while you play or while a MIDI clip loops to audition the samples.

Memorize Keyboard Shortcuts Wherever Possible

It's so important it's worth repeating: try to avoid fishing around with the mouse when you can.

Using a mouse is tedious, but a keyboard is not. If you find yourself reaching for the mouse a lot to do something in a menu for a particular task, look up the keyboard shortcut or make a new one in the operating system if it doesn't exist.

This one tip alone will save you hours of time over the course of a few months (or years) of making music.

Use A Naming Convention

Its totally fine and encouraged to give your drum racks ridiculous names like BOOTY-DROP-HIP-HOP-GRAMMY-WINNER or whatever you want, but having a consistent system will only help you be more efficient.

Including genre or tempo information is helpful, but if you do nothing else, you should put your name at the end of everything you make. This makes it really easy to find stuff you made, even if you aren't the most organized person.

Can't find that kit you made last month? Just search your name to narrow it down. This gives you an idea of what drum racks are custom creations and what are stock.

And it also tells you what the vibe of the drum rack is. Something like "Chill Drums Compressed - Steve" is a good example.

This is much more useful than calling all your drum racks some generic name like "Ableton Drum Rack 38"

Manipulate Samples First

Sometimes it's good to do some sound design and come up with some ideas before you even open the drum rack. Just make weird sounds with no real goal and worry about organizing it and building later.

This is a particularly good tactic if you have limited time to work on music, but aren't feeling super creative or motivated.

It also helps because you are giving yourself a small, but achievable and musically useful goal.

You're not trying to make a full drum rack, the goal is just make some sounds which you will build with later.

Just getting moving on something can sometimes inspire you to take it further and get you into a state of flow where the ideas just come. It build momentum.

And if not, you have a bunch of sounds you can export and just file away for later.

Even Out The Volume Level

This is a super boring old-school engineer thing to say, but take a look at volume levels! Sometimes the actual sounds are fine but if your levels are out of whack your drum racks won't feel good to play or listen to.

This might be as simple as just muting everything, then one by one enabling the drum pads on the rack and adjusting the volume as you go. Sometimes having everything on is too crazy to deal with all at once.

(This is also a good tactic when you need to mix an full song with a high track count.)

Once the basic volume levels are balance, you can try putting a compressor & limiter at the end of the chain to help glue things together and make the drum kit feel like a real instrument.

This is kind of like "pre mixing" your drums so you don't have to worry about as much later on.

Saturation & Clipping Are A Drum Rack's Best Friend

A lot of less experienced producers think of distortion like a guitar distortion pedal. It's a heavy effect that is all the way on or all off.

However, a good mix engineer will be the first one to tell you there are many, many flavors of saturation or distortion that help add depth and bite to your rack.

In mixing, this can be everything from extremely hard clipping, to very light, barely perceptive saturation.

You can incorporate this in the production phase too, just as you would when making an interesting stereo image.

A great way to do that is create a complex mix of saturation across the whole kit. Have some elements that are totally distorted and clipped hard, next to with very clean elements. And maybe some parallel chains that mix in distortion with a totally clean sound.

Just make sure you balance the levels so the distorted or saturated samples are not way louder than the clean ones.

Keep All The Samples The Same, But Try A Slightly Different Layout

This one mostly applies to music producer who prefer playing parts in from an MPC controller or keyboard.

Arranging the drum sounds in a different pattern will make you play them differently. The performance interface is a big deal. Companies will spend months on just this component. The physical layout that works for you makes all the difference sometimes.

If you really want to get a taste of this with an instrument rack, map all 88 keys of a piano or synth randomly all over the keyboard to the "wrong" pitches.

It will be weird and you won't be able to rely on your usual ideas you fall back on.

But this is a good thing for your creativity.

It will force you to explore  in new ways. This can be a good thing when you're uninspired and feel stuck in the same old patterns.

Start With A Boring Factory Kit and Modify It

If you're really, truly stuck you can always open up a stock ableton drum rack and modify it to better fit your needs.

You'll learn by picking apart what the original sound designer did and discover your own preferences along the way.

One Final Tip

There are a lot of things to try here. Don't try to do everything here in a day! You could easily experiment for a week or two (or much longer!) just with one of the many tactics listed in this article.

Bookmark this article and come back to it when you need some inspiration and trey to enjoy the process.

We noticed certain brainworx plugins doing unexpected things in the DAW, and accidentally found this channel strip trick to widen any track or beat you throw in.

If you're interested in using tools like mid side processing to add width to your tracks, this is an interesting complement to it. This isn't surprising considering Brainworx does a ton of great work building mid side equipped tools.

Phase Matters

It's basically a result of the phase change that happens inherent to an EQ or filter band, stacked on top of brainworx's TMT technology which emulates an actual analog channel strip or full mixer.

In a real channel strip, two channels will always have some differences. They never sound *exactly* the same. two channels with the filter set to 16Hz will actually be slightly different frequencies with slightly different slopes, due to the electrical components differing slightly from track to track.

So we can cycle through different pairs of tracks until we hear the desired width, stack multiple instance of the channel strip to exaggerate the differences, or use a digital EQ like the Fab Filter Pro Q3 to mimic what's happening and achieve an analog-like result.

Even placing slightly different filters well below the range where anything is happening introduces changes higher up in the spectrum. Try if for yourself and see what happens!

There's really two big secrets to making VST or MIDI strings sound realistic. 

First, you need libraries that are up to date and well sampled. There's a lot of them out there, but the two favorites here are by Spitfire and Project SAM. SAM has some orchestral libraries are available through Ableton for and not super expensive. 

Spitfire products definitely cost a bit more, but they're worth it. It's not really possible to polish something that sounds like crap to begin with, so it makes sense to just start with the best material you can get your hands on. 

Second, once you have some solid string libraries to worth with and some basic melodic or chordal content happening in the piano roll, you're going to need to automate a lot of parameters to mimic what happens in a real ensemble. 

Think about it. A violin player moves the bow back and fourth, which will never sound the same at the tip or at the frog of the bow.

(Yes, the 'handle' of the bow where it is held by the player is called the frog)

Except you have dozens of people all playing different instruments all on slightly different parts of the bow at all times. And each of those individual players is moving around as they play. 

It's a very complex system and even if you have the entire orchestra just play a middle C together, there's a lot of movement baked into the cake by default. 

So we need to replicate that as much as possible in the computer. Some of that human messiness is what makes things sound good and ultimately, realistic. 

Except computers need to be told *exactly* what to do and as producers we need to get creative with how we add motion and movement. For example, on synthesizers, we often use LFOs to modulate static waveforms or filters to get interesting motion to happen. 

Here are the parameters you should start with:

1. In many orchestral VSTs, there are parameters to change out or modify the round robin sampling that happens under the hood. Usually these will map to the mod wheel of your MIDI controller, so people will often just ride the mod wheel as they play. 
   
   
2. Vary the velocity of MIDI notes, especially with shorter articulations. usually within a range of 10 or 20 (out of 127) is convincing. 
   
   
3. Automate in and out of reverb plugins to generate a feeling of space. If you want to make an instrument sound like its getting quieter and further away for example, automate a send to throw it into a reverb. 
   
   
4. Vary the articulations within a passage. If you give a real string player a sheet of short notes to play, they're going to intuitively shape and phrase them. Some notes, especially accented ones, will be a little longer to give them weight. Orchestral players are taught to play like this. A computer doesn't do this without you telling it to. If you're writing a passage of short, staccato strings, either use keyswitching or setup another track with a slightly longer articulation. 
   
   
5. Stack a few articulations on top of each other. This is where the computer can get away with things that aren't practical to do with a real ensemble.

One trick to darken and thicken strings is to duplicate your lower strings (like bass and cello, possibly viola) and make one track a normal patch and another on con sordino (muted). Or alternatively if you want to brighten up a section, make your duplicated track play ponticello (by the bridge).

In real life you have a fixed number of players and all you can do is divide them up in different ways. In the computer, if you want to copy and paste another 10 cello players into the 'group' you do that with a couple of clicks. 

There are other ways to go further beyond this, but usually only apply in specific situations, but these are the bread and butter techniques you can use all over the place. Even beyond orchestral VSTs. Looking for subtle ways to add motion to a synth patch or drum kit will add a sense of depth and 'organic-ness' to your sounds. 

This is a very clever technique to build a set of EQs that mirror each other to drive a saturation plugin (this can be any saturation plugin you like) and emphasize different parts of the frequency spectrum, without causing crazy spikes in gain around the frequency you choose to juice up. 

Does this sound confusing? Would this make more sense to just see someone build it? We would say yes. 

Check out the video below to see how its done. 

P.S. If you want this in a self contained plugin instead of having to chain together a few stock plugins, this has to be possible in Max for Live and we have our eye out for anything that can do it. 

 This is a sound design tutorial on how to make the Brass Stab sound that gets used in a lot of modern trap and hiphop. Made 100% from scratch, step by step, using only stock Ableton 11 plugins. 

The basic principles in play are to take a complex waveform, like a typical saw wave, then modulate it with an envelope so it gets brighter on the initial attack along with some detuning and pitch modulation. 

Then beyond that, there are a bunch of effects plugins to really bring the sound into a less "synthy" territory and more into something that feels more realistic. Namely a lot of EQ, Distortion, and Multiband compression. 

(The video uses Ableton 11 but you should be able to replicate this in Ableton 10 just fine)

If you want some new samples and the synth rack built in the video, it's included in the tutorial pack linked below. 

Free Trap Brass and Drums Tutorial Pack Pack: https://glitchmagic.com/collections/free-products/products/trap-brass-tutorial-pack

Free Comb Filter Preset: https://glitchmagic.com/collections/free-products/products/ableton-eq8-comb-filter

Access Analog is a great solution for producers on a budget who want to process their sounds with classic analog hardware.

There are a few big benefits:

• It eliminates a lot of the hassle of setting up the converters and routing that come with the territory of having the gear in your studio as well as the cost of maintaining the equipment. 
• If you're a music producer or artist and find yourself researching ways to build a home studio on super lean $350 or $150 budgets, you can potentially save on the cost of plugins and processing. Instead of spending money on 1176 emulations, you can just use the real deal for a low hourly price. 
• Trying gear does not get any easier than this. Really. You can compare an SSL G Compressor next to a Manley Vari Mu without actually having to go to the trouble of patching it into your own system.

The only major drawbacks we found are:

• Latency. Mixing in realtime or using a bunch of instances of the routing plugin don't work smoothly and introduce a lot of latency. Best to use the offline processor and print the hardware effects to a new track
• No tactile feedback. Having the convenience of plugins with the sound of hardware is a big deal, but some people prefer getting their hands on the hardware specifically because it gets them away from the computer screen 

Overall, this service is really cool and while its not perfect, its definitely valuable. Here's the full demo and review of the service: