Davide Carbone - The Drum&Bass Headmaster

This time we meet with Davide Carbone, the producer of the critically acclaimed "Drum&Bass Masterclass". Davide will soon be releasing a new sample pack with us and just before he's done that we've managed to slip in a few questions and got a few answers...

So... Dr. David Carbone himself ;). You've got a PhD - what's your specialty?

PHD? No not quite yet...

What are key elements of a good D'n'B drum track, providing you have decent samples and loops. Where do you kick the EQ, Compression and FX in? And then - how about the Bass?...

Well great Drums and Bass I guess. A nice blend between organic old skool sounds and modern production techniques. I think D&B is all about funk and aggression. A good groove template on the beats and a funky bass line that is sculptured using good modern synths and samplers is imperative. EQ and compression is an integral part of creating a good track but they must be used appropriately and for a reason. Attenuating unwanted frequencies and removing transient peaks is very important.

You've delivered a killer Drum & Bass pack with Loopmasters a few years ago, which was a great hit. How do you come up with the ideas for the loops? What's your creative flow?

Exactly the same as creating a track. I try and think ahead of what I am trying to achieve. How will it be different? How will it utilise my skill set? What equipment will I use and how will it be unique and useable? It's a fine line between creating something for an inexperienced producer that is ready to sit in any mix and offering something malleable to the experienced producer. I am currently producing my follow up the the DC & DB Masterclass CD and have learnt many lessons from the original, plus much feedback from users regarding what they would like and what worked and what didn't work for them. I'm really excited about the forthcoming sample CD and it's nearing completion as we speak.

Which do like working on the most? Drums, basslines, leads, vocals...?

I love them all as they require a different set of tools and skills. Merging them all together is the real challenge. Being able to think ahead an envisage a final product is always the key. I am forever learning and that is what makes being a producer extremely exciting and gratifying.

You are now working closely with Josh Abrams and Carl Cox on a joint project. What's the nature of this project, when will it surface and how is it working with major-league producers? What's the "common denominator" for the three styles that merge in this undertaking?

We have very nearly completed the next Carl Cox album and it has been one of the great projects in my life. It appeals equally to the three of us and we all share the exact same goal - to create a seminal electronic album that represents where Carl is now, where he has been and where he is headed. It's an awesome journey and it's been truly amazing working with one of the most recognisable and successful DJ's of all time. The fact that he happens to be an extremely nice person and (now) good friend is all a bonus really. The tracks are being played within Carl's sets at the moment. Touring with him in Brazil and hearing the tracks was a major highlight of that tour. I think our peers are going to be really impressed and appreciative of what we have created a s a team. Carl's vision is unwavering and concise. This has made it easy for Josh and I to contribute in a very focussed and productive way. The album will have some pleasant surprises on it. I for one am eagerly anticipating it's release.

Give our readers some hands-on advice for delivering a great mix of drums and bass, providing the inspiration is already there. How to make these sit tightly in the mix?

EQ out everything under 50 hertz that doesn't need to be there. Only appropriate things should sit above 7 Khz. The upper and lower end eat up the all important headroom so keep them clear. Be careful about reverb in these areas as they will cause phase problems that will further exacerbate any problems. Remember to be thinking about dynamics whilst creating so you can feed a nice mix in to your final compressor and limiter. Always trust your ears, save for maybe onboard software limiters that trick you in to thinking that it sounds better because it sounds louder. What you are hearing is a thinned out mix with horrible enharmonic distortion which your ears will tire of quickly. Warmth, depth and dynamics is as important as loudness. If you are limiting at an early stage you are heading for a bad mix with no headroom. If you plan of having your track mastered by a professional then don't even worry about loudness.

You have produced music for an online game. How does working on commission differ from producing your own?

Same vibes but more diversity. I find I am more creative whilst working for corporate clients because you are not restricted by genre and rules. I love creating music for my Japanese video game clients. They really are very specific in their design, wants and needs. Time is usually the most hindering factor. Having to work to a tight schedule can restrict your sound design and production time. There are pros and cons to every brief I guess. Versatility and job diversity is key to maintaining a long lasting and fun career.

And finally a question for those at the start of their producer careers - how do you land such jobs that will pay for your studio bills?

Love what you do enough to that you can overcome the thousand rejections that you will get and still survive. Have a specific drive and style that will keep you focussed and ensure you develop your skill set. Be inspired, motivated, disciplined and always remember to develop your interpersonal skills. If you are asking yourself whether you are good enough to succeed then it generally means you aren't employing the above!