Music Downloads & Lyrics
All right, guys. How you doing? It's
Rubier. I hope you're all well. So, if
you've been following my channel for a
while, you'll know that one of my
favorite drum libraries to use, or at
least um creators of drum sample
libraries and uh you know, programmable
drums would be Get Good Drums, recently
rebranded to GGD. They're also
responsible for things like the Smash
and Grab compressor, which is one of my
favorite compressors I use in all my
mixes, and also cab libraries like the
Zilla cab library, uh the Messa, the
Cali library as well, which is Messa
V30s and stuff. Basically, Nollie is the
man behind all of the the the drum
libraries and the cab libraries and
stuff. And I absolutely trust his ears
when it comes to creating amazing
sounding drum tones and cab tones. And
um I think it's the guys from Periphery.
So there's Misha, there's Matt Halpin,
um, and Nolly, and I think there's a few
others that basically created Get Good
Drums, now GGD, that basically just did
a really good job of creating drum
libraries that loads of people like to
use, myself included. Whenever I've done
recordings, um, like Grinding Gears
stuff or anything like, you know,
Arrival or We Are Here or any of the
singles that I've released, it's always
get good drums that you're hearing. And
the way I'll usually like to record them
is I'll sync them up to my electric kit,
which is a TD50 KV, and I'll play in the
grooves, and then I go ahead and mix
them like the real drums would be in
Logic and stuff like that. In any case,
fast forward to 2025, GetGood Drums
rebranded to GGD, and they've launched
Modern and Massive 2, which was one of
their first drum libraries that really
put them on the map for creating great
programmable drum libraries. So, Modern
and Massive 2 is like an amalgamation of
all their experience that they've
learned over the last few years to
create a really high quality, awesome
sounding drum library. The other cool
thing is that it's now standalone using
Cradle Hub, I believe. So, it doesn't
need to run inside Contact, which is
what it used to have to do. In any case,
Nollie sent me a message and said, "Do
you want to check it out and maybe do
some some content for, you know,
YouTube, show you guys what it sounds
like?" And I thought, "Yeah, of course."
You know, I like Nollie's one of my good
friends. cuz I like working with him on
stuff and I wanted to, you know, help
out by spreading the awareness cuz I
think GGD, well, for me at least, make
absolutely fantastic drum libraries and
I love using them. So, anything to
spread awareness for them, I'm up for.
So, I thought, what would be a cool way
of creating a video and how could I, you
know, like incorporate this into
something to show you guys? And I
figured I would take an old song that
I've done and I would redo the drums or
at least part of the song, redo the
drums to show you how they would sound.
Um, so I chose the song Nomads that I
recorded with Ben Minel who's a drummer
in Tuska because we did this track ages
ago and I figured it's already, you
know, pretty much mixed and we've got
all the guitars and bass and everything
in there. What I'll do is I'll remove
his drums and then I'll play them in on
the electric kit and we'll see how they
sound.
And I figured it would be a nice way to
show you how the workflow works. And
it's also worth saying I haven't yet
open Modern Massive 2, so there's going
to be a bit of a learning curve, but
I've got a screen grab running, so we're
able to see exactly how it works and go
through it together. And I figured that
would make for a cool video. So without
further ado, let's crack on. So you
should be able to see my Logic session
set up right now. This is the Nomad
session. Uh we'll have a quick play and
then I'm going to remove all the drums.
So, So, let's go ahead and get rid of
all the
drums. All
right, let's create a new track.
Software instrument modern and massive
2. Uh I use Logic of course. So you know
it'll be depending on the DAW of choice
for you guys. But uh basically I choose
software instrument. I scroll to AU
instruments and it will be here. GGD. So
modern massive 2.
Boom. And we are loaded up I believe.
Let's see if we are loaded up. Get rid
of the library. No one wants that out
there. It's just in the way. Right.
Modern and massive 2. There we go. Look
at that. Shiny. We need to just double
check that that is multi-output 16
stereo. Very cool. And and now I need to
just quickly work out what I'm looking
at basically. So this is the mixer. Uh
okay. So now you can add effects inside
GGD. Um things like oh look compressors,
transient designers, limiters, drives,
reverb. That's very cool. You couldn't
do that before. So now you can actually
premix it inside the app and then spit
it out as audio, which is actually very
very very cool. We're not going to do
that today, but it's nice to see it. So
this is your main sort of drum avatar
window or whatever you want to call it,
where you can change up the sound of
each individual drum, and you can
audition
them. That sounds pretty good.
Right. I'm really quickly just going to
choose a drum
kit.
That
Yeah, they got another one of
those. Yeah, they like the
attack. And
then preer that, right?
We'll keep it like that. So, this is the
mixer. As you can see, all the parts of
the kit are here. Uh, and we can
obviously add plugins and stuff and
really fine tweak them. And it's even
allowing us to do oneshots as well if
you want to sample reinforce them before
they even leave the uh the app. Then
we've got mapping, which we're going to
really quickly change on my electric
kit. Uh, it looks as though from from
the way it looks right now, you can
obviously clear the map and then
that's listening to it and I'm assuming
that means record the MIDI information.
So that's very cool. So that looks
pretty straightforward to me is that
I'll click record and then I'll hit on
the kit and then it will track the uh
the MIDI hit that I want it to
correspond to allowing me to map my
electric kit to this library. Then we
got a groove player which we're not
going to use. Um, so yeah, I think the
first thing I need to do is create
my channels. Master bus, that's one and
two.
Okay. Stereo one,
two. So
kick external three and four. Let's
check
that. There you go. All right. And
then kick into
I'm just going to put that on the same
one. And then and that as well. So it's
like a kick bus basically. So all the
kick mics are going to go to the same.
Yeah, that makes sense for me right now.
Don't need a one shot. Snare top. Let's
do five and six. Same with snare bottom.
So, the nice thing about this isn't
necessarily what I would do normally,
but what's nice here is that I can
basically create my snare bus, my kick
bus, which is all the kick mics summed
to one place. And then I've got the app
in here to like mix the levels of them.
So, if I don't want as much snare
bottom, I can actually go into the GGD
app and I can pull down the snare bottom
microphone and it will, you know,
correspond to stereo five and six, which
is going to be my snare bus or my snare
channel. Yeah, that looks right.
So yeah, very very cool. Very very easy.
So with all those
rooted Yeah, that looks right. So now I
can hear the far room on its
own. Very cool. Okay, so that's
master and that's
kick and that's snare. Okay. And then
I'm just going to quickly level it out
how I would kind of do that
uh this kind of thing. So now that
everything's mapped out in terms of the
channels, it means when I come to mix it
down, it should be fairly
straightforward. The next thing I need
to do is map out the kit. So let's do
that. Okay. So I've got the kit set up
here. It's already turned on. Got my um
you know MIDI USB running to the Mac.
And then the screen grab should be still
on screen. What I'm going to do is I'm
going to click learn, hit the drum that
I want it to correspond to, and
hopefully it should work. Mapping clear
map, right? So,
kick. If I hit the
kick. Yeah, that
worked. All right.
Snare. Yep. Okay. So, I've got it all
mapped out. It looks good. Um, there are
a couple of things that I need to figure
out, like being able to do different
symbol
hits. Like I use the like on top to have
something else like
China, but it's not working quite right.
In any case, for the purpose of this,
we'll play through as far as we can um
to this track and see how we get on. So,
let's do that
next. Two, three, four.
We've got some issues with the with the
high hat mapping. It's not very
responsive. Uh
mapping the velocities of things are a
bit weird. Attributes. Ah, there we go.
Global
velocity. That's what you get for not
being a
drummer. One, two, three, four.
Little bit sweaty from just trying to
drum that from memory. Uh, as you can
probably tell, this hasn't been a
particularly well planned video. I'm
about to leave for Finland for a week
and I wanted to get this in before I
left. So, uh, let's take a look at what
I recorded. We're not doing the whole
song, even though I tried to play my
whole way through the song. Um, so let's
see where we get. First thing I'm going
to do is I'm going to go in to my piano
roll and take a look at what's going on
here. First thing I'm going to do is I'm
going to quantize everything. So I
highlight and then I quantize probably
to about
85%. Because I'm not a very tight
drummer. So let's just start there. Next
thing I'm going to do is I'm going to
take a listen to the
drums and I'm just going to quickly
correct anything that sounds wrong. So
from looks of
things. So that should have been that
was a rim shot. Should have been a
snare. So every time I'm hitting the rim
of the snare, it's missing the trigger,
which is kind of irritating because it I
should have tracked that better, but I
didn't as in I should have mapped it
properly from the looks of things. So
let's do that. Foot control parameters.
And you can see here, this is what my
foot pedal was
doing. So that should be like much
higher and tighter. So
like what I might do is just draw across
here. And you can see there's a big
open. So let's try
that. Yeah. So, it's a bit of work to do
and I would normally spend quite a lot
of time just refining all this stuff,
but in the interest of time and for this
video, let's just broad strokes it,
shall
we? And that was a should be a
flam. So, like
See again with the stupid
rim. So annoying.
They should just be on the beat. I don't
know what I was
thinking. I was being trying to be all
fancy. That looks like it should be like
that. That's clearly a flam or an
intended flam like that. So like
So yeah, we'll we'll call it there. I
think that's probably a good place to
stop because we'll be here all day
otherwise. So
roughly that sounds like it's kind of
the part. Obviously, Ben, I'm sorry I've
butchered your drum part, but for the
purpose of this video. So, the next
thing I'm going to do is I'm going to
boost all these kick drums because
they're too soft and it's a problem with
my mapping on my kit. So, I just need to
change that round. But that should be
much better
now. Okay. So, at this point, we can go
ahead and start making some
adjustments. First thing we're going to
do is create a master drum bus. That
could be bus
one. And then call that drums. And then
I'm going to do my usual preset for a
master drum bus, which is going to
be I'm going to go MAG EQ. And then I'm
going to go SSL master G bus
compressor. And I basically have it 4:1
ratio. I've got it on 0.1 attack. And
actually, you know what? I'm going to
change this. I'm going to try something
different. I've seen Nollie do it
recently and I'm going to see how that
sounds. So, we're going to take a
Empirical Labs Distressor plugin.
Distressor, right? And then I know it's
like that. And then this wants to be 20.
And then probably bring it to about
there. And then I think something like
this. Let's have a listen to the drums.
Okay, for now let's just keep it like
that. Oxide tape. I'm going to change
that for Studa A80 because it's way
better for
me. Studa A800 even, not A80. My bad.
Noob over here. Right. For let's do
that. Way more low end. Prefer that.
Okay. So, drum bus sorted. This is super
quick. By the way, I have never used
this drum library before. So, this is
kind of interesting. Right. Parallel bus
compression. I'm going to put snare all
the way up. I'm going to dial in a bit
of
toms, little bit of
kick. Uh, we're going to go a lot of
room.
this kind of thing. A little bit of
overheads. I usually, for this, to be
perfectly honest with you, I just go get
good drums, smash and grab V2 because
it's so sick. Do bit of that. Bit of
that. Let's have a
listen. And then I want that to
go output to main drums.
I'm just going to take a look at the
symbol mixer because it sounds like
those high hats are bloody
loud. All right, hats. Bring those down.
It could actually be in the
overheads. So, the theory is that I'm
going to quickly mix down these drums,
get everything sounding
nice, bring back up the levels of all
the other instruments, balance it, and
then see how it
sounds. Who knows, it might sound
terrible. The point is, we're trying to
replace it with program drums, so it's
going to feel different.
just by quick broadstroke situation
here. Uh, messing around. I mean, it's
by no means perfect. is by no means
finished, but the idea being that you
can quickly throw down, turn it into
like what would be considered like a
real drum recording environment where
you've got individual tracks to mix
stuff down. And considering this that
I've never opened this before, it's very
intuitive. And I mean, hopefully you can
see that that is the case because I've
just gone in here and basically figured
out how to map it, map it to a kit, map
it to individual ores, and start using
it as I used to do with the contact
libraries. And I think that's testament
to how well designed this is just to say
that. Um, you know, I think that's
really impressive. Um, I've literally
spent however long I've been filming
this video uh trying to learn this
program, but I'm pretty impressed. I
have to say it sounds really
good. Okay. to save me from being here
all day. Uh because I'm just going to
get carried away. Let's listen to um
Nomads and then listen to what I've just
done. I've given it a very quick mix, so
it's not necessarily by any means close
to being what I would be happy with
putting out, but I wanted to have a
quick listen and see. So,
Okay. And now let's listen to the one we
just done.
Heat. Heat.
I actually don't think it sounds that
bad. I think considering how quickly
I've thrown this together, I'm pretty
impressed with it's got the essence of
the the version that me and Ben did. I
have to say the things that I'm taking
away from this little experiment so far
are the drums sound very well captured,
very natural. Um, when you listen to the
individual mics, like the overheads or
the room and stuff, the whole thing, all
these samples triggering sound very
cohesive, like it's actually a real drum
performance, which is very cool. It was
mega easy to map this to the kit. There
are a few quirks I want to work out how
to map multiple symbols to different
parts of the symbol itself. The high hat
was mega easy to track. Obviously, it
needs some refining, but very very easy
compared to the contact version. I have
to say the other thing that's nice is
very easy to mix down. Um, very quick
once over EQ and compression and then
the the master bus compression. But
routting it all out to auxiliaries was
really easy considering I've never tried
this sort of cradle app before to use it
from. It's pretty self-explanatory. Um,
I like the way it sounds. Um, and I
think to be fair whenever a new drum
library comes out, I usually use it when
it's time to write demos with VO or
write my own stuff and see how it fares.
One thing that is going to be
interesting is that I used to blend
different kits in contact, different
instances of GGD in contact, which I
won't be able to do with this. I
actually found that was how I got more
unique drum sounds. But for the purposes
of this video, just messing around with
Modern Massive 2, having a little crack
and seeing how it sounds. I'm pretty
impressed with how it sounds. Easy to
use, jobs are gooden. Um, so yeah,
that's basically this video. A little
insight into how I go about recording
drums and stuff for songs that I write.
and just thought it was a good
opportunity to, you know, show you how
it all works and also test out Modern
Massive 2 for myself in the moment in
the middle of a video like this. So, in
any case, thank you for watching this
video. Hope you've enjoyed it. I'll link
Modern and Massive 2 in the description
box below. As always, thank you for
watching. Like, subscribe, and share.
Thanks to GGD for sending this across.
I've been Rabia, and I will see you all
very soon.
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