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10 questions with Manuel de la Mare
Don't say we don't spoil you here at S2S: this month we bring you an exclusive interview with Beatport chart-topper Manuel De La Mare. A sonic innovator in techno and tech-house, his productions have won the support of luminaries such as Mark Knight, Pete Tong, Funkagenda and Roger Sanchez. He also owns the hotly tipped Hotfingers and 303 Lovers labels alongside fellow rising Italian dance music sensation Alex Kenji. Ahead of his latest DJ tour, taking in Brazil, Japan and Dubai, he talks with S2S about self-mastering, whacking up the monitors and why it's the melody that really matters...
What is the key ingredient in a track? Breakdown? Style of production? Bassline?
If you want to make a track that will not be forgotten in a few minutes then it's the music that's important. Yes, the mix must be quality and you need a great groove, but it's the musical elements that make a track memorable. This trinity of high class production, beats and music is common to all big dance records.
Any arrangement secrets you want to share with us?
It's important to remember the purpose of the music you create: house producers are making music for the dancefloor. Your goal is to make people move. This means first and foremost the arrangement should revolve around building a strong and simple rhythm alongside the signature music loop. After that it's a case of developing the structure, with builds, drops and breakdowns. The track should be a journey, featuring ups and downs, peaks and silences. It's changes in dynamics that make dancefloors go wild.
What sounds do you find are the hardest to create from scratch?
It's not that I struggle to create sounds: there aren't many sounds you can't find in a soft synth or on a sample CD. The problem is making sounds work in a mix. That's the hard part.
Do you mainly use analogue or digital soft synth sources? Do you think analogue makes a difference?
You can enjoy the best of both worlds if you know a bit about the strengths of both. For example, you just can't replicate the character of the Korg MS series filter or the Juno 106 chorus in a VST. At the moment I use my analogue synths for the things that digital emulators can't do, and I use a lot of outboard for effects and processing.
Any advice on monitoring? Quiet? Loud? Do you prefer flat and boring speakers, headphones or big, phat and chunky monitors?
When I'm making music I prefer to crank up the volume so that I get the same kind of feeling as if I was on the dancefloor. I find it both hard work and boring monitoring on speakers like NS10s - it doesn't help me get into the vibe of a track. When I have a mix that is 90% there I start monitoring using a range of other speakers - including headphones, hi-fi speakers and my laptop.
How do you see the dance music industry developing over the next two to three years?
Everything is going so fast it's impossible to make useful predictions.
How important do you think it is to have your music mastered commercially? Can you do it yourself as effectively and what tools would you recommend?
I master my own tracks. Mastering is an important part of the production process for me - not something distinct and separate. I prefer to master as I go along, tweaking settings on the master bus all the time so that I'm working on a finished sound from the start. The effects I have on the mastering bus are pretty standard: a dynamic EQ, multiband compressor, reverb, a second EQ and then, last in chain, a compressor/limiter. I also use a high-end frequency and phase meter to back up the feedback I'm getting from my ears and show me visually what's going on in the mix. It's especially useful for keeping an eye on the low end - and as backup when your ears are tired.
What do you believe is the secret to your success as a producer?
I do what I want. I don't care about specific styles; I just make music.
Any advice for aspiring producers out there?
Spend time learning how to use all of the tools you have at your disposal - particularly your sequencer, as you will spend a lot of time in front of it. Don't be afraid of developing your own techniques - there's no right or wrong way of making music. Finally, never forget that finding your way and learning the tools of the trade takes a long time. Don't give up when things get tough.
What are the biggest barriers that new producers face? Anything you can draw on from your own personal experience?
The main barrier is thinking that there are a few secret ingredients and magic tools hidden out there for making great music. With a couple of good sound libraries, Logic and a few good ideas anyone can make a monster tune.
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More from Manuel: www.myspace.com/manueldelamare
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