However, there are some very Common EQ curves that tend to work well when Eqing a close mic kicks. 1–2″ outside the hole in the resonant head, or from the head itself if there is no hole. Holding the strong on the snare and still pinching it with the kick drum beater, move the point of the strong to roughly over the drummer’s should to position the second mic. One way to do this is to boost the frequencies where you believe there is a problem. (Unlike, for example, pianos, synths and guitars.). It’s still inside of a drum, which protects it from the cymbals, and adds more depth to … Another useful trick you can utilise is to double-up the original kick sound and use a gate with a very fast release time. Near the inside head (left illustration): If you take off the outside head or cut a hole in it, you can put the mic inside the drum. This means that the level of the kick drum will not have to be as loud as it would be otherwise. How To Kick Drum That Cuts Through The Mix, How To Kick Drum That Cuts Through The Mix -. Before we look at Sample-Replacement, we should always make the original kick-drum channel sound as good as possible. Another useful trick you can utilise is to double-up the original kick sound and use a gate with a very fast release time. Most classic kick drum mic’s are of the large diaphragm dynamic variety. Once we’ve removed the problems, it’s time to look at boosting frequencies to add ‘depth’ and/or ‘clarity’ of the kick drum sound. This is what we will look at in our next post. Place the mic 2 to 3 inches away from the inside head and a couple of inches off center. Without any boosts, you can hear a significant improvement in the sound of the kick drum by removing these problematic frequencies. The bass drum can benefit from a two-microphone setup, one on the stroke side and one on the front side. This way, you can put a microphone two or three feet away from the kick drum. When used with the VC4099 Clip for Violin, the 4099D will fit the bass drum rim. The very fast release time removes any cymbal bleed from the signal meaning you can place extreme boosts in the high-frequency of the kick without the cymbals interfering with the sound of your kick drum. The very fast release time removes any cymbal bleed from the signal meaning you can place extreme boosts in the high-frequency of the kick without the cymbals interfering with the sound of your kick drum. You can then use this additional channel to add ‘click’ and ‘clarity’ to your kick sound without any excessive cymbal sound coming through. “I always use an outside kick drum mike and put an extra kick drum on the end of the kick drum. (I highly recommend you check out my initial, This covers phase and contextual mix issues which may affect the sound of your kick drum within the mix. At this point, you can reduce the frequency to taste. That’s not to say you won’t find any condensers or small diaphragm dynamics in the kick, but when you do they are usually part of a two-mic setup. 135 ). Shift polarity on one of them and blend them into the desired balance, controlling the “kick” sound and the low frequency component. Some kick drum sounds will be already well balanced and sound great. Now it’s time to look at the kick drum itself. Even with all in place, most especially in rock metal and pop, sample replacement can be necessary. (I highly recommend you check out my initial kick drum processing post. To do this, the first thing to consider is whether a kick drum sound requires reductive equalisation. This covers phase and contextual mix issues which may affect the sound of your kick drum within the mix.). The kick drum moves a lot of air, and the diaphragm needs to be able to handle high SPL without breakup. Often, boosting low frequencies, complemented by a high-frequency boost, can revolutionize the sound of your kick drum. Not only will the kick sound better itself, but it will also help it cut through the mix and also ‘depth’ and ‘punch’ because of the low frequency boosts. This is the standard way to mic a kick drum if you have the outside head off or if a hole is cut in it. However within a mix, it is often the case that equalising on the kick will help significantly for the mix as a whole. Inside the drum at a distance of 2–3″, pointed at the spot where the beater makes contact with the batter head (see Fig. Fortunately, kick drums are one of the sounds in a mix that can take heavy equalisation without sounding too unnatural. One important thing to note is that the high-frequency boosting will give you a kick additional perceived volume within the mix. If you can hear ‘boxy’ and ‘narrow’ frequencies within the kick then it’s time to isolate them and remove them. Let’s take a listen to the kick with additional boosts difference it can make: Use A Fast Gate In Parallel to add Click and Clarity. Hold the string up to the mic over the snare before continuing down to the batter head, pulling the strong tight to get an accurate measurement. Fundamentally every kick drum you record or receive will sound different from one another. volume within the mix. Below the drum throne, pointed at the spot … This means that the level of the kick drum will not have to be as loud as it would be otherwise. Shure SM7B A Shure SM7b (inside the kick aimed at the beater) and AKG D112 (in … Jae opts for a two-microphone approach when miking up the kick drum. ), One important thing to note is that the high-frequency boosting will give you a kick additional. Using all these techniques together let’s take a listen to the before and after: So before we’ve even considered sample replacement we have managed to make the original kick drum sound significantly better. Then sweep through the frequencies to help you find the problematic area.