Don’t use just one trigger sound either. Unfortunately, there are a lot of misconceptions around properly mixing the kick drum and it’s not given nearly enough attention in the mix stage. Depending on what source you’re recording, there’s a million different ways to mic it up to reach the final tone you’re looking for. This area is the sub-harmonics of your kick that are often felt rather than heard. The kick drum is a foundational part of a mix. Producers usually see to the tuning of 808s on their end, but often enough an 808 can come your way which sounds atonal or dissonant. This seems like a logical approach to getting it to sit in the mix with everything else. The method above is also an alternative for mixing reverb with your kick drum. Give it a little sustain, and you can go from this: Next we turn to our room mics. This … If you want to mix the kick drum in a way that has more punch, use an attack time of 20-40ms. Consider that this beat might sound good in full-range monitors or headphones: However, it won’t cut through on laptops or cheap headphones because there’s nothing really going on in the kick above 100 Hz. by Sundown Sessions. There’s a lot of stigma around using triggers on a drum set. Another area that’s up for debate between engineers is cutting out low end content with a high pass filter. Where you boost in this area depends on what style of kick you’re going for. The second compressor acts in parallel, which involves routing our kick to an aux track. So, in this article, we’re going to show you four kinds of kick drum, and how to mix them. Es gibt eigentlich keinen Grund, weswegen die Kick Drum in deinen Mixen sich nicht auch bestens mit richtig Druck durchsetzen können sollte. Here is a static, otherwise unprocessed mix (save for a limiter on the master bus). It can dictate the feel, tempo, and aesthetic of the music. It’s your job to fix it. a kick drum with less sub content might feel more like a 70s track than a 90s track. Many peoples first attempts involve, using a high pass filter that aggressively cuts out most of the lowend content. If your kick is dominating the sub frequencies then you’ll need to add a harmonic bass plugin such as RBass by waves or any other plugin to make sure that it’s audible in small speakers and earbuds.For the drums I’m working on, I won’t need a harmonic enhancement plugin because the kick drum was recorded using 3 different microphones (kick-in, kick-out and kick sub). What these kicks have in common, despite disparate production stylings, is the sustain of each hit. I recommend you give this—or a similar technique—a try and see how it influences your production. Keep the levels in mind when mixing a kick like this; we don’t need it to dominate, we only need it to ring out enough to make us feel the rhythm. Using an extremely fast attack time is often not preferred as it cuts back on the start of any transient elements. Some better way to add reverb to your kick and bass.. #mixing #mix #production #bass #kick #reverb pic.twitter.com/Wv1CDYy5Vw, — Frenzo’s_Music (@frenzo131) December 29, 2017. A lot of the kick drums presence and content in a mix can be found in the higher register. Think of each kick drum hit as two separate parts. A lot of people get to the overheads when mixing and go about it with the wrong approach. The first is the initial sound of the beater hitting the skin, followed by the resonant tone of the drum. You can shape the kick by adding EQ in areas that are having a positive effect on it’s sound. Finally, think about the other areas of your mix that may have a bearing on the kick drum such as the bass guitar, overhead EQ, and upper range content. We could take it one step further and narrow the drums for a more “indie” sound. Keep the EQ balance in mind here: you may want to notch frequencies from the 808 that get in the way of the faster kicks, or use a sidechained dynamic EQ, so that these frequencies only duck out momentarily. Cutting it out with an EQ that has a fairly tight bandwidth can help bring out the more pleasing areas. Let’s take our 808, send it to an auxiliary track, and place Neutron 3 on the track—specifically the Exciter. It doesn’t spoil our recording, yet still helps the 808 cut through on smaller sound systems. These types of sacrifices go unnoticed in a mix as the other instrument fills in the empty space. However, there are a few tricks you can apply to take your 808s to the next level. It also isn’t often as loud as it appears—at least not metrically. Instead, I’d EQ something like this: Notice it’s not mixed too loud either—if we were to view the mix on a meter, it wouldn’t necessarily peak with each hit.