Follow these simple tips and you’ll be able to approach the EQ process with more clarity and confidence right away. You could EQ the kick in solo, but when you put it back in context with the mix, you may realize you made the wrong decisions. Does the kick naturally feel like it has a deeper, more room-shaking tone than the bass? If the kick lacks low end, look for the dominant sub resonance in the 45hz-100hz region. Be sure to play around with the slope settings — sometimes steeper slopes can give the kick more punch. This way, you can apply aggressive EQ without worrying about bringing out the bleed. If you start with the right kick drum sound, it’ll be easy to nail your kick drum EQ. On the flip side, it’s nearly impossible to use EQ to make the wrong kick sound great. Otherwise, you won’t know how the kick fits in with everything else. One section is from 100 Hz down — we’ll call this the “sub”. In fact, this can be one of the hardest parts of the mixing process. The key to understanding the eq tool is to be hands on and let your ears be the judge but I know these will also help: 50Hz – 100Hz ~ Adds bottom to the sound 100Hz – 250Hz ~ Adds roundness 250Hz – 800Hz ~ Muddiness Area 5kHz – 8kHz ~ Adds high end presence 8kHz – 12kHz ~ Adds Hiss. Flipping the polarity on a track or nudging a waveform can fix all sorts of problems you might spend hours trying to solve with EQ. If you’re having trouble EQing a live acoustic kick drum, find a drum sample to augment or replace it before reaching for more EQ. When you EQ your kick drum, you have to pay attention to this bleed. Mixing Kick And Bass: The Powerful Technique You Need To Know, 5 Simple Tips To Make Your 808s Clear And Punchy, 3 Powerful Drum Programming Tips You Need To Know. You can use a process called the “Mute Button Method” to determine which tracks in your mix are competing with your kick. Don’t remove it all, just enough to bring up the kick drum’s clarity and remove the boominess. Rule #1 – Don’t fix what is not broken. I wouldn’t do this by default, but if you’re hearing that your kick sounds muddy or boomy, try adding a high-pass filter and see if you can clear things up. On the other hand, if your bass sounds thin and bright, you can usually afford to add more sub on the kick. This area is often the source of muddiness. Here’s how it works…. For our new music production lesson, I’m going to show you a really neat drum bus eq technique that will help you get full, warm and punchy drums. Once you’ve got a sense for which track is naturally sitting over the other, you can use EQ to finesse this relationship. If needed then you might have to cut your bass around this frequency to avoid masking.eval(ez_write_tag([[250,250],'talkinmusic_com-medrectangle-4','ezslot_2',108,'0','0'])); If ever your kick drum is boomy then you’ll need to remove the mud around 250Hz to around 800Hz. This technique will work well for processing a full drum kit, drum loop, drum bus or group channel. This means that one track will get in the way of another. We have selected this kick drum sound since it has a lot of low ends, kind of a room reverb layer underneath it, as well as some resonant peaks which need processing. The best place to start is to find the right spots in your room for your speakers and listening position. If you listen to the kick drum in these songs, it often sounds super thin with a ton of top end, but almost no low end. Since headphones remove room acoustics from your monitoring chain, they will help you hear a more accurate representation of what’s going on with your kick. The kick drum. Now you know that the track you muted is the one that’s getting in the way of the kick. For example, the “point” of a kick drum that gives the sense of its attack is often somewhere in the midrange. It’s difficult to nail your kick drum EQ if you can’t hear what’s really going on in your mix. It’s packed with more EQ tips and tricks that will add clarity and presence to your tracks. In short, the faster the tempo is, the less low end you usually want in your kick. Songs with faster tempos usually have thinner kick drum sounds. If you’re using more than one mic or multiple drum samples, don’t forget to check for phase problems before you reach for EQ. Often times, when we feel our kick isn’t cutting through the mix, we immediately go over to the kick drum track, add an EQ, and try to fix the problem there. If it’s a live drum kit then you should also listen to the mics pick-up and things such as the overheads. If you add lots of top end on the kick, sometimes the cymbals get brought out in a way that sounds harsh and aggressive. You can hear this clearly on most heavy metal music. And because of poor room acoustics, this is often the case. This doesn’t mean you can’t produce good mixes, but it does create some challenges. Adding a high-pass filter can clean this up and actually make the kick punchier.
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