Wow, dude! You are really explaining things in layman's terms. I super appreciate it. I see so many tutorials on youtube about how to EQ this and that, or how to mix X and Y together, but you have explained with audible examples exactly what IT is. I salute you. More like this please. I have been producing EDM for about 2 years and feel I have learned more from you in 5 mins than most other TH-cam tutorials/explanations.
Most youtubers who make music production content are trying to sell you a product of some sort, so that makes sense. Like he explains in the video, people want you to buy beats and sample packs and presets that sound good already, which motivates people to conceal their knowledge to encourage people to purchase their products instead, and when those samples are bad, they go searching for more packs and so on. I've just been learning how to make the samples myself at this point because I hate the malicious music production industry. There's always a promo code, or a brand deal, or a sample pack, or a course, or whatever being marketed in almost every production video. It's so frustrating, and I feel bad for people who don't break out of that cycle of just buying more beats and sample packs hoping to eventually find the perfect thing, instead of learning how to DIY it. At best, you're going to make generic sounding music anyway. What pisses me off the most is when I see the "Secret formula to ____" videos, and it's usually just a sample pack sales pitch, and like... if you know the "secret formula" then why are you on TH-cam selling packs instead of climbing the charts? It's just so obvious to me at this point.
I played my track on a big club system this weekend and noticed it sounded much more boomy than the other professional songs I was playing and this was exactly the issue you explained. I always throw a processed kick from a "good" sample pack and think that's it. I will now work more on my kicks - so happy I found this video!
Get a track that has a kick you love, put your kick on top and flick between the two until to understand the anatomy of the kick you love. Then you can further apply processing to get it to sound just as good
Thank you for spitting some actual facts. Thats why the "cut itself" funktion in fl studio is so essential. Which even has a click compensation for not just putting those sounds back to back. But also i work on length belly and sustain always from pretty quite of the beginning i started producing. I came across so many people who might have some good feel for melodies or so but never understood how sound waves actually work. To all those guys: please dont just make music. LEARN how to make music. There is so much theory to it. And get a decent pair of headphones which give you abilities tonlisten very closely. One other hint to that is up to like 80-90 hertz waves should be felt not but not heard ;)
I'm delighted by this. I perceive many "tutorials" as very exhausting. Usually you find out sooner or later they are sponsored or wanna sell you a pack or lessons. This was straight to the point and explained VISUALLY. another thing I like! Yes, trust your ears but as a visual learner this helped me so much more. Other stuff: I like that you say you use "this kick a lot", implying that you don't need to pick a different kick for each song. I learned this the hard way. After 5 years I have my favourites and only when they don't fit I look for something else. I like how you explain how this affects a club environment. Somehow when others talk about cutting the lows and stuff i don't really care but this made me really care for how it affects the club. I think it was the great example. Youre not a TH-camr. Somehow that made it better cause it didn't feel so "youtubery", more conversational, between teacher and student. Ye, great video. Now I don't feel bad that I mainly use one kick, cause it sounds great. Now I also understand WHY. it's short, punchy, but clean, no unnecessary information or beautification. Thanks for that
yeah I agree, once I find a dope kick that works well for one genre, I usually use the same one for that genre over and over, maybe editing it a bit to make it have a bit of unique flavor for the track in question
Wow. wow. You just saved my album man. This is such a no brainer and yet every single song on this project had kicks with long ass tails - and my mastering engineer kept telling me I had a bunch of competing low end frequencies and I was struggling to figure out what he meant. THIS IS WHAT HE MEANT. THANK YOU
There's plenty of artists that use big booming kicks with long tails in their tracks and they sound great, so I wouldn't necessarily avoid using them. The trick is to ensure the other elements of the track don't incorporate a lot of low end frequencies that clash with the kick, which can be challenging to get right. But I do see where you're coming from, it's easier to create space with a short snappy kick. Nevertheless, mastering both techniques is hugely beneficial. Booming kicks sound ace on a big system, but tread carefully in the production process.
Its the tempo and rhythm that determine it for me. In other words, how soon is the next kick? Is the song 60bpm or 180bpm? Is it 1/4 notes or does it have 16th notes. Oh, and some songs are meant to be a bit of an overload noisy low end, perhaps not featuring a lot of bass (some have no bass!) where kick needs to fill in.
One of the best tutorial that i've ever seen 🏆. Most beatmaker, include myself, given me the tought that most people try to go to college before they go to elementary school! Crazy. We always try to paid the best "drums kit", applying eq, comp or clippers, pending hours before doing the super-simple but most important thing to do, like cutting the tail of our sample drums for resolve the problem. I've been trying to find the errors in my mixes for years, i'm talking about the distorsion on the master but they weren't in the mixes 🤦♂man... Thanks a lot Alfonso Muchacho for the gems... the real ones!
Ive been watching lots of tutorials about "mixing kick and bass", "getting punchier kicks". "kick secret of the pros" etc which are usually gimmicky and lead to sales pitch of the channels sample packs etc, but this tutorial gave helpful advice. I've been struggling often with boomy low end and I found useful things to remember when selecting kicks. This video is a gem for producers navigating in this sample pack and "easy kick trick tutorial" filled space of learning music production. Thank you so much!
The end part of this has some good info which is often overlooked. If you listen to the full track/beat whatever you have when filtering out unwanted info from your samples, you can hear it in context which is how every single person who listens to the finished product hears it. Yeah, filtering the top end out of the kick when in solo makes it sound like muffled crap but when you play everything else along with it you don't hear that. Filter or eq out information when everything else is playing until you can audibly hear a difference, then you know you've gone too far. It's surprising how much information can be cut out before we notice it but this helps tremendously down the line in mixing and mastering. Great video!
Nice video man Among live drummers there's a similar thing where the tempo of the song determines how much muffling we use in the kick Every kick we do could be massive wide and open but it would just clutter things up too much for the band
Haha that kick is "absolutely obnoxious" - brilliant! Really insightful video, keep doing these types of vids please, they're packed with information gems!
there something called a retrigger on most samplers. that way the transients dont clash. its not the end of the world if u got ur kick in a sampler because u can just fit the adsr to be snappy in any situation if u make hiphop with 808s adjusting the length often shorter makes the 808 fit right in the track, its all about the bounce. Most about the tuning. pierre bourne blends 808 transients. ALso: Longer kick makes the track feel diffrent, kinda like slower, i think flume use allot of long transient kick.
Thanks, Alfonso. I Been Choosing Kicks Based on How They Sound on Their Own--blowing my Mixes. I'm going to Try This--and, Hear the Difference. Thank You, Alfonso. Make It a Great Day. Smile on~ Matt Detroit
I remember I saw some video from some dude advising to boost the high frequency of the kick so that it will "punch harder and cut easier through the mix ". I think I might have done exactly that on some of my tracks. 😭 Lesson learned, I will take with a grain of salt what you learn on TH-cam producers' channels. Thanks! Great video, subbing right now!
this is SUPER helpful - im not a techno/edm producer persay even though our genres arent the same, the knowledge is universal!!!!! best video ive seen on the topic so far
I have ADHD and I never knew that all I needed to make me watch a tutorial all the way through was a handsome muscular man to tell me what I need to know. So thankyou Alfonso! On a serious note, great tutorial!
Very clear and understandable. I see so many tutorials and how to's but i find most of them useless, pointless and worthless. But this my friend, this is just very important info that we're able to apply immediately and have big effect on our work. Thanks man, i'll definitely stick around and look into more of your video's.
The first thing I always have done with kicks from samplepacks is trim it’s tail immensely (other keywords pitch, layering, eq, saturation, (sidechain)compression etc.)
Flashcore is my jam, and I keep tryin' to tell people exactly what you're sayin'. When they tell me "your kicks can be in c3 or c4 so what do you know?" I can now direct them here. Thanks for that, it'll really help me curtail some long arguments in the future.
I've watched a hell of a lot of videos on kicks and this is by far the best explained one. Loved your comparisons with different tails. I used to have an 808 years ago and you're right, with those subby kicks it takes some processing, but once done right they are phenominal. I sold my 808 before I got it sounding phenominal lol.
Very useful tips. I've been suffering from this problem, as I'll audition a bunch of kicks when I first start on a track and I guess I usually pick the "biggest" or "most interesting" one that sounds great when soloed... but I keep having problems at the mixing or mastering stage because the kick is (usually) too dominant or creates some kind of resonant clash with the other instruments. It often takes a long time to fix it at that stage (and often needs to be replaced entirely) so it's probably a good idea for me to go back to simpler kicks right at the start and then add pizzazz of my own if there's room for it, rather than have to work around a boomy kick that has too much information to begin with.
Nice points to consider! Can you please make another video about kick processing with compression. Many newbies often overuse EQ which causes phase distortion, so kick and bass are mismatched.
Dear Alfonos Muchacho, i would like to thank you so much for this video. Furthermore, to mention that you’re a highly qualified and experienced music producer ! Then I know exactely, that this tutorial is totally correrct. Best greetings Chaos
Most people will use any kick that is any pitch, not realising that yes drums have a key. Its harder to hear but out of key drums will mess up your mix. Use a tuned kick and you shouldnt need to eq much out, just the sub lows
If the tone of the kick is hard to hear tune your kick up a full octave to hear the tone (which for me is more musically clearer sounding) in relation to the song you create to see how in tune it is then find the correct tone at that higher octave and transpose by 12. 👍
@@jemseed yeah personally I use external software that I run my music through to find the key of all my drums. Hats and stuff that isn't really tonally obvious but, I like to keep all my elements in the same key at least, not necessarily the exact note
"Don't choose a kick with a hi-hat on top" , and be aware of the tail and the implications of the tail. And the rest! Sage advice. It's the stuff we can all be lazy about, but it's the most crucial stuff. Great video!
Really inspiring tutorial and tips! I come from producing Hip Hop and also went into more electronic stuff - but it often was a very frustrating journey, especially when it came to my mastering limiters. Often I had to work my ass off and try a thousand things, to realize it`s the sub area and the transient shaping, that are so damn important. Since I have really good headphones and different Waves NX Plugings, room treatment and optimization systems (Sonarworks Sound ID), it became way more easy to figure the problem areas out. Even good soft clippers, a Pro L2 or Ozone 10 don`t make a good job, if you choos the wrong kickdrum, what I still often do.
The upshot. Make your kicks short (no long tail) so they give room to breath for other stuff and (2) get rid of frequences above around 300 and up except the click, b/c a click will cut through lousy speakers.
Very interesting, this confirms my choice of using drums sounds coming from an hardware module like my Roland TD30 and not relying on samples. I really can feel how good each drum instrument gel so well with each other.
I watch a lot of music making video tutorials, but this is so concise and usable. I’ve already been doing some of these things, but thinking of a mix in terms of information amounts makes so much sense. I’m about to record something new, and I’m definitely going to pay attention to the amount of cumulative information in each part of that track and carve out space where needed!
Dynamic EQ supress from 300 to 500 hz (TDR Nova), can help to reduce boxxyness.. if you want to control the tail of the kick in a more nuanced fashion.. you can use devious machines duck or softube transient shaper to play with the transient in relation to high low frequencies.. Spiff can also be used to play with attack transients within the frequency spectrum.. you're welcome.
Thank you very much for taking your time to explain this even though you're not a TH-camr! You're very good at explaining things. This was just as concise as the kicks you use! People like you make it possible for us to get into music production even without proper education in the domain. As a side note, there're subgenres of techno that are based almost exclusively on the kick (hard/industrial/rave techno, usually 148+ bpm, almost no melodies and very little percussion used mostly for breakdowns). I've never tried producing something like that but I assume in that case you want the kicks to fill out most of the frequency range and to last until the next kick comes, right?
Yeah but also they are faster bpm so there is even less space in between each kick. So yeah the kick will be filling out until the next kick but the kick would still have to be really short in general because the music is really fast
yes there's something called a rumble kick, which is a techno kick with a longer tail. if you don't have a lot of harmonic movement a long kick can work as it takes the function of both kick and subbass
Glad you talked about sample packs. Over the years I've purchased gigabytes of sample packs, and it is not uncommon some samples definitely had been taken from a track. Either from one of their own tracks or someone else's. It's this type of lazy behavior of some producers that encourages me to create my own sounds from scratch.
Yeah there’s a huge gap in quality where some have literally used tens of thousands of dollars worth of modular gear to create a kick drum… and others just lifted a drum from some track they had on their hard drive.
Described the problem/issue in under 10 seconds. Tried fixing with a gate, but it didn't seem to work so well. Slicing the waveform did the trick, but the kick sounded a bit artificial. I was able to tweak the "hold" setting in PUNCH to get the kick to retain its character but just shorten it.
Harder kicks with more bass frequency depending on the specific kick sound it's better? Nobody said that Soft kicks are worst. If you have 1000W+ boosted subwoofer even soft kicks hit hard 😊
Another observation I've made during my years as a live performer (using only hardware like drum computers, samplers, and synthesizers, without laptops) is that the raw sound of the bass drum is often too loud in the low-frequency part. How does this impact your performance? Well, the powerful bass drum sends a signal that's too strong for the PA system. To address this, a limiter steps in and reduces the volume of all the sounds, including the bass drum, until the bass drum is quiet enough for the limiter to not interfere. This unfortunately makes all the other sounds much quieter too, even if the bass drum's frequencies, which caused the adjustment, can't even be heard through the PA system. This is because most PA systems can't reproduce sounds below 30-50 Hz.
Wow, dude! You are really explaining things in layman's terms. I super appreciate it. I see so many tutorials on youtube about how to EQ this and that, or how to mix X and Y together, but you have explained with audible examples exactly what IT is. I salute you. More like this please. I have been producing EDM for about 2 years and feel I have learned more from you in 5 mins than most other TH-cam tutorials/explanations.
This why I don’t watch too many of these. But usually get confirmation of what I’ve been doing.
Fully agree !
This just me but if you just turn the knobs and experiment you’ll figure this stuff out lot faster than endless hours o. Yt
In 00 we had no vids only manuals and I wasn’t reading all that shit
Most youtubers who make music production content are trying to sell you a product of some sort, so that makes sense. Like he explains in the video, people want you to buy beats and sample packs and presets that sound good already, which motivates people to conceal their knowledge to encourage people to purchase their products instead, and when those samples are bad, they go searching for more packs and so on. I've just been learning how to make the samples myself at this point because I hate the malicious music production industry. There's always a promo code, or a brand deal, or a sample pack, or a course, or whatever being marketed in almost every production video. It's so frustrating, and I feel bad for people who don't break out of that cycle of just buying more beats and sample packs hoping to eventually find the perfect thing, instead of learning how to DIY it. At best, you're going to make generic sounding music anyway.
What pisses me off the most is when I see the "Secret formula to ____" videos, and it's usually just a sample pack sales pitch, and like... if you know the "secret formula" then why are you on TH-cam selling packs instead of climbing the charts? It's just so obvious to me at this point.
I played my track on a big club system this weekend and noticed it sounded much more boomy than the other professional songs I was playing and this was exactly the issue you explained. I always throw a processed kick from a "good" sample pack and think that's it. I will now work more on my kicks - so happy I found this video!
Get a track that has a kick you love, put your kick on top and flick between the two until to understand the anatomy of the kick you love. Then you can further apply processing to get it to sound just as good
Thank you for spitting some actual facts. Thats why the "cut itself" funktion in fl studio is so essential. Which even has a click compensation for not just putting those sounds back to back.
But also i work on length belly and sustain always from pretty quite of the beginning i started producing.
I came across so many people who might have some good feel for melodies or so but never understood how sound waves actually work.
To all those guys: please dont just make music. LEARN how to make music. There is so much theory to it. And get a decent pair of headphones which give you abilities tonlisten very closely.
One other hint to that is up to like 80-90 hertz waves should be felt not but not heard ;)
That double kick thing in clubs is something I wish I knew sooner 😭😂 Golden tips right here!
I've definitely noticed it before but never "thought" about it until now. I thought it was a F'd up club system sometimes, or the DJ.
What double kick thing?
@@henriquematias1986 he briefly mentions it at 4:17
I'm delighted by this. I perceive many "tutorials" as very exhausting. Usually you find out sooner or later they are sponsored or wanna sell you a pack or lessons. This was straight to the point and explained VISUALLY. another thing I like! Yes, trust your ears but as a visual learner this helped me so much more.
Other stuff: I like that you say you use "this kick a lot", implying that you don't need to pick a different kick for each song. I learned this the hard way. After 5 years I have my favourites and only when they don't fit I look for something else.
I like how you explain how this affects a club environment. Somehow when others talk about cutting the lows and stuff i don't really care but this made me really care for how it affects the club. I think it was the great example.
Youre not a TH-camr. Somehow that made it better cause it didn't feel so "youtubery", more conversational, between teacher and student.
Ye, great video. Now I don't feel bad that I mainly use one kick, cause it sounds great. Now I also understand WHY. it's short, punchy, but clean, no unnecessary information or beautification. Thanks for that
yeah I agree, once I find a dope kick that works well for one genre, I usually use the same one for that genre over and over, maybe editing it a bit to make it have a bit of unique flavor for the track in question
Smartest producer on TH-cam. Thanks
Wow. wow. You just saved my album man. This is such a no brainer and yet every single song on this project had kicks with long ass tails - and my mastering engineer kept telling me I had a bunch of competing low end frequencies and I was struggling to figure out what he meant. THIS IS WHAT HE MEANT. THANK YOU
There's plenty of artists that use big booming kicks with long tails in their tracks and they sound great, so I wouldn't necessarily avoid using them. The trick is to ensure the other elements of the track don't incorporate a lot of low end frequencies that clash with the kick, which can be challenging to get right. But I do see where you're coming from, it's easier to create space with a short snappy kick. Nevertheless, mastering both techniques is hugely beneficial. Booming kicks sound ace on a big system, but tread carefully in the production process.
couldn't agree more - it's almost trendy to say "big boomy kicks suck"...
Its the tempo and rhythm that determine it for me. In other words, how soon is the next kick? Is the song 60bpm or 180bpm? Is it 1/4 notes or does it have 16th notes. Oh, and some songs are meant to be a bit of an overload noisy low end, perhaps not featuring a lot of bass (some have no bass!) where kick needs to fill in.
ok sample bot, or chatgpt.
One of the best tutorial that i've ever seen 🏆.
Most beatmaker, include myself, given me the tought that most people try to go to college before they go to elementary school! Crazy. We always try to paid the best "drums kit", applying eq, comp or clippers, pending hours before doing the super-simple but most important thing to do, like cutting the tail of our sample drums for resolve the problem.
I've been trying to find the errors in my mixes for years, i'm talking about the distorsion on the master but they weren't in the mixes 🤦♂man...
Thanks a lot Alfonso Muchacho for the gems... the real ones!
Ive been watching lots of tutorials about "mixing kick and bass", "getting punchier kicks". "kick secret of the pros" etc which are usually gimmicky and lead to sales pitch of the channels sample packs etc, but this tutorial gave helpful advice. I've been struggling often with boomy low end and I found useful things to remember when selecting kicks. This video is a gem for producers navigating in this sample pack and "easy kick trick tutorial" filled space of learning music production. Thank you so much!
Yep been cutting the out on kick(fl studio. It’s shaves off the end, this also helps when the drums are wet
The end part of this has some good info which is often overlooked. If you listen to the full track/beat whatever you have when filtering out unwanted info from your samples, you can hear it in context which is how every single person who listens to the finished product hears it. Yeah, filtering the top end out of the kick when in solo makes it sound like muffled crap but when you play everything else along with it you don't hear that. Filter or eq out information when everything else is playing until you can audibly hear a difference, then you know you've gone too far. It's surprising how much information can be cut out before we notice it but this helps tremendously down the line in mixing and mastering. Great video!
I like how you explain everything so calmly and clear, this is incredibly useful information - Thank you!
I definitely agree that rolling off the top of the kick usually makes it sit better in the mix.
Nice video man
Among live drummers there's a similar thing where the tempo of the song determines how much muffling we use in the kick
Every kick we do could be massive wide and open but it would just clutter things up too much for the band
Yeah. Now that’s why drummers have a pillow in the kick drum. Makes sense now! 👍
Like the clicky death metal kick😋 can't have a lot of slow moving waves when you're plowing through 32nd notes lol
Good god.. If only this guy saw all the tutorials I've seen over the years. This video is great. Very well explained. 👏
Auto subscribe. This is the kind of stuff youtube music production needs. The real obvious "secrets' that no one talks about. Super massive big up.
This was mind blowing thanks! When you cut the high end it all clicked
Greatly explained, Alfonso! This is one of my few best lessons on kick. Thank you!
Haha that kick is "absolutely obnoxious" - brilliant! Really insightful video, keep doing these types of vids please, they're packed with information gems!
4:52 YES glad this isn’t just me that has noticed this. Huge pet peeve of mine. Especially in a kinetic centric genre like dance music.
there something called a retrigger on most samplers. that way the transients dont clash. its not the end of the world if u got ur kick in a sampler because u can just fit the adsr to be snappy in any situation if u make hiphop with 808s adjusting the length often shorter makes the 808 fit right in the track, its all about the bounce. Most about the tuning.
pierre bourne blends 808 transients.
ALso: Longer kick makes the track feel diffrent, kinda like slower, i think flume use allot of long transient kick.
You're making really good sense here, man. I've been finding that the shorter the better with kicks, too.
Thanks, Alfonso. I Been Choosing Kicks Based on How They Sound on Their Own--blowing my Mixes.
I'm going to Try This--and, Hear the Difference.
Thank You, Alfonso.
Make It a Great Day.
Smile on~
Matt
Detroit
One of the most valuable lessons for beginners like me! Salute Alfonso
I remember I saw some video from some dude advising to boost the high frequency of the kick so that it will "punch harder and cut easier through the mix ". I think I might have done exactly that on some of my tracks. 😭
Lesson learned, I will take with a grain of salt what you learn on TH-cam producers' channels.
Thanks! Great video, subbing right now!
Dude you just broke producer TH-cam with this wizardry, amazing and true stuff
Thank you for your knowledge!
when you said "I'm not a youtuber, im a music producer" you had my attention
THIS is the best tutorial/video about kickdrums i've ever seen
Nice work mate!
I wish every producer out there would watch to this video.
Great explanation. Thanks for the video 👍
10/10 for the video I found this late at night and then spent hours yesterday trying to find this video. I have now saved the link to my inbox 😊
this is SUPER helpful - im not a techno/edm producer persay even though our genres arent the same, the knowledge is universal!!!!! best video ive seen on the topic so far
by far one of the most informative videos on production, thank you
I have ADHD and I never knew that all I needed to make me watch a tutorial all the way through was a handsome muscular man to tell me what I need to know. So thankyou Alfonso! On a serious note, great tutorial!
My kicks weren't working and then this vid fixed them. now people's shins be aching, cheers
Great explanation, will come in handy thanks!
It would be great to get more of these tips. Thank you!
Very clear and understandable. I see so many tutorials and how to's but i find most of them useless, pointless and worthless. But this my friend, this is just very important info that we're able to apply immediately and have big effect on our work. Thanks man, i'll definitely stick around and look into more of your video's.
Life changing stuff! Thank youuuuuuu🎶😎🎶😎💚🎶🎶🎶🎶🎶
The first thing I always have done with kicks from samplepacks is trim it’s tail immensely (other keywords pitch, layering, eq, saturation, (sidechain)compression etc.)
Flashcore is my jam, and I keep tryin' to tell people exactly what you're sayin'. When they tell me "your kicks can be in c3 or c4 so what do you know?" I can now direct them here. Thanks for that, it'll really help me curtail some long arguments in the future.
I've watched a hell of a lot of videos on kicks and this is by far the best explained one. Loved your comparisons with different tails. I used to have an 808 years ago and you're right, with those subby kicks it takes some processing, but once done right they are phenominal. I sold my 808 before I got it sounding phenominal lol.
Thank you!
Very useful tips. I've been suffering from this problem, as I'll audition a bunch of kicks when I first start on a track and I guess I usually pick the "biggest" or "most interesting" one that sounds great when soloed... but I keep having problems at the mixing or mastering stage because the kick is (usually) too dominant or creates some kind of resonant clash with the other instruments. It often takes a long time to fix it at that stage (and often needs to be replaced entirely) so it's probably a good idea for me to go back to simpler kicks right at the start and then add pizzazz of my own if there's room for it, rather than have to work around a boomy kick that has too much information to begin with.
that makes sense to me now but it wouldn't have made any sense at all to me 15 minutes ago before I watched this video
GAME CHANGER
Thanks for the tips (and super clear demonstration/theory)
Great that you have started giving production tips again.It's been a while.
I've learned a lot, thank you.
I feel like this is an important tip that is overlooked quite often. Thanks for pointing this out!
Really enjoyed that mate, thanks.
Will investigate more of your stuff.
Great video, thank you for posting this. This will change the way I build my drums in all my tracks going forward.
Nice points to consider! Can you please make another video about kick processing with compression. Many newbies often overuse EQ which causes phase distortion, so kick and bass are mismatched.
I have heard people ellude to what you are stating so clearly. I appreciate it.
Great info bro. Thank you for the no nonsense facts
That high-end on kick sampletransients indeed come from sampled songs - they are often closed hi-hats.
Thanks Alot That's The Best Video I've Watched Ever🙏🙏🙏
Thank you, brilliant, straightforward information!
Immensely helpful video, thank you
Extremely helpful ⭐️🥂
yes yes yes. that is very true. good video, i needed to hear this
Thank you for this!
Well explained, sir!
This was incredible man. Thank you!
Dear Alfonos Muchacho,
i would like to thank you so much for this video. Furthermore, to mention that you’re a highly qualified and experienced music producer ! Then I know exactely, that this tutorial is totally correrct.
Best greetings
Chaos
Great vid! More like thst pls. 👍 Do you have a vid on 'too much body'? Ta.
Most people will use any kick that is any pitch, not realising that yes drums have a key. Its harder to hear but out of key drums will mess up your mix.
Use a tuned kick and you shouldnt need to eq much out, just the sub lows
If the tone of the kick is hard to hear tune your kick up a full octave to hear the tone (which for me is more musically clearer sounding) in relation to the song you create to see how in tune it is then find the correct tone at that higher octave and transpose by 12. 👍
@@jemseed yeah personally I use external software that I run my music through to find the key of all my drums. Hats and stuff that isn't really tonally obvious but, I like to keep all my elements in the same key at least, not necessarily the exact note
"Don't choose a kick with a hi-hat on top" , and be aware of the tail and the implications of the tail. And the rest! Sage advice. It's the stuff we can all be lazy about, but it's the most crucial stuff. Great video!
Never thought I'd see someone suggesting to bandpass kick drums. Great video, thanks for the advice
Very well done video! Thank you!
Really inspiring tutorial and tips! I come from producing Hip Hop and also went into more electronic stuff - but it often was a very frustrating journey, especially when it came to my mastering limiters. Often I had to work my ass off and try a thousand things, to realize it`s the sub area and the transient shaping, that are so damn important. Since I have really good headphones and different Waves NX Plugings, room treatment and optimization systems (Sonarworks Sound ID), it became way more easy to figure the problem areas out. Even good soft clippers, a Pro L2 or Ozone 10 don`t make a good job, if you choos the wrong kickdrum, what I still often do.
this is so great- thanks a milliom
What a concise and well explained video. Thanks!!!
Right on bro 💯 🙏 💪
The upshot. Make your kicks short (no long tail) so they give room to breath for other stuff and (2) get rid of frequences above around 300 and up except the click, b/c a click will cut through lousy speakers.
good explained!
This is such a great fucking video. It’s so obvious after you’ve pointed it out. Thank you
Very interesting, this confirms my choice of using drums sounds coming from an hardware module like my Roland TD30 and not relying on samples. I really can feel how good each drum instrument gel so well with each other.
I watch a lot of music making video tutorials, but this is so concise and usable. I’ve already been doing some of these things, but thinking of a mix in terms of information amounts makes so much sense. I’m about to record something new, and I’m definitely going to pay attention to the amount of cumulative information in each part of that track and carve out space where needed!
Thank-you...
this is honestly why i prefer to work in audio (or bounce my midi) so i can see where stuff clashes
Dynamic EQ supress from 300 to 500 hz (TDR Nova), can help to reduce boxxyness.. if you want to control the tail of the kick in a more nuanced fashion.. you can use devious machines duck or softube transient shaper to play with the transient in relation to high low frequencies.. Spiff can also be used to play with attack transients within the frequency spectrum.. you're welcome.
Nice tips! Sadly, most samplepacks are all about hype. I also try to use short kicks to make it work with my bassline.
Thank you very much for taking your time to explain this even though you're not a TH-camr! You're very good at explaining things. This was just as concise as the kicks you use! People like you make it possible for us to get into music production even without proper education in the domain.
As a side note, there're subgenres of techno that are based almost exclusively on the kick (hard/industrial/rave techno, usually 148+ bpm, almost no melodies and very little percussion used mostly for breakdowns). I've never tried producing something like that but I assume in that case you want the kicks to fill out most of the frequency range and to last until the next kick comes, right?
Yeah but also they are faster bpm so there is even less space in between each kick. So yeah the kick will be filling out until the next kick but the kick would still have to be really short in general because the music is really fast
yes there's something called a rumble kick, which is a techno kick with a longer tail. if you don't have a lot of harmonic movement a long kick can work as it takes the function of both kick and subbass
That’s so true for PRO LEVEL!
Great information❤
very wise advice thanks for sharing
Some great concepts!
The MOMENT i saw the Ozone 5 plugin I subbed! 😋 I feel like that says a lot and for a number of reasons
great tutorial. thanks a bunch :)
Super helpful many thanks 🙏
Could you also make a video about mixing kick and bass from your point of view?
Gervais always dropping the truth.
4:38 this gesture is great lol
you've got a point but it actually depends by the genre you want to make.
Thanks a lot!
Glad you talked about sample packs. Over the years I've purchased gigabytes of sample packs, and it is not uncommon some samples definitely had been taken from a track. Either from one of their own tracks or someone else's. It's this type of lazy behavior of some producers that encourages me to create my own sounds from scratch.
Yeah there’s a huge gap in quality where some have literally used tens of thousands of dollars worth of modular gear to create a kick drum… and others just lifted a drum from some track they had on their hard drive.
This was super helpful thank you !!
Depends on the sample packs, some are well quiet raw synthesized sounds, but they tend to take more work to get it sound good
Described the problem/issue in under 10 seconds.
Tried fixing with a gate, but it didn't seem to work so well. Slicing the waveform did the trick, but the kick sounded a bit artificial. I was able to tweak the "hold" setting in PUNCH to get the kick to retain its character but just shorten it.
“I am a music producer/DJ/part time mastering guy/Deeaauuuuuwww noise maker”
Hahaha exactly
Harder kicks with more bass frequency depending on the specific kick sound it's better? Nobody said that Soft kicks are worst. If you have 1000W+ boosted subwoofer even soft kicks hit hard 😊
@@adrianmiszczuk8061how does that translate to a phone, a small speaker, or flat response headphones?? Probably underwhelming huh?
Another observation I've made during my years as a live performer (using only hardware like drum computers, samplers, and synthesizers, without laptops) is that the raw sound of the bass drum is often too loud in the low-frequency part. How does this impact your performance? Well, the powerful bass drum sends a signal that's too strong for the PA system. To address this, a limiter steps in and reduces the volume of all the sounds, including the bass drum, until the bass drum is quiet enough for the limiter to not interfere. This unfortunately makes all the other sounds much quieter too, even if the bass drum's frequencies, which caused the adjustment, can't even be heard through the PA system. This is because most PA systems can't reproduce sounds below 30-50 Hz.