@@Keroser1983often they are are same problem. Writing a great hi hat groove often mixes easily with the rest of the drums. Focusing on the groove is the best way I think to start to tackle this.
Do not compres kick, clip it wisely instead, very basic point thanks for explaining so well. I did not realise compressing the kick boosts the initial transient that much. This also explains why you can hear the kick transient coming forward when you compress a mix and why this is at the expense of the overall loudness.
multiband processing causes phase shifts and ends up screwing the waveform even more than just an EQ imho The kick is a sweep from high to low, the highs only exist in the transient, thus you can adjust the amplitude curve and only affect the transient in the highs etc.
What you can also do is using segments together with Tool. Disable smooth so the curve reacts directly. Set it to quarter note and create a curve that has all points set to max. Set one point at the beginning and reduce that one so you get slight ramp. Because the curve reacts so fast it catches the transient but leaves the body intact.
while on the topic of kickdrums, where do you see the optimal timepoints for certain frequencies in the sweep? too quick sweeps make the kick lose punch and too long sweeps makes you feel the body of the kick at a different point in time than the transient (not so noticable in the studio, but it's very noticable on the dancefloor). of course it does depend on style, bpm and key, but would you say around 20ms for 150hz and 25ms for 100hz is in the right ballpark for a good balance between the two?
Nice video! I have always been a fan of combining visual monitoring with perceived audio. Waveforms can be super revealing when it comes to phasing issues too. Do you by any chance have a video on filter envelopes on psy bass? Imo, (filter) envelope/curve shaping is the most important part (well I guess static paramEQ can also do a lot). And maybe on how choices in there affect the dynamics with the kick, and how it affects the whole mix? You have a lot of videos, so maybe I have missed it. If not, it could be a good idea for a future video.
It's pretty cool, afaik it just does an audio envelope shape at the time the sine passes that frequency? much like the scoop in the envelope to remove mids :)
Thank you for your video. Your knowledge and explanations are great. What I have not yet realised in the overall context. If I make a kick myself, e.g. with Kick 2, and actually only want the sample to use it in a hardware sampler, is all this absolutely necessary?
Well the theory is still very relevant, most people assume when prepping samples that it needs processing, like EQs etc. these will cause more damage, so imho if you're making kicks for external use just bounce them RAW out of kick2 - hope that helps!
Thank you very much for your quick response and help. To understand this 100% correctly, this also means that when you use Kick 2, you do not use the internal EQ, limiter, etc.?
@@mit136speichenumdiewelt not very often, limiter - sometimes because it's pretty linear but the EQ tends to skew the phase of the output, it's far cleaner to dip/boost amp envelope areas than to us an EQ as the result is similar.
The clipping on a kick is often to fix issues that arise from EQ/compression like I explained in the video, if you synthesize the kick or use clean samples then you don't need anything other than to sculpt the waveform how you want it.
I never low cut my kicks. What about those eq cuts in your low-mid range that gives the waveform the dip? Doesn’t that just make the kick sound swelly and woompy in a club?
Now being a plugin developer, I can tell you, adding the left and right channel together is as simple as (outputSample = (leftSample + rightSample) div 2). This should be done before the data is passed to the FFT processor. In other words the left and right channel info passes through the analyser at exactly the same moment. If the two channels contains exactly the same info you should see no difference between mono and stereo analysis. If you do, find another analyser. blue Cat's has a great free analyser.
Yes but the signal is mono so both channels are the same so it’s it’s kinda irrelevant, but thanks! Oscilloz is one of the best, I believe the issue is related to the window size like I said and is definitely a bug, with an easy fix
Great video (as always), but it's already millionth video on the topic. If it sounds good, it's good. Move to what's actually important and what will make your tracks memorable - arrangement, melodies / riffs, mood / atmosphere, etc.
You’re 100% right; if it sounds good, it is good. The problem though is that knowing what’s good requires lots of experience and seeing videos like this, ie explaining what makes a good sound vs bad sound, can help a lot in figuring out what you should be listening for. Personally, I really appreciate videos like this, because I enjoy detailed breakdowns and seeing other people achieve the same things with different tools and listening to their ways of thinking. Thanks for a great video.
there is a trance music producer called ' David Gravell ' , in my opinion The KICK drum in his track is SOOOO GOOD that you can't get enough of listening to his tracks , and i tried So hard to understand that how he makes them sound so good but i was always unable to do this , so could you please check his tracks and see what kind of process he use ? i guess he might use disperser , for example this track : ruclips.net/video/AuP3k9pKEXE/видео.html i don't know it has something magical to it
This type of kick is just a bit overdrived into the clipper, remember in the video how I said "try not to make the kick distort", be a bit more generous with this step and use a harder curve (less soften/soft clip). Personally my taste is a cleaner kick, but this is for sure a powerful example!
@@DashGlitch thank you so much for listening , other than clipping what else do you think he might used ? multiband processing / disperser / layering etc. ?
tbh it sounds to me like just distortion type sounds, like clipping and perhaps light waveshaping. Not too much of the fancy stuff, for kicks those tend to skew the transient.
@@APOCALISSEMUSICALE check another track of him called : [ David Gravell - Battlefront ] it's much better example of what i'm talking about , it's like transient and body of the kick are separated but they sound really good together
@@DashGlitch wouldnt surprise me if they all did it wrong, so much bro science around electronic music production... love the channel by the way keep up the great work thank you! xd
Great....and clear walk thru!! Cheers for this one 💚
So well explained, I love all your videos. That fact that you offer us this information for free is mindblowing, I'm very grateful!
Thank you for the support! Very much appreciated!
Hope this is a series, would love to hear about Snares as well as rims and hats
Addition to that! That would be great. I struggle a lot with open hihats, both in groove and mixing.
@@Keroser1983often they are are same problem. Writing a great hi hat groove often mixes easily with the rest of the drums. Focusing on the groove is the best way I think to start to tackle this.
This was great dude! Thank you
Thanks again for the knowledge brother!
Do not compres kick, clip it wisely instead, very basic point thanks for explaining so well. I did not realise compressing the kick boosts the initial transient that much. This also explains why you can hear the kick transient coming forward when you compress a mix and why this is at the expense of the overall loudness.
Glad it was helpful!
More drum/perc related content! ❤❤❤, just bought kick2 thanks to your videos, no more low quality kick samples for me 😂😂😂😂😂
great topic and love your t-shirt....
10:36 how about the multiband kclip now it have multiband so it can target the transient in the high frequencies whitout touching the sub range.
multiband processing causes phase shifts and ends up screwing the waveform even more than just an EQ imho The kick is a sweep from high to low, the highs only exist in the transient, thus you can adjust the amplitude curve and only affect the transient in the highs etc.
@@DashGlitch what you use multiband clipping for?
excellent tutorial ! i have learned a lot. thank you !
What you can also do is using segments together with Tool. Disable smooth so the curve reacts directly. Set it to quarter note and create a curve that has all points set to max. Set one point at the beginning and reduce that one so you get slight ramp. Because the curve reacts so fast it catches the transient but leaves the body intact.
I prefer to do these kinds of edits on the sample with audio fades, the modulation is not always sample accurate in BW
@@DashGlitch Good point!
Thank you so much for all content you do on yt. Love your work ❤
Thanks for watching!
Wou amazing video pff
You just pretty much cleaned up with some compression myths.. 🙂
while on the topic of kickdrums, where do you see the optimal timepoints for certain frequencies in the sweep? too quick sweeps make the kick lose punch and too long sweeps makes you feel the body of the kick at a different point in time than the transient (not so noticable in the studio, but it's very noticable on the dancefloor). of course it does depend on style, bpm and key, but would you say around 20ms for 150hz and 25ms for 100hz is in the right ballpark for a good balance between the two?
Nice video! I have always been a fan of combining visual monitoring with perceived audio. Waveforms can be super revealing when it comes to phasing issues too.
Do you by any chance have a video on filter envelopes on psy bass? Imo, (filter) envelope/curve shaping is the most important part (well I guess static paramEQ can also do a lot). And maybe on how choices in there affect the dynamics with the kick, and how it affects the whole mix? You have a lot of videos, so maybe I have missed it. If not, it could be a good idea for a future video.
Exactly the video I needed! Also nice keyboard Dash 👌🏻
Thanks!
Have you talked about Audija kick plugin yet? Just cos the built in 'EQ' is game changing.
It's pretty cool, afaik it just does an audio envelope shape at the time the sine passes that frequency? much like the scoop in the envelope to remove mids :)
Thank you for your video. Your knowledge and explanations are great.
What I have not yet realised in the overall context. If I make a kick myself, e.g. with Kick 2, and actually only want the sample to use it in a hardware sampler, is all this absolutely necessary?
Well the theory is still very relevant, most people assume when prepping samples that it needs processing, like EQs etc. these will cause more damage, so imho if you're making kicks for external use just bounce them RAW out of kick2 - hope that helps!
Thank you very much for your quick response and help.
To understand this 100% correctly, this also means that when you use Kick 2, you do not use the internal EQ, limiter, etc.?
@@mit136speichenumdiewelt not very often, limiter - sometimes because it's pretty linear but the EQ tends to skew the phase of the output, it's far cleaner to dip/boost amp envelope areas than to us an EQ as the result is similar.
Amazing video and will sub!
Awesome thank you!
Great video 🙂
Thank you 😁
Isn't the best way to tackle this at the source? Just use the amp envelope to shape the transient vs body loudness
Yes, but the problem is so many people put loads of plugins on their which ruins it further, this is a fix for that
Ese truco del clipper, no me lo sabía, enserió después de 25 años.
❤
Do you suggest Lin EQ before clipping ? and how about mastering EQ ? does it changes the phase and relation between kick and bass again ?
The clipping on a kick is often to fix issues that arise from EQ/compression like I explained in the video, if you synthesize the kick or use clean samples then you don't need anything other than to sculpt the waveform how you want it.
Was that a cat at 5:15? 👀
yep
@@DashGlitch love it
I never low cut my kicks. What about those eq cuts in your low-mid range that gives the waveform the dip? Doesn’t that just make the kick sound swelly and woompy in a club?
Now that’s some new adjectives, there’s no EQ here, just envelope. Without it the pitch sweep is unbearably loud.
Now being a plugin developer, I can tell you, adding the left and right channel together is as simple as (outputSample = (leftSample + rightSample) div 2). This should be done before the data is passed to the FFT processor. In other words the left and right channel info passes through the analyser at exactly the same moment. If the two channels contains exactly the same info you should see no difference between mono and stereo analysis. If you do, find another analyser. blue Cat's has a great free analyser.
Yes but the signal is mono so both channels are the same so it’s it’s kinda irrelevant, but thanks! Oscilloz is one of the best, I believe the issue is related to the window size like I said and is definitely a bug, with an easy fix
Great video (as always), but it's already millionth video on the topic.
If it sounds good, it's good. Move to what's actually important and what will make your tracks memorable - arrangement, melodies / riffs, mood / atmosphere, etc.
No no we love the KiBa science!
True, but I still see the issue with a ton of new producers. Also I did a video on arrangement etc last week!
You’re 100% right; if it sounds good, it is good. The problem though is that knowing what’s good requires lots of experience and seeing videos like this, ie explaining what makes a good sound vs bad sound, can help a lot in figuring out what you should be listening for. Personally, I really appreciate videos like this, because I enjoy detailed breakdowns and seeing other people achieve the same things with different tools and listening to their ways of thinking. Thanks for a great video.
good
Thanks 🔥
there is a trance music producer called ' David Gravell ' , in my opinion The KICK drum in his track is SOOOO GOOD that you can't get enough of listening to his tracks , and i tried So hard to understand that how he makes them sound so good but i was always unable to do this , so could you please check his tracks and see what kind of process he use ? i guess he might use disperser , for example this track :
ruclips.net/video/AuP3k9pKEXE/видео.html
i don't know it has something magical to it
This type of kick is just a bit overdrived into the clipper, remember in the video how I said "try not to make the kick distort", be a bit more generous with this step and use a harder curve (less soften/soft clip). Personally my taste is a cleaner kick, but this is for sure a powerful example!
@@DashGlitch thank you so much for listening , other than clipping what else do you think he might used ? multiband processing / disperser / layering etc. ?
tbh it sounds to me like just distortion type sounds, like clipping and perhaps light waveshaping. Not too much of the fancy stuff, for kicks those tend to skew the transient.
@@trancephile2412 a little distortion
@@APOCALISSEMUSICALE check another track of him called : [ David Gravell - Battlefront ] it's much better example of what i'm talking about , it's like transient and body of the kick are separated but they sound really good together
Meanwhile EVERY SINGLE PRO producer I KNOW EQs the low end out of kicks lmao come on bro
You're welcome to believe anyone you want to, I have a case study here showing the pros/cons to make up your own mind.
@@DashGlitch wouldnt surprise me if they all did it wrong, so much bro science around electronic music production... love the channel by the way keep up the great work thank you! xd