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-- Compression on the kick and the bass
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quote:

Originally posted by Theran Not true, compressors are very often used. Why you think compression is often talked about, or the many types of compressors available? Producers really use them a lot, it's just not that you 'must' use a compressor on anything. Since a couple week I know how to compress decently, and with satisfying results. Took me quite a time to get there. Also, it's important which compressor you use, because every one has it's own characteristics. So people, what kind of compressor do you use? And what do you like about them?

Actually I think this should be a new thread.....I've only ever used compression sparingly but I'm realising now that's becuase I don;t really like the compressors that I have......

Make your own kicks.
compression = taming transients
shorter the attack = less transients get passed
shorter the release = the oomphhh remains

so short attack, long release = no life left.

bedroom producers, get a decent kick walk back and forth in your room, know your roomgain, listen on headphones and listen LOUD and soft.... and notice what's getting emphazied on different levels.

you need transients for earbuds and lower volumes, a squashed oomph is nice the the club, but no use for airplay...
and a "loud kick" just meams that the rest of the track is mixed less loud......
low cut / high cut on ALL channels, make room and don't kill all transients.

Im really struggling with making my own kicks, and im starting to get fed of the Vengeance kicks.

What are good places to start with making good kicks, 909, 808, layering, synthesis ?

And are there any compressors that works very well on kicks ?

The starting point on a kick would have to be the most important thing i reckon, ive tried shaping the Vengeance kicks, but with little luck.

I use a drumsynth (JOMOX XBASE-999) have all synth parameters available to shape the kick, the JOMOX also has an EQ setting 1/2/3/4 which shape the tone of the kick, together with harmony settings which create some kind of hardcore distortion (but nicely fill the upper end)

in general i would suggest to take an oldskool Roland 909 sample, low cut around 35 with 24 or 26 db filter boost around 80 <> 120hz (around 3-4db) range and cut around 500 (mostly somewhere around 7-9db (play around with the Q) you can give some more "snap" around 4Khz, though this is really depending on your source

AFTER EQ (since most is substractive) apply compression to "shape" the kick further remember faster attack, means more click and less kick, longer decay kills the oomph.. if your compressor supports it you can also play with the "knee" soft or hard (subtle or more limiting behaviour)

make sure that you aim on about -8db input gain and equal output gain to come back to unprocessed levels

This will give you a good startingpoint to the vengeance kicks. i really don't like layering kicks because of phase issues, i rather put a 606 type closed hh or rim on top for snappyness (before or after comp, depending how much you want it to blend in.

quote:

Originally posted by Raphie Make your own kicks. compression = taming transients shorter the attack = less transients get passed shorter the release = the oomphhh remains

This definitely does not always apply. Although you probably mean the right thing this explanation is not entirely correct. You can use compression to shape or emphasize transients as well.

quote:

Originally posted by Raphie you need transients for earbuds and lower volumes, a squashed oomph is nice the the club, but no use for airplay...

And that is why producers are recommended to mix on low volumes. If a track sounds good on low volume it sounds even better played out loud.

quote:

Originally posted by Storyteller This definitely does not always apply. Although you probably mean the right thing this explanation is not entirely correct. You can use compression to shape or emphasize transients as well.

you're right, i elaborate a bit more in the post above

Yea I was writing my reply while you where posting yours

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