I've read a few tutorials on sampling kicks from other tracks and I'm curious how some of you guys go about cleanly extracting professional kicks (for example hats and other noises surrounding the kick).

Four pole low-pass filter at 6,000 Hz, convert to mono and normalize to -0.3 dbFS.







EDIT:

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I recommend using your own kicks. A kick may sound good in a professional track, but it likely won't be quite so nice in yours. The quality of a kick really depends on the context it's used in.

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quote:

Originally posted by cl0ckw3rk I recommend using your own kicks. A kick may sound good in a professional track, but it likely won't be quite so nice in yours. The quality of a kick really depends on the context it's used in.

This

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maybe if you're sampling from vinyl

quote:

Originally posted by cl0ckw3rk I recommend using your own kicks. A kick may sound good in a professional track, but it likely won't be quite so nice in yours. The quality of a kick really depends on the context it's used in.

Kinda disagree. I've spent ages before tweaking a kick in a track and never being happy with it then, I just sampled the kick I was looking for, and it solved all my problems.

Honestly, if you like the kick, use it. If you don't, either find another or make your own. Bear in mind nearly all the vengeance samples are ripped from tracks or drum machines.

always found it funny how people spend so much energy on a kick. It really isn't that hard. Maybe the problem is that you need to listen to more music and know first hand what a good kick sounds like. And good really means little. A kick you like is more what i mean. It should not take you more than an hour to get a kick that you like that fits the track.

And yes, i'm talking about finding multiple layers including the hihat highend click most people add. All that should really take you 30 minutes. If it is taking you days, you need to stop and listen to music.

Load up Battery 3, load up every cell with rows of kicks. Find 1 that really fits. If you really like the flavor of one but it lacks a low or top end, then blend.

Ripping from tracks seems like more work than you need to get the desired results.

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You need to refine them down over the years thats what I did. I have kicks I layered myself, kicks that I have pitched to a certain key, and then kicks that I ripped from pro tracks.

When the time comes to find one, I just use whatever sounds best to me. Some of the benefits I've found of using pro kicks is they just sound bigger while taking up less headspace. But I refuse to try cutting out a kick from a full mix. I purposely look for tracks that either start with just a kick, or that start with few enough elements so I can take out the kick fast and efficiently. Other times I will use a LP envelope which can sometimes filter out hat sounds over the kick or that play right after the kick.

I also learn a lot from stealing pro kicks like this one kick I stole from Alex Morph I have never heard a kick like it before. Its the transient on the kick really that is unique. Its not exactly clicky it sounds like he ran it through the perfect compressor, on the perfect settings, and it has a super sharp and punchy attack phase to it. It will literally cut through any bassline you can muster up. But like I said its not clicky or bright its more punchy sounding and warm. Just that it doesn't work on every track obviously as once I have to start pitching it it can get fucked up sounding. But I have used the kick as my "ideal" reference kick and I still have no idea how he did it. Maybe I will even post the kick hold on lemme see..

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There are lots of free kick packs out there. I've found a few I like in this free pack HERE

Also THIS really helps me bring out my kicks, this with a warmer of sorts gives me nice results.

A freeware transient processor can be found HERE

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Thanks for all the advice fellas. Really great discussion so far.

@kevin shawn what kind of warmers do find work best for your kicks?