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KICK Rush / KICK Assault
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| DJ HighFive |
Do you know how to make a good and powerful kick rush or hat rush ?
For now all i do is to put a series of kicks (16/4) with rising volume, but it sounds cheap.
A very good example of what i'm looking for is the kick rush used in ASOT 445 Tune of the Week : Trance Arts - Twisted Tales @3:20 |
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| EddieZilker |
Are you talking about a kick-attack build where the kick increases volume, over time, often accompanied by a snare and/or crash cymbals?
The best way I have of doing it is to use an alternate kick sound, apart from your primary kick(s). To give it some depth, you'll want to layer two or more samples and, if you can, use velocity compression on one of the samples - otherwise just copy your MIDI to a different track and adjust velocities for a separate sample, there.
You also may want to shorten the samples so that the transients are the only part of the sound that triggers, after it really gets going, this could be done by reducing the decay with automation.
If you're looking, for instance, to do a kick-attack build out of your break, I recommend starting the kick on the first beat of the measure for about four times. Start off loud, then lower the velocities for the next three beats, then do a kick four to eight times, again decreasing velocities, for two to four measures, on the half beat. Then, same thing with the quarter note - multiply and divide, but start the curve of the velocity's smile (by the time your done your velocity bars should look something like a smile) in the middle of these, and keep multiplying and dividing until you get to the apex-and-release.
Another reason it may sound sparse is that there might not be enough elements. Crash cymbals can help provide a bit of a spectral balance as well as land-marks for the DJ - don't over do it, though.
If your interested in hearing how I've applied what I'm telling you, listen to this: http://soundcloud.com/deepeddiezilk...ilker-remix-320
There is a kick attack build releasing into the break, AND - you're in luck, because I also did a hi-hat build/ruff/flam, (same principle with two samples, btw) to coincide with it.
Hope that's what you were talking about.
EDIT: For future reference, this sort of question would be better received in the Music Producer's Forum, just below this one; although these guys and girls also know stuff and many pull double duty as producer's, themselves. |
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| DiscoStew |
Mad props to EddieZilker for the most helpful answer I have seen on this forum in quite some time.  |
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| DJ HighFive |
Thanks a lot for your detailed answer !
I'll do some experiment in this direction.
I'll listen to your tune tonight (can't right now). |
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| n3lly |
Redirected :)
Great post Eddie.. |
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| palm |
| quote: | Originally posted by DJ HighFive
16/4 |
double that and ur fine |
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| TranceLover007 |
| quote: | Originally posted by EddieZilker
Are you talking about a kick-attack build where the kick increases volume, over time, often accompanied by a snare and/or crash cymbals?
The best way I have of doing it is to use an alternate kick sound, apart from your primary kick(s). To give it some depth, you'll want to layer two or more samples and, if you can, use velocity compression on one of the samples - otherwise just copy your MIDI to a different track and adjust velocities for a separate sample, there.
You also may want to shorten the samples so that the transients are the only part of the sound that triggers, after it really gets going, this could be done by reducing the decay with automation.
If you're looking, for instance, to do a kick-attack build out of your break, I recommend starting the kick on the first beat of the measure for about four times. Start off loud, then lower the velocities for the next three beats, then do a kick four to eight times, again decreasing velocities, for two to four measures, on the half beat. Then, same thing with the quarter note - multiply and divide, but start the curve of the velocity's smile (by the time your done your velocity bars should look something like a smile) in the middle of these, and keep multiplying and dividing until you get to the apex-and-release.
Another reason it may sound sparse is that there might not be enough elements. Crash cymbals can help provide a bit of a spectral balance as well as land-marks for the DJ - don't over do it, though.
If your interested in hearing how I've applied what I'm telling you, listen to this: http://soundcloud.com/deepeddiezilk...ilker-remix-320
There is a kick attack build releasing into the break, AND - you're in luck, because I also did a hi-hat build/ruff/flam, (same principle with two samples, btw) to coincide with it.
Hope that's what you were talking about.
EDIT: For future reference, this sort of question would be better received in the Music Producer's Forum, just below this one; although these guys and girls also know stuff and many pull double duty as producer's, themselves. |
This was lesson #1 - Basic Kick Development, great job Eddie.
Cheers |
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