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kick layering
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| LoveHate |
| i wanted to know everyones view on this, i know that this topic has been done before, i also know each kick is usually unique to each individual track and its almost impossible to determine a perfect kick with that being said....whats your preference do you like to layer? Or do you just choose a really good sample right off the bat? I have been hearing artist nowdays starting a intro with a thin layer than introducing a deeper sub while still having everything sound cohesive...i have been able to get this down with a high pass filter but maybe theres more techniques... Ive tried the layering thing ive had sucess with 808 ish deep kicks and really light ones with a sharp attack but im still having trouble of getting it to sound together as one...even after equing...so yeah i dont know. |
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| J.L. |
I tend to go more for 808 ish kicks, but that's just my style and preference.
I also add a touch of saturation to sweeten up and brighten up the sound.
I used to layer and make my own kits, but having built a library of probably 1000 kicks to choose I realize it's really just a waste of time for me to be building kicks and not for me unless doing it makes me all hot and horny inside. |
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| Teezdalien |
I tend to start with a nice sample, then layer another kick made myself with a dedicated drum synth, as it's faster and more precise for me to dial in the right timbre to complement the sample than to waste time browsing through loads of samples. That tends to kill my creative drive for some reason.
Then I often buss them together with a transient designer, EQ and light compression. |
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| tehlord |
| Good single sample ftw. |
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| Beatflux |
| quote: | Originally posted by tehlord
Pro sample ftw. |
fixed |
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| cryophonik |
| quote: | Originally posted by Teezdalien
I tend to start with a nice sample, then layer another kick made myself with a dedicated drum synth, as it's faster and more precise for me to dial in the right timbre to complement the sample than to waste time browsing through loads of samples. That tends to kill my creative drive for some reason.
Then I often buss them together with a transient designer, EQ and light compression. |
That's very close to my approach as well. Start with one, two, or maybe three good samples, and buss them with EQ, compression, and transient shaper. If I'm using more than one sample, I hi/low-pass or notch them to isolate the parts of each that I want. I'll sometimes do this with a filter plugin to give me more shaping options than a standard EQ gives me. Transient designers are great tools for shaping your kick samples. |
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| evo8 |
| quote: | Originally posted by tehlord
Good single sample ftw. |
almost every time, yes. Running them into Fabfilter Saturn now as well, which is nice |
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| LoveHate |
| hmm Transient designers never ran across my mind, but it sounds so logical ill give it a try. :) |
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| Beatflux |
| quote: | Originally posted by LoveHate
hmm Transient designers never ran across my mind, but it sounds so logical ill give it a try. :) |
Makes no sense at all considering most kicks are near limited. There are better ways to reduce tails as well. |
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| cryophonik |
| quote: | Originally posted by Beatflux
Makes no sense at all considering most kicks are near limited. |
WTF are you talking about? It makes perfect sense to use a transient designer on a near-limited, or even squashed sample. Obviously, you have no idea what a transient designer does; otherwise, you'd know exactly why someone might want to shape the transient of a limited sample. And, you'd know that a lot of pros use them on kick samples, yeah, even the ones that are near-limited.
| quote: | | Originally posted by Beatflux There are better ways to reduce tails as well. |
News flash, dummy: transient designers work on the transients, not the tails. And, if you're going to say that "there are better ways" to do something, how about providing some examples? Sorry, but the harder you try to sound like a condescending know-it-all, the harder you fail. |
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| Beatflux |
| quote: | Originally posted by cryophonik
WTF are you talking about? It makes perfect sense to use a transient designer on a near-limited, or even squashed sample. Obviously, you have no idea what a transient designer does; otherwise, you'd know exactly why someone might want to shape the transient of a limited sample. And, you'd know that a lot of pros use them on kick samples, yeah, even the ones that are near-limited.
News flash, dummy: transient designers work on the transients, not the tails. And, if you're going to say that "there are better ways" to do something, how about providing some examples? Sorry, but the harder you try to sound like a condescending know-it-all, the harder you fail. |
CREATE FADE/CROSSFADE IN ABLETON LIVE 8(cntrl + alt + f). You can change the length and the curve of the fade out on the kick, plus you can merge the kick with the bass.
There's a knob on the SPL Transient Designer called "Sustain." Not to mention, the tail of a hit affects how the transient is perceived. Shortening a kicks tail can make it seem more punch and reduce the masking effect on the transient.
I tried putting a limited kick into an SPL -> L1 and changing the attack didn't make a difference. Putting it into a Pro-L does make a difference, although...the pro-l is a special kind of limiter.
What modern dance tracks use a tall transient on the kick drum that's taller than the body of the kick? |
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| Juan Paulino |
| quote: | Originally posted by LoveHate
hmm Transient designers never ran across my mind, but it sounds so logical ill give it a try. :) |
Whats a god transient designer? |
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