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Crafting the "perfect" Uplifting trance kick. (pg. 3)
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| TranceElevation |
| quote: | Originally posted by sundrip
But you seem to adore it though.
I hate trance mixes, its pushed full of mud, look at that clap in that track, you can barely make out that it exists, what a joke. |
Here is another victim who thinks "clean mix" equals "good mix".
Is bull. A good mix is one with good tonal balance over the entire frequency spectrum, and I can tell you, for a track of this genre (uplifting epic trance) the tonal balance is absolutely spot on.
But that's another topic. |
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| sundrip |
| Save me your bull son, I simply expressed that I hate it. You cant tell me what is right or wrong with your subjective reasoning, kindly off you twat. Thanks. |
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| Magnus |
That thread was the first thing that came to mind. :) Legendary. |
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| PlasticSoul |
| there is a airwave kick tutorial around too, and if you are lazy, just buy the activa sample pack... |
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| chris marsh |
I have tried making uplifting kicks but not yet made any that are usable
The most common way seems to be making a pitch modulated sine for the "boom" of the kick, then chopping the transient or attack phase of another kick and gluing them together. The obvious advantage being you can choose which note the kick finishes on/starts on etc and the shape of the curve
Then saturation/compression/etc. Personally this is the point that ive struggled at, having got an ok basic kick, getting it to sound as big and powerful as the kicks in sample libraries :)
maybe ill try the settings in above thread |
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| Juan Paulino |
| I use 3 kicks for layering. The first kick i sample from my fav track which is the high, next i use low pass, high pass, bandpass on the kicks. Then use airwaves compression for fullness and glueing. |
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| Evolve140 |
| quote: | Originally posted by atxbigballer1
I did the work for you!
You're welcome! :) |
I ing hate you, please say you are just trolling the out of this guy. This is either the best troll or the worst fail...
edit: Wow, hate is such a strong word. sorry about that |
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| atxbigballer1 |
| quote: | Originally posted by Evolve140
I ing hate you, please say you are just trolling the out of this guy. This is either the best troll or the worst fail...
edit: Wow, hate is such a strong word. sorry about that |
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| atxbigballer1 |
| quote: | [i][b]
edit: Wow, hate is such a strong word. sorry about that |
np |
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| Goschie |
I use two kicks and 2 snares
I isolate the second kick (no eq at this stage) to be brief and mid sounding, and use a bass heavy low pitch first kick. The snares are the same way but both high sounding. One is more hollow while the other is more click. Once you play them all together its a solid thump that punches through the mix rather than making it muddy. |
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| wayfinder |
The truth is, there's no such thing as a universal perfect kick. Your kick will always have to work together with all your other elements, so it will always be necessary to adjust it somewhat after those elements are there to get the most out of it.
It's still a good idea to keep a library of great foundation kicks that give you a solid starting point. Some people like to keep a library of just the punch/click/attack parts, to later combine with a synthesized boom/tail, so they can make sure the kick is in tune with the rest of the song.
There's no simple, single recipe for making a great uplifting kick. That's because more than one type of kick works – I think that's a good thing! There are some techniques to try that can help optimize what you have. One or more of them might be the right thing for your particular kick.
The Slap: You can make a kick feel faster and more dynamic by adding a relatively quiet, reversed hit before the kick (could be a clap, or a tom, or really any kind of short percussive sound). This is the equivalent of a real kick drum's beater rushing through the air before it connects. The ear anticipates the coming impact.
The Dip: Modern Big Room and Prog Kicks are usually very uniform in their peaks, they're all maxed out until the tail fades off – a lot of great uplifting kicks have a little dip between punch and tail. You can do this in a variety of ways: by creating a volume curve for the kick; by using a gentle compressor (sidechained to a click that plays the same pattern as the kick) with an attack that lets the initial punch through (10-15ms, you can measure it from your actual sound), then quickly releases (another 10-15ms); if you're layering the kick, you could soften the attack of the sub part (or even delay it a little). Check your work with a spectroscope.
Saturation: A little distortion goes a long way with sine-based sounds like kicks. Keep it really subtle.
EQ: You need to be aware that you can only EQ the tail as a whole (because it's largely the same frequency throughout), but surgically get small bits of the punch (since it's a combination of freq-distributed noise and a frequency sweep, you can even roughly determine the time at which a frequency dominates the sound – the higher, the earlier). So it's useful to adjust the volume balance of tail and punch on the one side, and to finetune the character of the punch by adding/subbing frequency peaks on the other. You can get rid of ringing and noisiness and mud that way, and you can accentuate different parts of the punch (click, head, body).
The Beef: That's what I call it :) You can make soft and muffled kicks punchier by adding a clap or snare over them. The trick is to reduce what makes it recognizable as a clap (the mids, check the actual sample you're using in an analyzer to find the dominant frequencies) until it feels like it's always been part of the kick.
And always, always: before you follow someone's advice, listen to their stuff ;) |
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