There are no hard rules for any use of effects in a mix but what you want.
Generally, the kick is not put through reverb because it will seriously muddy the sound and take away from the attack, which is often undesirable- particularly in beat driven music.
Snares are reverbed far more often than kicks.
However, careful eq at the front of the reverb could ensure only the upper frequencies of the kick have a decay.
Also, playing with pre delay can help give the attack some space before the reverb tail kicks in (puns unintended!).
Depends on the song and the music style.
For slow songs with lots of pads and atmosphere (to avoid the term "ambient" as a style), I might drown all of my drums in hall, for punchy uptempo songs I'd only use a bit room or plate.
__________________
my current gear... Top 3 Hardware Synths: Mopho Keyboard, Nord Electro 3, Waldorf Blofeld Keyboard Top 3 Software Synths: NI Komplete 8, GForce Minimonsta, Oddity Top 3 Studio stuff: AKAI APC 40, RME Fireface 400, ESI nEar 05 DAWs and FX: Studio One V2; Ableton Live 8; Softube Mix Bundle, Valhalla VintageVerb
I often put a really short reverb on my kicks. I almost always lowcut the reverb but sometimes i dont, if i want to lengthen the lowend of the kick a tiny bit.
Location: The Lagrange point between Jupiter and Io
Posts: 1,657
I send my kicks to a short verb on a bus. All my reverb sends have a EQ after the verb cut at 120 or so. That way I can send things like kicks and bass to reverb and not worry about mud.
I think of it like this: If you were playing a drum kit on an empty club, all the drums would have natural reverb on them, anyway.
Just cut the mud on the reverb like any other element where you dont want low rumble.
Is this a Why or a How? If you layer your kicks leave the 'click' & 'sub' dry and add some high-passed reverb/delay to the 'body' element for width when you need it.
i use reverb on everything. a lot of times though it's a convolution impulse of an actual and fairly small space. so it's not for the typical 'tail' aspect of reverb, but instead used to give an impression that a sound exists within a 3-dimensional space. this is what generally makes certain sounds seem like they're coming from somewhere outside of the speakers.
Depends on what sound you're trying to get. A good ambience on the whole kit can really open up the way it sounds and add some depth to it a la John Bonham.
I got myself some trance kick sample set awhile back (don't ask why) and noticed that atleast half of them had some sort of reverb on them. I'm guessing they're just sampled from trance tunes. It could be that they're layered with some sound that has a reverb on it, but they were far from dry. That kind of sucks when buying samples.
I've put a single reverb on 808 and 606 kits, even with kick included. It works with certain types of music.
Generally I wouldn't put too much reverb on the bass freqs, or atleast make it mono.
some big room techno tracks have been putting reverb on their kicks lately, but sparingly through a send i think. here is a sample of something i did a few months ago, but it's pretty exaggerated reverb for a kick, but definitely gets the point across.
If you scoop the EQ control of reverb where the dry sound is you can keep it from sounding muddy. I use a lot of roll off. I'm obsessed with reverb controls. Sometimes you get too much energy built up in them. You can also use a compressor on a reverb drenched kick to get a cool sound. I learned this making patches, not mixing music.
Halo by Beyonce. Brilliant example of how good reverb on kicks can work. But as someone mentioned, works good on slow songs. On a dance track it will eat up the beat.
I've heard some crazy things done to kicks (Mike Paradinas).
It sounds like the drums were run through some kind of distortion that made the kicks and snares sound really cool.
Anyway, all the reverb I've tried to put on drums ended up sounding weird and shitty. Maybe try sidechaining the reverb to the kick itself. That would sound pretty crazy.
New Reply 
Facebook
Twitter
LinkedIn
