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Kick drum recording talk Consoles
Old 28th March 2010
  #1
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skiroy's Avatar
 

Kick drum recording talk

All right I want to start a forum on those of yall that record your own drum samples and want to have discussion and sound samples of Kick drums you recorded. I know it depends on what your going for so lets put our money where our mouth is and be a little less vague. I want to discuss kick drum size,heads and wood type. I can figure out micing if thats too unlimited. But I want to buy a kick drum and want to know what I need for "what Im going for". IM pretty sure I want maple.

And if you want specific then here goes.

YouTube - BOON DOC: 2 Beats for 2009

Thats the kick I want. May not be possiable with live recording without lots of processing but whatever.


So we have anybody that does real drum recording.
Old 28th March 2010
  #2
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phillysoulman's Avatar
 

Quote:
Originally Posted by skiroy View Post
All right I want to start a forum on those of yall that record your own drum samples and want to have discussion and sound samples of Kick drums you recorded. I know it depends on what your going for so lets put our money where our mouth is and be a little less vague. I want to discuss kick drum size,heads and wood type. I can figure out micing if thats too unlimited. But I want to buy a kick drum and want to know what I need for "what Im going for". IM pretty sure I want maple.

And if you want specific then here goes.

YouTube - BOON DOC: 2 Beats for 2009

Thats the kick I want. May not be possiable with live recording without lots of processing but whatever.


So we have anybody that does real drum recording.
Real drums here.
AKG D112, U47 or RE `20 on kick.
Old 28th March 2010
  #3
This beat is sick! I love it. I think I might have to start learning the piano, because this is just ridiculous sounding. The slide he did is crazy good. By the way, I know it might be taboo around here, but I've started working with some producers who are african american, and It feels like some of their beats could not be done by any other people than them. I personally would never be able to even think of doing this style of music.
Old 28th March 2010
  #4
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Quote:
Originally Posted by Chris Lago View Post
This beat is sick! I love it. I think I might have to start learning the piano, because this is just ridiculous sounding. The slide he did is crazy good. By the way, I know it might be taboo around here, but I've started working with some producers who are african american, and It feels like some of their beats could not be done by any other people than them. I personally would never be able to even think of doing this style of music.
Why do mufukkas in those videos always act like they are on to some "next ****" when in reality,its just some amateur sounding crap .
And that ****ing "head nod" thats supposed to make you believe that the beat is dope.
Give me a break!!!
Old 28th March 2010
  #5
Quote:
Originally Posted by phillysoulman View Post
Why do mufukkas in those videos always act like they are on to some "next ****" when in reality,its just some amateur sounding crap .
And that ****ing "head nod" thats supposed to make you believe that the beat is dope.
Give me a break!!!
Haha. I could possibly write a hit song over his beat. I personally could not come up with this style of beat. I just don't make beats that sound like that (with a swing etc). Until I get you for a project I'll settle for less heh
Old 28th March 2010
  #6
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Quote:
Originally Posted by phillysoulman View Post
Why do mufukkas in those videos always act like they are on to some "next ****" when in reality,its just some amateur sounding crap .
And that ****ing "head nod" thats supposed to make you believe that the beat is dope.
Give me a break!!!
Haha i believe that head nod, is whats called selling the song. I remember been told a few years ago by some pretty successful producers (well there very successful now as band, huge in europe and just made top 20 here in states) that when showing your music to people who matter, make sure to nod your head and look like your loving it etc.
Old 28th March 2010
  #7
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Quote:
Originally Posted by Realziment View Post
Haha i believe that head nod, is whats called selling the song. I remember been told a few years ago by some pretty successful producers (well there very successful now as band, huge in europe and just made top 20 here in states) that when showing your music to people who matter, make sure to nod your head and look like your loving it etc.
Yeah,and the people who fall for that head nod bull**** are totallly tone deaf,clueless idiots.
The drums on that first beat were totally out of sync.
Just bloody horrendous...and he needs to bag the hat...its another ploy for convincing unknowing clients of his alleged street cred.
Old 28th March 2010
  #8
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Quote:
Originally Posted by phillysoulman View Post
Yeah,and the people who fall for that head nod bull**** are totallly tone deaf,clueless idiots.
The drums on that first beat were totally out of sync.
Just bloody horrendous...and he needs to bag the hat...its another ploy for convincing unknowing clients of his alleged street cred.
OK very true..... therefor today's A&R are ____________?
Old 28th March 2010
  #9
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Lol but its polite to nod ya head!

If a friend played me his beat and i didnt nod that would be kinda rude!

Oh and if i truly didn't like it there would always be a ''but'' after the head nod!
Old 28th March 2010
  #10
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Quote:
Originally Posted by Realziment View Post
OK very true..... therefor today's A&R are _tone deaf idiots___________?
the scourge and downfall of the industry
Old 28th March 2010
  #11
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Quote:
Originally Posted by fingerbeats View Post
Lol but its polite to nod ya head!

If a friend played me his beat and i didnt nod that would be kinda rude!

Oh and if i truly didn't like it there would always be a ''but'' after the head nod!
**** being rude... be rude and be HONEST...like it or not
Old 28th March 2010
  #12
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somebody around here definitely needs to get out more.
Old 28th March 2010
  #13
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Quote:
Originally Posted by fingerbeats View Post
Lol but its polite to nod ya head!

If a friend played me his beat and i didnt nod that would be kinda rude!

Oh and if i truly didn't like it there would always be a ''but'' after the head nod!
Well yea but we were actually talking about nodding for your own beat. ol
Old 29th March 2010
  #14
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Live drums talk and no sight of storyville or illacov yet? heh
Old 29th March 2010
  #15
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Who gives a F**K. Beats hot to me. He could be wearing a pineapple on his head and nodding his nut sack. Come on already. Dang. Can we talk about drums now.
Old 29th March 2010
  #16
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Wow didn't know I shared the co-anchor with Storyville lol.

I'm no expert, just put a ****in mic in front of the kick drum and make it sound good. Pillow, studio foam, a heavy object to make the kick drum heavier...Lots of tricks.

Lately I'm recording a 20" kick with no front head, big blanket on the inside barely touching the batter head. Lots of mids, very little lows. However this kick sounds very close to what you hear alot as the fundamental for the 90's kick sound. So I dig it heavy. I think if anything I will keep this kick drum like this and have another larger one around.

What I do is use js/tonegate to get that low end back and tune the sub to the tonic of the song.

Lately, the tube Oktava 319 (called the Kosmonaut) running into my pm700 sounds like the ****. I just got a 5 channel modded Dukane Medallion mixer (I had the seller add direct outs off the 5 preamp cards, the input transformers are HUGE) and its very bass friendly. So it should see alot of usage in up coming sessions.

As far as recording drums for hip hop music, get the dirt at the source. **** that color during the mix bull****. Use your best toys early and evil. If you only have one sick ass compressor and one sick ass microphone in your studio then use it the best way you can.

If that means overdubbing kick, snare and hihat separately then DO IT!

If you really want some sick grungy ****, take like 300 bucks and go on ebay.

Find the cheapest German/Czech/Russian dynamics you can find and ignore everything people on gearslutz say for the next 6 months. The Menahind Street Band was a new album when they sampled it for Jay Z....repeat that to yourself a few times. The Menahind Street Band was NEW when it got sampled.......

Make a hit record and watch the sheeps go BAAAAAAAA!!!
Which also can be interpreted as selling more than 50 records on Itunes, which makes you the man......LMAO

Peace
Illumination
Old 29th March 2010
  #17
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BTW the beats both seem to be done better than most of the bull**** I've heard in the last 3 months lol.
He can actually play the piano too, seems like somebody played in church for a while....I don't get why he didn't figure out the notes and play them himself if he liked the arrangement? Plenty he could have done to get that same sound. **** if you can play sus chords, I'm sure you can play 7ths and 9ths for cryin out loud!

But to each his own (strokes Spinet piano).

Somebody who works for the industry would probably complain that they sound "too good."

Regarding him dancing to the music, come on guys lighten up. He enjoys what he does.

You never been to a session where the music just moves you?

I love it. Long haired hippie on a hollow body Guild guitar goin sick over a straight 70s pimpin hip hop track. When that **** starts knocking, I'm grabbin a tambourine and doin' the African booty dance. That's what its all about for me lol.

Then I sit down and say in my best special reserve collegiate voice "Yes that will do nicely...."

I dance when I cook too. Must be the upbringin or somethin...

Peace
Illumination
Old 29th March 2010
  #18
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I might have to opt outta this one - though I'm honored to be an elected official.

If you think about the brands of kick drums: Pearl, Ludwig, Gretsch, Yamaha, Tama, etc, the number of dimensions: 16x18, 16x20,....x26, 18x18,...x26, the number of heads: Evans, Remo, Aquarians, plus the previously mentioned brand names, the number of different head types: EMADs, Super Kicks, Powersonics, Ambassadors, etc etc, head material, drum material: birch, steel, plexiglass, maple, etc............. well the list is just endless.

Cold recommendation: 16x24 maple EMAD heads - gives you a cut in the resonant head so you can get in there and they're pretty versatile sounding - nice maple resonance, a good amount of punch and low end without as much boom as an 18". High enders from any of the companies listed are good bets. Get a double sided pedal, rubber and wood, with a little wool condom depending on what kind of attack you want.

Or, get the drum and make it work.
Old 29th March 2010
  #19
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Quote:
Originally Posted by Storyville View Post
I might have to opt outta this one - though I'm honored to be an elected official.

If you think about the brands of kick drums: Pearl, Ludwig, Gretsch, Yamaha, Tama, etc, the number of dimensions: 16x18, 16x20,....x26, 18x18,...x26, the number of heads: Evans, Remo, Aquarians, plus the previously mentioned brand names, the number of different head types: EMADs, Super Kicks, Powersonics, Ambassadors, etc etc, head material, drum material: birch, steel, plexiglass, maple, etc............. well the list is just endless.

Cold recommendation: 16x24 maple EMAD heads - gives you a cut in the resonant head so you can get in there and they're pretty versatile sounding - nice maple resonance, a good amount of punch and low end without as much boom as an 18". High enders from any of the companies listed are good bets. Get a double sided pedal, rubber and wood, with a little wool condom depending on what kind of attack you want.

Or, get the drum and make it work.
And knowing is half the battle. Geeeearrrrslutzzzzz!!

Peace
Illumination
Old 29th March 2010
  #20
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Quote:
Originally Posted by phillysoulman View Post
Why do mufukkas in those videos always act like they are on to some "next ****" when in reality,its just some amateur sounding crap .
And that ****ing "head nod" thats supposed to make you believe that the beat is dope.
Give me a break!!!
Everybody has to start from somewhere man. As far as YouTube videos go, Boon Doc has some entertaining stuff, and he seems to be going in the right direction with his craft.

No offense, but you kind of remind me of a retired Bill Cosby.

He seems obsessed with hating on and complaining about young African Americans, in which most of what he is saying is true.

You seem to be obsessed with hating on and complaining about young, up and coming music talent, but in your case most of what you are saying is unnecessary.

You are being far too analytical over this video then you really ought to be.
Old 29th March 2010
  #21
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Quote:
Originally Posted by PettyCash View Post
Everybody has to start from somewhere man. As far as YouTube videos go, Boon Doc has some entertaining stuff, and he seems to be going in the right direction with his craft.

No offense, but you kind of remind me of a retired Bill Cosby.

He seems obsessed with hating on and complaining about young African Americans, in which most of what he is saying is true.

You seem to be obsessed with hating on and complaining about young, up and coming music talent, but in your case most of what you are saying is unnecessary.

You are being far too analytical over this video then you really ought to be.
Not hatn,just statin'
Sometimes the truth hz.
Old 29th March 2010
  #22
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And who's "truth" would that be?! Yours?!

Man...your whole game is to beat up on everybody else while languishing in the past. Where are YOUR recent Top 20 Billboard hits?! What are YOUR last 10 major label credits?! How many sells are YOU getting on iTunes?!

I can't respect YOUR past because you don't respect ANYBODY in the present. Hell, Timbaland, Polow, BM Cox, J Dupri....it's all "amateur hour" for YOU, right?

Quitting dumping on people, Bobby. Your candle doesn't get any brighter just because someone else lights theirs. And, by blowing theirs out, you just make the fvcking room darker. In the long run, folks might respect the old school more.

Jeezz....
Old 29th March 2010
  #23
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skiroy's Avatar
 

KIKS galore

Quote:
Originally Posted by PeeWeeGee View Post
And who's "truth" would that be?! Yours?!

Man...your whole game is to beat up on everybody else while languishing in the past. Where are YOUR recent Top 20 Billboard hits?! What are YOUR last 10 major label credits?! How many sells are YOU getting on iTunes?!

I can't respect YOUR past because you don't respect ANYBODY in the present. Hell, Timbaland, Polow, BM Cox, J Dupri....it's all "amateur hour" for YOU, right?

Quitting dumping on people, Bobby. Your candle doesn't get any brighter just because someone else lights theirs. And, by blowing theirs out, you just make the fvcking room darker. In the long run, folks might respect the old school more.



Jeezz....
Very well said and sounds completely accurate to me. But I much appreciate ILLCOV and STORYVILLE. YOu cats are consistently helpful.

But what I would like to get going is People who do do this to post some samples and explain what they did. Illcov has done so but thats its. Is evryone else not doing this? The tricky thing is I have heard beats where people recorded there own drums but they usuallu have a natural sound.

I want mine to beat you over the head like the one in the vids and like jus blaze sh*t when his drums sound like they are gong to beat your a$$. Thats how I like my drums. I know I would have to chop em and sequence them cause Im not going to get the super solid dynamic with a live recording.

But storyville your recomendation sound pretty damn reasonable. So you think a bigger diameter head and a short depth kick. That makes sense. How to you think a 22" diameter x 20" kick would compare. I heard one with a aquarian super kick II on it at guitar center and it sound dope. Powerfull, deep.But they said it was made of gumwood or some craziness I never heard before. But I have come to realize what a kick sounds like in person doesnt really translate the same on tape.
Old 29th March 2010
  #24
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Nahuel's Avatar
 

skiroy to me you're also looking for "sound design" techniques...I'm not an expert at micing drums but I'm not too bad at "designing", I even manage to make some lil dough from that ability...

So yea you could sample some real drums, from vynil, Cdz K7's whatever, use sound banks...

now you want your drums to sound like hip hop right? you can play with countless fx... to me that kik in the vid use a lp filter (that's the most obvious fx I can "detect")... anyway here's a list of stuff you can do to your drums, experiment with that stuff, practice

layering
pitch shifting
compression
filtering
eq
bit crushing/down sampling
saturation
reverb (gate)
reversing
time streching
almost anything

hardware, software, whatever...

and I highly recomend to layer percs/toms with bass drums. percs/claps clicks with snares, high percs with hh.

you can layer a sound with itself at different pitchs/filter settings etc.

countless options, lots of fun.
Old 30th March 2010
  #25
Quote:
Originally Posted by skiroy View Post
He could be wearing a pineapple on his head and nodding his nut sack.
Can I have this as a .sig skiroy?! please?!
Old 30th March 2010
  #26
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Storyville's Avatar
Quote:
Originally Posted by skiroy View Post
Very well said and sounds completely accurate to me. But I much appreciate ILLCOV and STORYVILLE. YOu cats are consistently helpful.

But what I would like to get going is People who do do this to post some samples and explain what they did. Illcov has done so but thats its. Is evryone else not doing this? The tricky thing is I have heard beats where people recorded there own drums but they usuallu have a natural sound.

I want mine to beat you over the head like the one in the vids and like jus blaze sh*t when his drums sound like they are gong to beat your a$$. Thats how I like my drums. I know I would have to chop em and sequence them cause Im not going to get the super solid dynamic with a live recording.

But storyville your recomendation sound pretty damn reasonable. So you think a bigger diameter head and a short depth kick. That makes sense. How to you think a 22" diameter x 20" kick would compare. I heard one with a aquarian super kick II on it at guitar center and it sound dope. Powerfull, deep.But they said it was made of gumwood or some craziness I never heard before. But I have come to realize what a kick sounds like in person doesnt really translate the same on tape.
ok, I guess I'm in this thread.

I have some sample stuff up in another thread. I will be posting the final master in the next few weeks - so from that thread you can hear the untouched drum sound, the rough mix, to the final mix and master. I also have some samples demonstrating how much difference it can make to simply shoot a kick drum back through a preamp and configuring the input and output to add harmonic distortion.

Now, the kick that I have in the other thread has a boom-bap kind of sound. Very boomy - it's a smaller diaphragm and longer resonating body. Very little gating, lots of different styles of compression. For a more modern sound you probably want something with a deep hit up front. It's important to be able to tailor the sound a little bit, which is why I recommended the EMADs and the different batter sides.

You're definitely right that a lot of kicks sound very different than how they record. Kind of. We don't really stick our ear INSIDE the kick (bad move for people who value their hearing) - so the mic gets a very different perspective.

How you process the kick is very much important. As is mic positioning. Hip Hop kicks are squashed, re-squashed, and squashed again. It's very important to have a very focused low end, not just big flub, and a very noticeable attack - that's what's going to end up in your recording. The mid tone of the drum can be wonderful, but rarely finds it's place in modern Hip Hop. So tight, focused low end, sharp articulated attack.

From there, it's using mics that have a natural compression shape to them, using positions that articulate the attack, sustain, or both. There's a million ways to do this. A D112 right in the cutaway, only an inch in, aimed at the shell gets a good mix of both. A 112 close to the shell will give you a P shaped attack without much sustain, whereas midway into the shell, aimed at the batter will give you a click shaped attack. And you can angle it however to find a blend. For the attackier inside pickups, your best bet will be to couple this with an outside capture. A dynamic close to the resonant head will give you a Poof sound - which can be cool, but usually not a move for Hip Hop. A condenser on the resonant head will give you more of a Woof. You can tunnel the kick drum, and place a condenser three feet back (sometimes more) and just get an Ooo sound. This can be very useful to just compress to all hell and give it an 808y sound. You can place a condenser outside at the top of the kick drum, back a bit, and aimed 45 degrees down at the center (I suggest monitoring in headphones cause the sweetspot changes for this positioning). This also give a nice blend of attack and oomph, with a good deal of the "air" sound.

Then once you have the recording - you get **** it up and make it nasty.
Old 30th March 2010
  #27
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Quote:
Originally Posted by Storyville View Post
ok, I guess I'm in this thread.

I have some sample stuff up in another thread. I will be posting the final master in the next few weeks - so from that thread you can hear the untouched drum sound, the rough mix, to the final mix and master. I also have some samples demonstrating how much difference it can make to simply shoot a kick drum back through a preamp and configuring the input and output to add harmonic distortion.

Now, the kick that I have in the other thread has a boom-bap kind of sound. Very boomy - it's a smaller diaphragm and longer resonating body. Very little gating, lots of different styles of compression. For a more modern sound you probably want something with a deep hit up front. It's important to be able to tailor the sound a little bit, which is why I recommended the EMADs and the different batter sides.

You're definitely right that a lot of kicks sound very different than how they record. Kind of. We don't really stick our ear INSIDE the kick (bad move for people who value their hearing) - so the mic gets a very different perspective.

How you process the kick is very much important. As is mic positioning. Hip Hop kicks are squashed, re-squashed, and squashed again. It's very important to have a very focused low end, not just big flub, and a very noticeable attack - that's what's going to end up in your recording. The mid tone of the drum can be wonderful, but rarely finds it's place in modern Hip Hop. So tight, focused low end, sharp articulated attack.

From there, it's using mics that have a natural compression shape to them, using positions that articulate the attack, sustain, or both. There's a million ways to do this. A D112 right in the cutaway, only an inch in, aimed at the shell gets a good mix of both. A 112 close to the shell will give you a P shaped attack without much sustain, whereas midway into the shell, aimed at the batter will give you a click shaped attack. And you can angle it however to find a blend. For the attackier inside pickups, your best bet will be to couple this with an outside capture. A dynamic close to the resonant head will give you a Poof sound - which can be cool, but usually not a move for Hip Hop. A condenser on the resonant head will give you more of a Woof. You can tunnel the kick drum, and place a condenser three feet back (sometimes more) and just get an Ooo sound. This can be very useful to just compress to all hell and give it an 808y sound. You can place a condenser outside at the top of the kick drum, back a bit, and aimed 45 degrees down at the center (I suggest monitoring in headphones cause the sweetspot changes for this positioning). This also give a nice blend of attack and oomph, with a good deal of the "air" sound.

Then once you have the recording - you get **** it up and make it nasty.
This is why I have so many different types of preamps here.

I have something ridiculous like 27 channels of transformer coupled preamps.

They are not 27 different preamps mind you but usually sidecars or a couple pairs of different types etc..

On kicks they all have different flavors.

For example, the PM700 (mine has just the input transformer) is very mid forward, decent bass response and a clear top end. On kicks it sounds like it describes. You get alot of mid thump, the way I have been recording kicks lately seems to play into that. It helps to have a 20" X 16" kick. This thing is tiny but sounds sick. It does lack subs because it only has the batter head on but its great going thru the 700.

The PM1000 is much darker in my opinion. It lacks the output transformer as well but even without it, is still very colored and offers alot of maple syrup on the kick. It definitely has a even freq response, offers more bass presence, mids and highs are pretty flat. Kick sounds pretty dark and straight forward.

Voicematic Automixer - has Beyer input transformers, sounds very full and forward, lotss of nickel in the transformer design, yet warm. This is currently a 2 to 1 automixer with a buss compressor built in, I use it to do a compression buss on kick and snare, pumps like crazy if you overdrive it, 80 db of clean gain a preamp channel. It has a ginormous output transformer. Sounds monstrous. Adding direct outs soon and searching for more modules, this thing is a lunchbox setup with pull out preamp cards.

Sony MX20 - 8 channel discrete FET mixer. On its way out very shortly to get direct outs added. Transformers on each input, 4 output transformers available on the 4 busses. Pres are a very medium tone, very even sounding and mellow. On kick they really add that nice yellow warmth to the transients. You still get a good full response but it just adds that nice dose of color.

Dynamix 3000 - Very hifi, yet colored. British designed console, reminds me alot of the late 70s sound. Got a nice thing going on with clear top end and mids with accurate bass. Doesn't impart a **** ton of color but you definitely hear those Belclere transformers doin the damn thing.

Dukane Medallion mixer -Man oh man this thing is ridiculous! 5 channel mixer, converted to 6 channels on direct outs. 70 db of clean gain, sick giant capacitors on the channels. Each channel is on a separate card. Transformers that are HUGE on the inputs, bigger than the Altec plug in pres by far. They have these superb mids and top end response with a very sick bottom end. When you overdrive them the bass starts to get gigantic and it just gets stupid warm. Very nice and versatile sounding preamp. Secret weapon on kicks and snares, big boom bap sound.

Peace
Illumination
Old 30th March 2010
  #28
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Storyville's Avatar
Quote:
Originally Posted by lpuma View Post

and I highly recomend to layer percs/toms with bass drums.
Old 30th March 2010
  #29
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Storyville's Avatar
Quote:
Originally Posted by illacov View Post
Each channel is on a separate card. Transformers that are HUGE on the inputs, bigger than the Altec plug in pres by far. They have these superb mids and top end response with a very sick bottom end. When you overdrive them the bass starts to get gigantic and it just gets stupid warm. Very nice and versatile sounding preamp. Secret weapon on kicks and snares, big boom bap sound.

Peace
Illumination
Old 1st April 2010
  #30
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skiroy's Avatar
 

Quote:
Originally Posted by Storyville View Post
ok, I guess I'm in this thread.

I have some sample stuff up in another thread. I will be posting the final master in the next few weeks - so from that thread you can hear the untouched drum sound, the rough mix, to the final mix and master. I also have some samples demonstrating how much difference it can make to simply shoot a kick drum back through a preamp and configuring the input and output to add harmonic distortion.

Now, the kick that I have in the other thread has a boom-bap kind of sound. Very boomy - it's a smaller diaphragm and longer resonating body. Very little gating, lots of different styles of compression. For a more modern sound you probably want something with a deep hit up front. It's important to be able to tailor the sound a little bit, which is why I recommended the EMADs and the different batter sides.

You're definitely right that a lot of kicks sound very different than how they record. Kind of. We don't really stick our ear INSIDE the kick (bad move for people who value their hearing) - so the mic gets a very different perspective.

How you process the kick is very much important. As is mic positioning. Hip Hop kicks are squashed, re-squashed, and squashed again. It's very important to have a very focused low end, not just big flub, and a very noticeable attack - that's what's going to end up in your recording. The mid tone of the drum can be wonderful, but rarely finds it's place in modern Hip Hop. So tight, focused low end, sharp articulated attack.

From there, it's using mics that have a natural compression shape to them, using positions that articulate the attack, sustain, or both. There's a million ways to do this. A D112 right in the cutaway, only an inch in, aimed at the shell gets a good mix of both. A 112 close to the shell will give you a P shaped attack without much sustain, whereas midway into the shell, aimed at the batter will give you a click shaped attack. And you can angle it however to find a blend. For the attackier inside pickups, your best bet will be to couple this with an outside capture. A dynamic close to the resonant head will give you a Poof sound - which can be cool, but usually not a move for Hip Hop. A condenser on the resonant head will give you more of a Woof. You can tunnel the kick drum, and place a condenser three feet back (sometimes more) and just get an Ooo sound. This can be very useful to just compress to all hell and give it an 808y sound. You can place a condenser outside at the top of the kick drum, back a bit, and aimed 45 degrees down at the center (I suggest monitoring in headphones cause the sweetspot changes for this positioning). This also give a nice blend of attack and oomph, with a good deal of the "air" sound.

Then once you have the recording - you get **** it up and make it nasty.
Can you talk alittle about tuning and the number of ply of the woods.And is maple the wood of choice for this sound?
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