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How to...
The perfect... kick drum
In dance tracks the kick is king. So how do top producers get the bone-rattling, heart-punching sound of the perfect bass drum? Sharooz explains all
In the ever-changing world of electronic music, where genres change overnight and technology allows ever more complex sounds into the fold, one thing is constant: the kick drum remains the single most important sound in a dance track. And with the emergence of more minimal and pared-down styles, the kick has become an even more essential weapon in the producer's armoury.
Twenty or so years back, when electronic music began its rise in popularity, and sampling was still in its infancy, there were only a handful of drum sounds in use. Regardless of genre it was a safe bet that your kick would come from either a Roland TR-909 or 808 (the 909 hit the high street in 1984), or if you were lucky, a 707 or Boss DR.
Nowadays, with near limitless options and literally thousands of one-shot kick samples on offer, the entire sound of a track can be changed by tweaking the kick. So what should the dance producer be considering when crafting their killer kick?
Type of sound
Let's presume you're building your track from scratch starting with the kick.
Decide at an early stage whether your kick will carry the lower-end energy or whether you will have a bassline sitting deeper in the mix (with lower frequency content).
A simple drum part comprising just a kick, snare and hi-hat will call for a bigger sound, with more low frequency content, a more rounded EQ, perhaps with a fast attack or a click or closed hi hat sound layered over it.
If you're anticipating a busier drum part with multiple elements, and lots of percussive elements, then choose a 'smaller' sound, with less compression and not too much energy in the low-midrange. Using a short, snappy decay will work better for a tighter rhythmic feel, whilst a longer decay can give a more laid-back, 'baggy', looser feel.
Kick drums are pitched instruments. Pitching the sound down will give a moodier, sparser and more underground tone (the 'deep' kick). Pitching the kick up will create a more energetic 'bouncy' feel. If you're working a kick drum in after you've created your melody then remember to pitch the kick so that it works with the scale of the song.
Most importantly of all, make sure you choose a sound that carefully fits the snare.
If the snare falls on the 2nd and 4th beats in a four-on-the-floor rhythm, tweak the transients and eq so the two elements combine well and give room for percussive elements or hi-hats to sit between.
Mute and solo rhythmic elements and don't be afraid to turn up the volume to check the sound you've chosen gives sufficient punch when played in isolation.
Layering
Sample layering can help you create more original kick drum sounds.
Try layering two or three different drum sounds. Both 808 and 909 kicks have solid low ends. Enhance them by using a low pass filter to shape the sound, giving a nice low frequency thud.
Now find a sample with good mid-range content (909 kicks are good here, as are live kick drum samples). Use a band-pass filter to roll off both the low and high frequencies leaving you with just the mid-range.
Now find a third sample, this time with more high frequency content (it could be a snappy kick or even a click, whte noise or hi hat sample). Use a high-pass filter to shave out the low and mid frequencies.
Layer these three sounds to produce a completely new kick sound. It is important to tweak the filter and envelope settings for each so they complement each other and sit well together. To help this route each sound to a group bus and compress them together.
Applying EQ
For a dance kick drum the EQ range of major concern will be the 60-125Hz region. This is where you will really add 'weight' to your kick. If you're working with an acoustic sounding kick or layering a higher, more ambient sound, there will also be other characteristics that can be brought out in other frequency ranges.
Boosting at 3-5khz can bring out the 'bite' of the kick, making the sound snappier and helping it blend better with the hi hat or snare.
Cutting at the 250Hz mark can reduce 'muddiness' and is often recommended to create a gap in the mix for the bassline (if you're doing this boosting the bassline a little at 250 will fill that gap).
Decisive kick EQ choices should always be made with the bassline in mind. A/B-ing with the bassline playing and muted will help get the two parts working together.
If you're working with a deep, subby bassline, boost the kick in the 90-125Hz range and cut in the 60Hz range to reduce clutter in the low-end.
Alternatively, if the bassline is more pronounced in the low-midrange, a narrow boost in the 60Hz region will give the kick the rumble you can often 'feel in your body' on a bigger club-style soundsystem.
Other effects
Compression plays a key part in the overall sound of the kick. Using a fast attack and decay brings the snapiness to the fore and increases perceived loudness. Try to apply EQ after compression as this will ensure the bottom end stays intact and won't be reduced or flattened out of proportion.
It's also worth noting the benefits a hardware compressor will boast here: to get the biggest kicks outboard really does make a difference, with classics like the Alesis 3630 - widely recognised as the most popular dynamics processor ever made - to more modern offerings like the Empirical Labs Distressor giving the kind of thump that most software compressors can only dream of.
Transient designers work well at the end of the effects chain, acting as a final step to ensure sufficient punch.
Sidechaining other musical and rhythmic elements 'out the way' of the kick is also important - hi hats, percussive and bass elements can all be 'pumped' to make the kick really stand out.
Finally, a word of warning: be careful not to overdo either compression or EQ. Remember the kick will be playing constantly through the majority of the track and an 'overcooked' kick that sounds great at the start can easily cause listener fatigue and make a rhythm sound dull or irritating after the first minute.
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Sharooz is an established Electro/House producer and co-founder of Sample Magic and Sounds/To/ Sample. His productions have figured on the Radio 1 playlists of Judge Jules and Pete Tong and featured on various compilations such as the Ministry of Sound Mash-Up. He also writes for EMI Music Publishing and BMG Zomba. For further info see: www.myspace.com/sharooz
(c) 2008 Sounds/To/Sample