I’ve been dealing with some challenges around that recently so I thought I’d share some of the solutions I’ve found to this common problem.
You might be soloing the kick drum and trying to get it to sound good and once it sounds amazing you can’t figure out why it doesn’t work with the rest of the mix.
Soloing has its place of course, especially when you’re troubleshooting. But when it comes to the kick and bass it’s best to solo them together.
Playing Bass Lines To The Kick Drum
Your kick might sound a bit thin on its own so if you add in a bunch of low-end to thicken it up you won’t leave much room for the bass.
But if you solo them together you might find that there’s plenty of weight from the bass guitar that seems to enhance the kick drum.
The key take-away here is that you make sure you mix the low-end together instead of separately in a vacuum. The bass guitar and the kick drum has a symbiotic relationship and mixing them together is the key, even if you mute everything else.
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Low-end frequencies are big and bulky and the bass and kick are greedy sonsabitches that want to hog it all to themselves.
Even if they are great partners you can also look at them like brothers that argue a lot. And when that happens you need to teach them how to share.
As we discussed above, soloing both the kick drum and bass guitar together will give you a more rounded view of the low-end.
Tools For The Task: Pedalboard Percussion
At that point it becomes a decision making process that has more to do with the overall character of the mix than just the low-end.
If you’re mixing a country song you’ll want a more “basketball” sounding kick than if you were mixing a hardcore metal album. That should affect how you approach the low-end because a naturally brighter low-end (say at around 100 Hz or so) will help you get closer to country than giving the kick drum a big fat boost at 60 Hz.
Sometimes the recorded sounds will simply give you the answer you need. If the bass is naturally thicker, in the 80 Hz area for instance, you don’t want to cut all that out just because you want the kick to sit there. Make the tracks tell you what they need instead of deciding for them. It’s fascinating how little you might need to EQ if you just listen to what the tracks are telling you.
Bass Drum Vs. Kick Drum: The Differences Explained
But if there’s no real natural separation and both the kick and the bass are overly dominant across the low-end it’s time to make some decisions.
That’s when you bring out the EQ and start sweeping around. Try to find a natural sweet spot in each instrument that seems to flatter the overall sound. There might be a few distinct places so go back to the original question of what’s right for the genre or feel of the song. Once you’ve decided the sweet spot of each instrument and added some boosts in each respective instrument it’s always a good idea to cut the same area in the opposing instrument.
That way you end up dividing the frequencies between the two instruments and now they’re both sharing the same frequency spectrum without bothering each other.
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If that works you can call the low-end a day and keep working on the rest of the mix. But if the bass is still clashing and you can’t hear the snap of the kick drum from the low-end of the bass there’s still one thing you can do.
But what happens when you bring the rest of the mix in is that your kick might drown in all the other instruments.
Even if you hear the kick through the bass while solo’d the bass might still take over when everything is playing at once.
How To Eq Guitar, Vocals, Drums, & Every Common Instrument
By inserting a compressor on the bass guitar track and side-chaining it to the kick drum you can duck the bass guitar out of the way every time the kick hits.
But we don’t have to duck each instrument out of the way of the beater. We really only have to focus on the bass guitar because once that bass goes down a few decibels you’ll hear that snap from the beater again.
It’s called EQ Strategies – Your Ultimate Guide to EQ. It’s an eBook and video tutorial series filled with great practical tips on making the best EQ decisions for your mix.
A Firm Foundation: Mixing Kick And Bass Guitar
And the eBook also comes in eReader format for the Kindle or iBooks. Perfect for taking to the bar to enjoy with….you guessed it…a Pueblo Vida Hefeweizen!
“The Ultimate EQ Guide is helping me immensely! I am new to mixing but have been in many studios as a recording musician. It’s helping me clean up muddy mixes and get more punch out of my recordings. I highly recommend it!”
At Audio Issues you’ll learn simple and practical audio production tips you can use right away to improve your music from your home recording studio. Björgvin is the best-selling author of Step By Step Mixing and the founder of Audio Issues. He helps musicians and producers turn amateur demos into professionally produced records they can be proud to release.
Dog Plays Kick Drum For Acoustic Cover Of 'pumped Up Kicks'
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Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.What better place to start building your mix than the kick‑drum and bass parts? Get them to work well together and you're on your way to a good mix...
After some recent, and occasionally frustrating, experiences working on readers' remix projects, I thought it would be useful to offer a bit of advice on getting drums and bass instruments to work well together in a mix, and in particular how to get the kick drum and bass working in tandem. For the most part, I'll assume that all the parts in your track have been well played and recorded, and that only the sounds of the instruments need attention. However, I'll say a little about editing to improve timing, and remedial work required to bring recorded kicks up to scratch, because in my experience getting a great recorded drum sound in a small home studio can be a real challenge.
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These observations apply mainly to acoustic drums and to bass guitar — simply because that's what these projects used — but most tips will also be applicable at least to some extent when working with electronic sounds. Rather than write another 'everything you need to know' article (you'd need a book!), I've set out to offer a selection of practical tips and techniques that should help you make tangible improvements to your mixes very quickly.
There's always the option of drum replacement or reinforcement with samples, of course, but that's often a less straightforward process in practice than the theory suggests it should be! We've covered that subject in depth relatively recently (/sos/mar11/articles/cutting‑edge‑drums.htm and /sos/apr11/articles/trigger‑happy.htm), so have a look at those articles if you want to know more about that.
If you're editing your bass part to tighten timing, be sure to use the drum part as a reference, rather than snapping everything to the grid.
Yamaha Stage Custom Birch Bass Drum 18 X 15 Raven Black
Good timing is crucial, so it pays to put some time and effort into rehearsing, and thus to capturing a good, tight performance. Where an otherwise strong performance would benefit from tighter timing, most modern DAW software offers simple ways to make audio timing adjustments. Often, it's enough to view the kick and bass waveforms side by side and nudge any errant bass notes into position, so that they line up with the drums where appropriate. Don't get too carried away trying to satisfy your
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