{"id":313199,"date":"2025-11-23T07:54:45","date_gmt":"2025-11-23T07:54:45","guid":{"rendered":"https:\/\/peraltafinancing.com\/uncategorized\/how-to-mix-your-kick-drum\/"},"modified":"2025-11-23T07:54:45","modified_gmt":"2025-11-23T07:54:45","slug":"how-to-mix-your-kick-drum","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=313199","title":{"rendered":"How to mix your kick drum"},"content":{"rendered":"


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Version. 2 \u2013 updated June \u2013 2018 (After 5 years tweaking the same kick drum\u2026)<\/strong><\/em><\/h3>\n

So as I am getting back into writing some new production blogs, I figured it was high time I updated some of the old ones to add in a few more tips and knowledge about mixing the mighty Kick Drum.\u00a0 The world\u2019s a different place 5 years on\u2026<\/em><\/p>\n

The Big Bass Drum<\/strong><\/h4>\n

It\u2019s hard to overstate the impact your kick drum has on your tune as a whole, something I can get a bit obsessed about but its a healthy obsession considering the impact the Bass Drum can have on a House or Techno tune.\u00a0Putting my personal OCD aside, the fact is,\u00a0if your mixing breaks or four to the floor or anything else. Quite often the Bass or Kick drum is elevated in importance because of the way every other sound you hear is given its context by its relation to it.\u00a0 Everything plays off it\u2026 or directly works in reference to it.\u00a0 So your work and choice with the bass drum is really important, but hey I don\u2019t need to tell you guys that do I? Hands up who hasn\u2019t spent a whole evening going through kicks trying to find the right one, or spent the evening tweaking the EQ until the sun came back up.\u00a0 This kind of obsession may seem unproductive, a by-product of not having that overview or perspective on your track\u2026 I am here to tell you\u2026 carry on its a vital part of the process and if you\u2019re not happy with your kick, keep going until it\u2019s right as the most important thing is to get your anchor right, and of course there are a few things to keep in mind as you work.<\/p>\n

Music is tricky, bass drums even more so.<\/strong><\/h4>\n

One of the most common mistakes people make in their production is trying to fix all sorts of problems in the mix. By far the most common miss-step I find is that people seem to think that by just making the kick louder they can alleviate a lot of issues with their groove, make it smack more and help everything sit in place.\u00a0 The reason this mistake is common is because there are all sorts of psychological and psycho-acoustic cues that you get from something becoming louder, it sounds better \u2018at first glance\u2019.\u00a0 When you\u2019re working on your song and mix you are often zeroing in on one sound which can leave your perception of the mix as a whole a bit lacking, but when it comes to the balance of the kick you really need to take a step back to get it in the pocket.\u00a0 Of course there is a lot of artistic license for how your mix stacks up, so where the \u201cpocket\u201d is on your song is going to vary, but having your kick way too loud is always going to sound worse, the kick should always sit in that pocket, it\u2019s the fact it sits nicely in that pocket that will make it impact-full and energetic in the context of your track and making it 10Db louder than the rest of the mix will do nothing for your mix and start to break some of that context it gives to all your other parts, so be on your guard.<\/p>\n

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Don\u2019t be scared to compress your bassdrum, if it worked in the context of the overall mix. But when compressing always be wary of sapping the dynamics or loosing warmth<\/em>\u00a0 \u2013\u00a0 Listen to Grums music<\/a><\/strong><\/span><\/p>\n<\/blockquote>\n

Weak and flat kicks \u2013 the curse of EDM.<\/strong><\/h4>\n

In super loud music, like Top40 chart pop, EDM and other unmentionable and inexplicably popular top 10 stuff \u2013 I have noticed more and more people reaching for almost bodiless, poppy kicks.\u00a0 Either flat and poppy by design or squashed to death so they lose all their weight and power.\u00a0 Maybe this is something to do with it all being played on iPhone or laptop speakers, maybe it\u2019s because it\u2019s easier to just completely avoid having to balance the bottom end properly when you\u2019re working on a laptop on a plane?\u00a0\u00a0 I don\u2019t know, what I do know is it sounds like utter tripe when it\u2019s played in a club so mixing your stuff super loud with a thin bass drum is not the way to go if you want your music played in clubs.\u00a0 Although it may be easier to mix a kick like that, what it does to your track is suck all the rhythmic energy out of it.\u00a0\u00a0 The body, the frequencies from the sub 50Hz region through to the 100-250 area are the weight of your kick. The energy your kick puts into the mix comes from having a nice balance between your attack and the body. So don\u2019t fall into the thin pop kick trap, make sure you have a nice balance of body, sub and depth to the sound.<\/p>\n

Spotify and Apple Music Loudness normalisation.<\/strong><\/h4>\n

With trends towards loudness taken into account, in more recent years there has been a much welcomed shift in the tide away from this way of thinking. Big streaming companies e.g: Spotify and Apple Music, alongside many radio stations, are implementing loudness normalisation.<\/p>\n

In layman\u2019s terms, all music will be turned down a bit \u2013 so instead of peak level it\u2019s equal in average loudness level. This means if you crush your track, it won\u2019t sound any louder, it will sound less dynamic and somewhat weaker when played back next to other tracks with more dynamics.<\/p>\n

It always pays to be conscious of the dynamics of your track, which often can be a little difficult as psychoacoustics make louder seem better when producing, so you can see the trap people could fall into.<\/p>\n

You must pay attention, your mind can play tricks! One of the main dynamics in your track will be the Bass Drum. Spend some time listening to the attack and the body of the kick, the relationship between them, and the overall dynamic state. You need enough to cut through and give your track punch, but not too much as to make it nervous and sporadic with too stark dynamics. As with most things it\u2019s a fine balance.<\/p>\n

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Mixing the kick is one of most important things in mixing down a dance music track in my opinion.\u00a0 The most important thing is finding (or creating) the perfect kick to fit your song rather than tweaking one that isn\u2019t right.\u00a0 I often notice that people turn up their kicks too much if it actually just lacks the required presence for example. Once I have the perfect kick for my song, I start mixing the bass line. Once these elements start melting together, you can easily move forward with all the other elements.\u00a0 I am generally not a friend of compressing kick drums.\u00a0 If I need to work on the attack or sustain of a kick, I rather use a transient designer. One thing I usually do and I can really recommend is, checking your mix down with a limiter on you master bus.\u00a0 Just start limiting it slightly and see which element starts compression first. I usually try to have the kick being the first element that kicks into the threshold followed by claps and bass with an offset of like 2 or 3 db.<\/em>\u00a0 \u2013\u00a0 <\/span>Listen to Daniel Solars\u00a0music<\/a><\/span>\u00a0<\/strong><\/span><\/p>\n<\/blockquote>\n\n

The 909 and 808 and how to get the best out of them<\/strong><\/h4>\n

There is a reason these old Roland machines were so popular back in the day, and there is good reason they continue to be popular even as more choices came onto the market.\u00a0 Not because they were perfect, as there is no such thing as perfect sound in music, we like our variety.\u00a0 So this longstanding popularity despite changing trends alone makes their wide use quite a phenomenon.\u00a0\u00a0 The reason they retain almost mythical status and wide use even by people who don\u2019t own the original kit is because they offer a really idealized shape and tone for the basis of you kick.\u00a0\u00a0 Notice I say the basis not the end product.\u00a0\u00a0 The trick to getting the best out of a 909 or 808 isn\u2019t about capturing what comes out of the box, no, that would be far too simple.\u00a0\u00a0 Remember rule No.1 of music is that nothing is ever simple.\u00a0\u00a0 The secret to using the old drum machines is in how you twist and change it beyond that, that\u2019s not to say occasionally a pure 909 track is bad, but for everything else you are going to find the most joy in layering, sampling, compressing and distorting.\u00a0\u00a0 So you should really think, when you buy a 909, do you have a nice desk to drive it into? Do you have some outboard compressors that have a nice tone? Your work with these machines is mostly in the kit you have joining them in the chain and when you work like this you will find they really stand up well to being twisted around and messed with a lot whilst still retaining their fundamental energy that works perfectly in a dance track. Incredible forward thinking design or sheer luck, who knows?<\/p>\n

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Check the kick level on different systems \u2013 studio monitors, headphones, laptop speakers, club systems (if you get a chance) \u2013 it is easy to mix it too loud.\u00a0 Side chain the bass if the kick needs more room to breathe.\u00a0 Try EQing out the mid a little to give a nice rotund thump<\/em>\u00a0 \u2013\u00a0 Listen to KRL\u2019s music<\/a><\/strong><\/span><\/p>\n<\/blockquote>\n

Three Important Elements \u2013 the core of your track.<\/strong><\/h4>\n

How do we start a mix? A good mix-down is about energy and detail, the best tracks sound complex but the core flow and energy is succinct, not cluttered. It is easy to get side-tracked and on a path where you have an element (or two) dragging the whole thing down. A good technique is: start by muting all your tracks, dropping the faders and bringing up the 3 main components of the track. These are the core or minimum elements for you to hear the energy and groove of the track. It could be the Kick, Snare and Bass or possibly the Kick, Bass and something else \u2013 just the core elements to the sound and groove for you to hear the energy that you want without all the extra bits. You need to get the delicate balance of these three elements first.<\/p>\n

Once you have this core balance, you can start to bring back other elements one by one. Assessing all the time, is it doing the job it needs to do and is it messing up that core flow? As you bring elements back in listening to the groove you will soon hear when an element messes with the energy. Here you have some choices whether to mix it a little differently or change it completely. The most important part is maintaining the energy of the core elements whatever the three elements you picked and everything else fits around or behind.\u00a0 Listen for frequency clashes or dynamics ruining the groove \u2013 anything that takes away from the feel of the core.<\/p>\n

Right in the pocket.<\/strong><\/h4>\n

Your kick should not dominate your mix\u00a0\u2013 as I mentioned it\u2019s a game of balance.\u00a0It should sit nicely but prominently in it.\u00a0 It\u2019s one of the most important parts of the mix but the best kicks always sound louder than they really are because of the way they\u2019re mixed and how they sit with the other elements.\u00a0 You need to know where the bass in your kick sits, where the mid punch and the top end sit in terms of EQ and then adjust the things around them in the mix to compensate and to clear room for them so they cut through. You will often find you can carve a\u00a0couple of Db away from other prominent lead or bass parts\u00a0thats fall at the same time as the\u00a0kick and it will really let the bass drum come through clearly without losing any feeling from the tracks you cut from.\u00a0 You are effectively taking advantage of the kicks ear catching qualities to clean up your mix and lock in the groove. Once the balance of your kick and other main mix elements is nice you gain a lovely texture and rhythm to things. Everything feels natural \u2013 with nothing fighting against anything else \u2013 that\u2019s what you are listening for.\u00a0 Free flowing sound, well balanced tones and that everything can be heard fully in the mix.\u00a0 A good technique\/experiment is to turn your kick down a few Db even if it does sound right, once it\u2019s turned down, adjust the EQ on the other tracks to make sure the kick has plenty of room around it and nothings clashing or masking it. See how your mix sounds, then if your groove sounds tighter, and things don\u2019t seem so squashed\u2026 then you had previously set your kick too loud \ud83d\ude09 Which is a common mistake.<\/p>\n

EQ<\/strong><\/h4>\n

Another thing to listen out for is which part of your kicks tone is cutting through in your mix.\u00a0 Is the sub bass coming through nice and clearly but not much mid or body? Can you hear the high end click but the rest seems lost in the mix?\u00a0 EQ is one of the most powerful tools in your toolbox, and the changes can often be quite subtle. Which bit of the kick you want clear in the mix will always be a choice that\u2019s dependant on the kick you pick and the rest of your mix.\u00a0 Using EQ to gently boost and cut on the bass drum and the sounds that interact with it can really change the tone that comes through clearly.\u00a0 Especially in House music sometimes you want a bit more of the lower mids and mids coming through to give the kick a sense of chunkiness when paired with a nicely balanced bottom end.\u00a0 If you are struggling and having to make drastic changes with EQ thats also a sure fire sign you 1. have the wrong kick. 2. Your core balance between the 3 elements is off or 3. you need to take a break.<\/p>\n

\"Roland<\/a><\/p>\n

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EQng is the key. Its pretty obvious, but a well EQed kick will sit well with the sub and the rest of the tune.\u00a0 I usually do a pretty big boost and sweep around 200-300hz to find any muddy\/resonant frequencies and then make a dip once I have found one.\u00a0 A bit of a boost at 90-110 hz always gives proceedings a bit more thump. I find playing the kick and standing in all sorts of places in\/outside the room will give you an idea of how it will sound in different places, which essentially is the aim, for your music to sound as similar as it does in the studio to out in clubs\/cars\/homes.<\/em>\u201d\u00a0 \u2013\u00a0 Listen to Midlands music<\/a>\u00a0<\/strong><\/span><\/p>\n<\/blockquote>\n

Tuning the drums.<\/strong><\/h4>\n

Tuning can have a massive effect on the mix, changing phase relationships and the way sounds lay over each other often quite drastically.\u00a0 There is a lot of great music where the drums are not tuned.\u00a0 This is why I find it hard to say it\u2019s vital to a good mix. BUT, with that said, what will bring down a mix in no time is if the kick is truly out of key, or clashing in some way.\u00a0 This is what you need to be most aware of. It\u2019s sometimes hard to listen to percussion in terms of tune as the note is often so short and often all over the place. But always have a think about things in terms of clashing, try moving its pitch up and down a little bit see if things start to sound a little more solid and clear.\u00a0\u00a0 If your kick has a prominent tone to it, you can try tuning it fully by ear, or by pitching it up and checking it on a guitar tuner or something, it\u2019ll never harm your track. Often I will mess with the fine tune on the sampler just to see if i can get the bottom of the kick coming through clearer.<\/p>\n

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When I begin the process of writing a track I generally settle on a nice sounding kick thats close to what I want and carry on writing, once elements and vibe are locked in I re-address the sound and texture of the kick to compliment the track. Layering kicks EQing and processing play strong parts.<\/em>\u201d\u00a0 \u2013\u00a0 Listen to Oli Furness\u2019s music<\/a>\u00a0<\/strong><\/span><\/p>\n<\/blockquote>\n

Sampling, layering and other techniques for getting a good unique kick<\/strong><\/h4>\n

Hybrid, this is one of my favourite terms when talking about sound design and especially crafting new kicks, start with a 909 bass drum, add an old disco kick on top to give it some character\u2026now you\u2019re talking.\u00a0 Layering and mixing with kick drums (and all drums really) is a great way to create really complex and unique new sounds.\u00a0 When you\u2019re mixing two sounds together in this way you have to take into consideration a few things: firstly the frequency content of each component sound, you can\u2019t often mix 2 kick drums with nice bottom end and get them to instantly sound good together, you might need to take the bass out of one and just mix in its mid and top, but really, as always there are no rules, you just need to know what tools to reach for when you\u2019re working.\u00a0\u00a0 Those tools are your EQ, work in broad strokes with an EQ or filter, cutting out the bottom end or top end until the sounds mesh and sound as if they are one sound.\u00a0 You also have the tuning of your samples; working with these can often change a lot of things in a bass drum due to the effect of comb filtering and frequencies cancelling each other out so I would advise getting a nice tuning between your 2 samples as the first step.\u00a0 Next is your timing, make sure you work with your sequencers sample start or track delay settings so you can shift sounds back and forth a bit.\u00a0 Listen to what happens as you move things about. Frequencies will become strong some will disappear, most importantly you\u2019re looking for a nice tight sound with as little flab as you can get but whilst retaining a good fundamental balance needed for a kick drum. (Unless you\u2019re after a\u00a0 kick drum which is a little loose in the attack of course)\u00a0 So move the samples about a bit until the attacks line up nicely, this may not mean they both start at the same time so don\u2019t do it by eye.\u00a0 Do this by when it sounds tightest, do this by EAR, that\u2019s your number one rule.\u00a0\u00a0 The last of the \u201cmost important\u201d tools when layering kicks are your envelopes, sometimes you might want to have one kick really short so you\u2019re just taking its attack phase and then another with a slower attack so you\u2019re just getting its body and boom afterwards\u2026 this can be a powerful technique but pay great attention you don\u2019t end up with too much separation between the two sounds, as it could slow your mix down and cause other rhythmic problems.<\/p>\n

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For me hardware can be a great benefit here, even a cheap hardware compressor can grab the sound and give you more weight than most software compressors, but the true weight comes from drive and distortion, pushing the kick into sherman or a culture vulture to get that little bit of harmonic distortion really is what my kicks are all about<\/em>\u00a0 \u2013\u00a0 Listen to Kastils music<\/a>\u00a0<\/strong><\/span><\/p>\n<\/blockquote>\n

Sampling from vinyl is good.<\/strong><\/h4>\n

Not that I am some old fashioned purist but you have to know that sampling stuff from vinyl is always a good source.\u00a0 Not just because of the sonic qualities inherent to the format that we all like.\u00a0 Trust me we do all like them, even those digital monkeys who insist they aren\u2019t interested, they are just being stupid. FACT :-p<\/p>\n

Sampling from vinyl is a strong source for another reason.\u00a0 In the digital realm we have suffered from what people call the loudness war for a long time, this has meant that over time engineers and marketing departments have competed to slowly push us towards over limited and over processed masters, where most of the dynamics have already been annihilated from the track as a whole, sacrificed on the altar in the name of taking advantage of the old psycho-acoustic effect that makes people think louder is better, i.e: the louder your song is on the radio the better people will like it compared to the others.\u00a0 Obviously this kind of thinking is over -simple, incomplete and lacking in any clarity or appreciation for quality, and is about what we should expect from major labels.\u00a0\u00a0 So you end up with kicks which are already too compressed to be of much use for your mix.\u00a0 Getting hold of stems or of a copy of a mix-down is also rare but not impossible.\u00a0 This is why sampling from CDs or digital stuff generally gives material that isn\u2019t as useful as it might seem once you get it in the mix, and you might find that you end up layering in other sounds to add back some of that lost punch.\u00a0 When pressing vinyl none of this loudness war really existed in any major way, vinyl in fact held the loudness war back due to the inherent restrictions of the format and the way it is produced. A vinyl master often has most, if not all the dynamics left in since you got a nicer sounding and playing record that way, so what you\u2019re getting from that sexy plastic disk is a lot closer to what the producer would have been working with in the studio. With kicks the dynamics are the most important thing.\u00a0 You might need to control and tame them, but you absolutely need some punch with your kick\u2026 Going back to what I said earlier about flat popping kicks, that\u2019s what makes them so bad too, they lose that dynamic and impact and it\u2019s especially bad for house music or techno.<\/p>\n

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The most important thing for me when mixing a Kick is to bring it in the same pitch like the rest of the track.\u00a0 It\u2019s much easier to mix especially Bass drum & Bass lines together which both are in the same frequency range when they have the same pitch.\u00a0 At the end I think it\u2019s better to search for another Kick sample if you still have the feeling that it doesn\u2019t fit into the track before trying to rework the Kick with an EQ or a compressor.\u00a0 I\u2019m just using an EQ for deleting the low end frequencies and maybe pointing out some frequencies that fits to the rest of the track, so I\u2019m getting a connection to other sounds. I\u2019ve noticed that many producers are quite often mixing the kick simply too loud which actually isn\u2019t necessary. For me it\u2019s much more important to get a harmonic overall sound. If you really have the feeling that your Kick needs a bit more punch then use a compressor with a quite short attack to limit the kick and bring out the low frequencies. But personally I\u2019m actually not working that much with compression.<\/em>\u201d\u00a0 \u2013\u00a0 Listen to Marc Poppckes music<\/a><\/strong><\/span><\/p>\n<\/blockquote>\n

Arrangement, Arrangement, Arrangement\u2026.errm location.<\/strong><\/h4>\n

So we have said a lot about bass drums and what you can do directly to them, but the funny thing is \u2013 the fact remains that probably the most important thing ever is arrangement. Music is all about symphony of parts, so the impact of what surrounds your parts has on the part itself cannot be understated.\u00a0 I have heard kicks that sound floppy and horrible in isolation but sound absolutely perfect in a mix because the arrangement and syncopation of the percussion around it was just so right.\u00a0 So a lot of your mix issues can be alleviated without touching your mix at all, moving some percussion around, making sure your groove is right and your placement is right and your envelopes are tight.\u00a0 This advice can apply to your whole track, on the macro level as well as the micro level.\u00a0 Arrangement is pretty much king, so in many ways,\u00a0 if something\u2019s not right \u2013 reach for the arrangement FIRST to see if there is an improvement which can be made there first, before following any of my other advice.\u00a0 If you are struggling to get a bass drum to sit in your song, and you have tried everything else, then it\u2019s pretty certain it\u2019s going to be fixing something else in the arrangement or changing the kick out.<\/p>\n

\u00a0<\/p>\n<\/p><\/div>\n\n","protected":false},"excerpt":{"rendered":"

Version. 2 \u2013 updated June \u2013 2018 (After 5 years tweaking the same kick drum\u2026) So as I am getting back into writing some new production blogs, I figured it was high time I updated some of the old ones to add in a few more tips and knowledge about mixing the mighty Kick Drum.\u00a0 […]<\/p>\n","protected":false},"author":1,"featured_media":313200,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[143007,143008,143009,143010,143003,143011,143004,143005,143012,143006],"tags":[143013,143014,143015,5868,2654,1596,143016,3628,17488],"dealstore":[],"offerexpiration":[],"class_list":["post-313199","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-143007","category-143008","category-bass-drums","category-beat","category-front-page-banner","category-kick-drums","category-mixing-technique","category-most-popular-blogs","category-rhythm","category-talk","tag-143013","tag-143014","tag-bass-drums","tag-beat","tag-drum","tag-kick","tag-kick-drums","tag-mix","tag-rhythm"],"yoast_head":"\nHow to mix your kick drum - 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