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do you layer your bass drums for that omph?
and if so how?
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Actually I don't- but now you come to mention it I'm going to give it a try. I think I will probably start with having about ten individual London tracks running in Korg Gadget each playing the same bass drum beat- then randomly pick two or three at a time and mute the others to see how they sound together- then maybe add some reverb. Looking forward to hearing other peoples ideas
I do in BeatMaker 2. You just pull up a new 16 pad drum interface, copy the original MIDI track, paste it to the new drum interface track and for extra mojo record automation tweaks and adjustments along the timeline. It will be even easier in BM3.
Yes I do. I normally look for two; one with a lot of sub and another with more mid bass. Then filter/adjust according. I find it helps cut through the mix more. It's a difficult frequency to mix so I always check on different headphones/speakers and use my subpac
Yep!....... On the Bass Kick....... Mono is your friend.......
Yep. Often I find one that has the transient/thwap I want and another that has the boom. Generally setting an envelope on the transient one to be very short.
There's also the old trick of snipping the start of the kick sample to a non-zero crossing. This creates a little crackle at the start that can give you plenty of initial transient.
Would anyone be able to explain why mono is helpful when mixing your BD? I'm very interested why it would be.
So here's perhaps an inane question, but I really like some of the bass drums in the London and Recife gadgets. Is there anything I need to do to convert them to mono, or are they already in mono? I don't think Gadget has stereo tracks, but they can be panned. So are all the Gadget sounds and tracks mono, but then the master is stereo? I don't think I have a clear understanding about this...
Thanks, @Max23. I wonder about drum machine apps, or Gadgets in this case. Could an individual sound be mono, but the output of the app (or Gadget) be stereo? If bass drums are widely considered to be better off in mono, then I would think that developers would record/sample them in mono to begin with. But again, I think I have a pretty fuzzy understanding of this whole mono/stereo thing when it comes to individual tracks and instruments.
Thanks, Max. So basically it sounds like I just need to keep the bass drum panned dead center, which is what I do anyway. Same with bass guitar/synth.
Also because it's hard to tell where bass frequencies come from. The same goes for bass generally unless it has a lot of mid/highs in it.
Panning the kick and bass can work but it seems to sonically make more sense in rock or jazz with higher pitched kicks than it does with big boomy bass electronic music. Think Beatles or Art Blakey where the kicks aren't going boooooom. Plus, pretty sure every club in the world uses crossovers to make everything below ~80hz mono. Much like a sub in a home theater set up. Pan a bass hard in a set up like that and it's going to come out of a three inch speaker!
This is a really interesting and educational discussion. I'm learning (or being reminded of) some things that I didn't know or had forgotten. Unfortunately, I still have no idea how to "mono-ize" a bass drum that's coming from a drum machine app or gadget. I could put the bass drum onto its own track in Gadget, but I don't know if Gadget tracks are mono or stereo, or even how to tell. I could create a mono audio track in Auria Pro and then export the bass drum track from Gadget, but if it's coming out of Gadget as a stereo track then is it all for nothing? Sorry for the rudimentary questions, but maybe I'm not the only one who doesn't have a great understanding of mono/stereo sound sources and/or tracks.
I don't use a ton of samples, but the fake drums I use and all the professional ones I've seen are mono.
I don't just layer bass drums, I'll layer the hell out of everything, if that's the vibe or sound that I'm going for.
I'll layer snares, I'll layer basses, I'll layer pads, I'll layer basically anything that might benefit from it.
I try to EQ as little as possible, and only when necessary.
So, if I have a BD that I like the sound of and that fits the track, but it's missing a little bottom end, before I do any EQing, I'll layer another BD that has the bottom that I'm looking for, and maybe I'll put a low pass filter on that BD, so it doesn't interfere too much with the BD that I already have. It's not uncommon to end up with 3-4 BDs that I have combined to make one BD.
After layering all of the BDs, and doing some surgical EQing, and making them sound good and fit together, I'll group all of the layers together and treat them as one. It gets confusing and counter productive to be dealing with a million different BDs and SDs and tracks on one song, and if you do a bunch of layering, grouping them all together as one, keeps things simple, and makes mixing a whole lot easier.
I might even sample all of my BD layers, and then import that new sample and use that new and improved layered BD in my track, while I mute all of the previous BDs and layers. Again, to keep things simple. It's easier to mix 75 tracks for example than to mix hundreds of tracks.
I'm always happy with an LM-1 or LinnDrum kick myself
I've tried layering kick in patterning and exporting it out but I never came up with anything amazing. Now I just use a sample that comepletely meets my needs: soft, round and punchy, that doesn't fuck with other sounds and gives support to everything else.
I just wanted to add one thing that I thought of.
A lot depends on the source material and the source samples that somebody is using.
If somebody is using BDs that came from a source that is already heavily processed (EQ, effects, compression, maybe even pre layered etc.), that is a different story than somebody else who is using a single BD that came direct, dry from an old drum machine for example, that hasn't been already modified.
I usually prefer to work with un modified and unprocessed BDs for my source material, as I feel that I have greater control. I find that it's easier to fit those in the track than the other way around, where you might have to fit the track around an already heavily modified and processed BD.