The drums are the rhythm and groove of any track. And, the kick drum is the heartbeat of that groove. So you know how important it is to get the kick drum right in the mix. Big Kick was created with the sole intention of allowing you to achieve the results you have always wanted.
There are separate adjustable knobs to tweak the levels of the snare, kick, high-hat, as well as the overhead and room microphones. Increasing or decreasing the knob will raise or lower the volume respectively. These knobs are ultimately changing the separate levels of the snare, kick, and bass on a minuscule scale without affecting the volume level of the whole kit.
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The library features 7 kits along with 25 snares, 16 kick drums and approximately 250 electronic drum machine sounds. There are various mix-ready presets in multiple styles and 35 built-in sound effects.
DrumLab is a great tool for creating customized, composite sounding drums. Due to its lack of samples relative to other drum libraries, DrumLab inspires you to get creative with acoustic and electronic blended sounds, encouraging the creation of a drum tone that is uniquely yours.
Shape & Time:Use volume automation, manual fades, keyed compressors (triggered by audio from other tracks), or dedicated sidechain plugins (LFO Tool, Kickstart) to carve space into your bass with volume or filters. Try more drastic curves on the lowest octaves, and slightly less aggressive curves on mid-range bass. Try to use the inverse curve of the kick, and play around with the timing of the curve. Shaping ultimately determines the time when all the elements will hit, so allows the highs, mids, then lows to hit. Sonically the ear will hear all elements as one unit, even though they are arriving at different times. Many producers will often use a cascading series of sidechains to achieve this time and space effect. i.e. Top Kick->SubKick->SubBass
Ales Stefancic: Throughout the years I changed my approach to mixing drums, from starting with kick and snare to starting with overheads. I have the drummer play a simple straight beat with a cymbal hit on every bar. Then I bring up the overheads, checking for polarity issues and shaping their sound before proceeding to snare mics, then kick mic(s).
In some gigs, resources are low and you do with what you have. If I have nothing else, I will request a D6 for the kick and a large-diaphragm condenser for an overhead. Between these two mics, a high-pass filter, and some careful gain staging, I can get a beautiful full drum sound.
Some EQ and some compression/gating work will take you so much further than $500 mics on every piece of the kit. Cut the mud out of the kick, bring the sparkle to the cymbals. I compress the kick just a hair with a 6 millisecond (ms) attack, and perhaps 5 dB of reduction and a fast release. Balance between these two mics and you should be good to go.
Andy Coules: Dual-mic techniques are commonly used on both kick drum and snare to get a fuller sound, but they should be approached differently to avoid phase issues. In the case of a top and bottom snare configuration, if the mics are equidistant from the top skin, the sound will arrive at both at the same time but the waveform will be inverted on the bottom mic (because as the drum skin moves towards the top mic it moves away from the bottom mic). Therefore you can correct any issues by using the polarity invert switch on the channel (which is sometimes incorrectly called the phase button).
However, with two mics on the kick, the sound will hit them at different times (because of their differing distance from where the beater hits), causing phase issues due to the timing delay. In this instance, delaying the mic closest to the beater will enable you to align the two signals. Since the smallest channel delay many digital desks allow is 1 ms, try to ensure the two mics are 13 inches apart (as this is the distance sound travels in 1 ms).
Sometimes when you bring up the overhead mics in the mix, you may notice that the snare moves slightly off the center of the stereo image. This is because the snare typically sits off center in the drum kit, which not only messes with the stereo image commonly used in rock and pop (i.e., the kick and snare in the middle with the bass and vocals), but it can also cause subtle phase issues in the drum mix (as the loud snare signal arrives at the two mics at different times).
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