I’m running you through the things I take into account when mixing kickdrums.
I always think of kicks as having a few different “parts”, and I go through them here.
I love working with all styles, but work a lot with house among other styles, and have mixed and/or mastered music by John Summit, Luke Vibert, Defected Records, John Summit, Armada Music, Repopulate Mars, Octo Octa, etc.
I’ve been requested a lot to do a video about how to set up a mastering project in your DAW. Find it on my Patreon.
I show how to set up a project with reference songs, talk about various considerations, and also go through some of the tools I use the most.
As a mixing and mastering engineer, I’m often asked about good reference songs, so I did a FREE post on my Patreon listing some refs I use often with some most popular genres (DNB, house, hip hop, trap, techno): https://www.patreon.com/posts/49752366
Later this month I’ll be doing two EXCLUSIVE videos:
1) how to reference efficiently and
2) how to set up your own mastering project in your DAW.
So if this is something that interests you, sign up to my Patreon.
• I always bring the level down to -18 based on peaks using Hornet Plugins VUmeter, so the analog compressors after it will have ample headroom, not introducing distortion (unless I want it, and sometimes I do).
• FabFilter ProQ3. I use this to cut off the unnecessary mic lows and thumps as well as cutting out some of the low-mid room resonance that always happens, more or less. It’s amazing how a vocal immediately sounds way less “homebrewn” when you get the boominess 120–250 Hz out; I usually watch out for two separate peaks in that range.
• Universal Audio LA3A and LA-2 compressors. At some point I was experimenting with vocal comps, and just ended up having these two in a row: creates very transparent compression, and even if you squeeze the vocal really hard (7-8 dB), you literally can’t hear it. Just amazing. Also, as a bonus, if you run the signal harder into these, the analog-modeled input stage creates this sweet distortion that can be so useful if the vocal sounds a little too tame and some vibe is required. Kind of “radio-ish” distortion.