In this video clip, I'' m going to reveal you a process for pressing kick drum in a rock mix to make sure that it not just adds power and also punch, but likewise produces separation in the low end in between the kick and also the bass guitar. Currently I'' m I understand what you might be believing. A 40 mins video on pressing a kick drum? Well, yeah, if you'' re seeking a fast five min video that gives you the very best compressor setups for a kick drum, after that this is not it. Keep looking, as well as I'' m certain you ' ll locate one. Yet in this video I intended to explain exactly how to hear the adjustments compression makes when compressing kick drum as well as provide you a process to adhere to that will make certain that you can dial in the very best compressor setups for any kind of kick in any mix. As well as also how, when done right, can bring splitting up to the low end by dividing the kick as well as the bass into different locations of the mix. The factors you might intend to use compression on drums could be to make them sound a little bit much more punchy with even more assault, or it could be to regulate the maybe slightly uneven having fun by the drummer.And what compression can do is simply ravel their efficiency. Another factor could be that you might wish to have a bit of rhythm or activity to an or else level or dull performance. Compression is a really powerful device that we can utilize to alter the drummer ' s performance in a way that suits the song either in a subtly or a much more aggressive complete on method. And this all depends upon the tracks you ' re mixing. So the first phase', as ever, is to pay attention to what you have and also choose where you wish to take them. When you have actually that determined, after that you can begin to process the drums to make sure that they fit your vision, the audio in your head for the certain part you ' re paying attention to.So what I wish to do today is look at how to begin making use of a compressor on a kick drum as well as just exactly how you ' re able to alter the sound to match what it is that you desire that noise you have in your head. So a compressor is the device that we make use of to include punch or indicate drums. If they seem a bit soft or boring, or we can have the circumstance where the sustain of the drum shells are long as well as they ' re muddying up the low end of the mix.And by cautious use the strike criterion, we can bring a lot more factor.
And with the release specification, we can regulate that sustain. As well as these 2 parameters are what can aid us control a somewhat uneven performance, for instance, in addition to adding that punch or tidying up the low end. Currently, there are a myriad of compressors to use. You ' ve obtained different sorts of analogue compressors along with electronic compressors, and they ' ve all got their very own type of character that can bring their own specific flavour to the drum that you ' re compressing, which also has a bearing on which compressor you wish to choose.For instance, if you ' re looking for even more strike as well as punch
and also click, you'could pick something like the DBX 160, yet if you ' re searching for a bit extra suffer as well as size and'weight, you could take a look at an 1176. The DBX 160 compressor is VCA compressor, that is voltage regulated amplifier. These compressors are very fast acting and also really functional and also are terrific for drums. The 1176 compressor is a FET compressor, which is an area effect transistor, and also these compressors are extremely fast. Currently, if you wish to know more concerning these different kinds of compressors and also what they all mean and how they sound various and also I ' ll placed a connect the top now to make sure that you can go as well as check that out. The compressor I intend to utilize today is the compressor and this is readily available with Plugin Alliance. The Empressor is a VCA compressor which are extremely well matched to drums and this compressor specifically. The reason I ' ve chosen this for this video is that it ' s truly versatile.It ' s not a one method horse, so I can use it'to demonstrate just how we can totally control the audio of a kick drum. I ' m additionally using it since I like the noise of it as well as it ' s just a bit extra intriguing to utilize than the supply compressor, which is completely appropriate, certainly, however this is just a little bit a lot more fun to use. The controls are exactly what you would certainly anticipate to see if you ' re utilizing any compressor so you can select whatever you ' ve got, you'put on ' t have to go out and buy this one. Just select your preferred compressor and also if it ' s a VCA compressor, after that you can ' t go much wrong. The controls we ' re looking at'today are mosting likely to be the limit'. It ' s mosting likely to be the attack and the release too'as proportion, and after that the makeup gain down here in the lower ideal hand corner. The gain decrease is received this meter right here, which decreases to 19.5 decibels of gain reduction, which is somewhat extreme. And also I ' m unsure that you would certainly ever before intend to utilize that much gain reduction in any kind of signal, however there are no guidelines when it pertains to creativity.So you do what appears right currently in this demonstration, we are going to push it. In fact, we are going
to start utilizing this compressor actually greatly and also we ' re going to do that so that you can best hear what the attack and also the launch are actually doing to the sound, what the strike and release do do actually transform the shape of the waveform. So if I were to say allow ' s close that as well as if I were to open the display here, make it a bit larger. And also looking at the waveform here, it ' s pretty'a lot basic. What you expect to see begin with the preliminary beat, which is the loudest part of the waveform, and afterwards it peters off down to silence or near as. And also what the strike as well as release criteria do is they manipulate particular portions of the waveform as well as change its form. So if I were to say highlight the beginning area below the short-term of this kick drum. What the assault parameter will certainly do is get hold of hold of that and decrease it in degree and after that exact same with the continuing to be area of the waveform.What the launch specification will do is it can either increase that up or it can chop it off brief to make it a great deal shorter than what it resembles on the wave type here. So they ' re actually transforming the shape of the audio wave, so we can utilize that to our benefit. If we desire much more punchy drums, we can make it so that the preliminary hit is highlighted'. So what we can do is we can regulate that sustain as well as decrease it somewhat, given the perception that the strike section, the beginning component of the wave is really louder, consequently appearing as though it has more punch.So allow ' s look at that. Allow ' s take a minute as well as listen to what we ' ve obtained right here and decide what it is that we could desire to do. I ' ll just play these drums for you.
I ' ll simply take that off the screen, pay attention to the kick as well as create your own opinion what you assume you could such as to do to it. Ok. On the face of it, it appears actually well balanced. It appears good. But when you listen to the mix in its entirety, the commences to kind of vanish a bit. So allow ' s take a pay attention to that. Okay. So it ' s there, however it ' s not quite as punchy as I would certainly such as. I ' d like for it to have a little extra body deepness, more of that type of'upper body thump, more weight. So in'order for you to'truly hear what I ' m doing, I ' m going to solo simply the drums. And after that what I ' ll do is maybe solo the kicks too, to actually separate them so that you can focus'as well as hear what the strike as well as launch are doing, since it can be rather subtle.But in reality, we ' re constantly mosting likely to inspect this in the mix too. So with compression, you can apply it to an insert on a solitary track, or you can do what I ' ve done here as well as course it via an
auxiliary fader or a bus. And the factor you may want to do that is if you ' ve got even more than one track of kick, if you ' ve obtained a kick in and also the toss out, for example,'in this situation, we ' ve got the initial kick as well as we ' ve got a tasted kick as well as they ' re both being combined together, being rooted together via this kicks auxiliary to this channel here.And then what I ' ll do is procedure that mixed sound as if it were the perfect kick drum that we ' d taped in the recording studio. I ' ve likewise got some identical compression going on too, which is going to a DBX'160, and what the DBX 160 is renowned for is including click or snap or high-end bite. So that ' s what I ' m using that for. Yet I feel as though that this kick needs a little bit even more of that.You ' ll also see that I ' ve obtained an SSL network strip on the bus that I ' m not making use of any compression on that means just to see to it that it ' s not doing anything. I ' ve also got an entrance here that I do make use of to assist manage the sustained portion of the'wave shape to suffice off to ensure that it doesn ' t battle excessive with the bass guitar. But also for this video clip, I ' m mosting likely to leave it'off to ensure that it ' s simply the compressor on the buss, this compressor that is mosting likely to be managing our sustain on the kick.I likewise have an additional SSL channel strip right here on the kick. This network is the initial seeming kick, the online kick. And I didn ' t specifically like the sound of it that a lot. Hence why I ' ve utilized the habit forming drums kick that included this session.
I ' ll have the ability to chat a little bit a lot more regarding that near completion of the video. Yet what I ' ve obtained right here on the live kick, I am making use of a gateway, and also I ' m utilizing a reduced cut filter to cut from 70 Hz down simply to do away with some rumble.And there ' s a touch of 8k there simply to add a little of click to the audio. Well, I'' ll do it. I ' ll take eviction off so you can have a listen to the real-time kick. And also why we determined to utilize a sample you can hear that requires fairly'a great deal of assistance. You can listen to the hemorrhage in the remainder of the set in the area,'yet it ' s quite reduced degree bleed. As well as by utilizing a gateway, I just intended to sort of control that hemorrhage a little, and also the volume woofiness muddiness, really of the original kick, so you can hear the equipment is really making the kick seem a little bit much shorter as well as a bit much more portable, which ' s what I desire, to make sure that it mixes perfectly with the sample package, as well as it doesn ' t begin to obtain all entangled up with the bass guitar, and we end up obtaining this Reduced mid mud in our mix. So allow ' s put that back on, bring that back down to what it existed about. I think so the sample set kick seems like this.So there is some reduced end to that, some silkiness, however there ' s a great deal of leading end, and also when we mix the'2 with each other, they work together to get a wonderful kind of full seeming kick, but I assume we can go a bit more
with a compressor to control the consistency of this kick. You can see from the waveform that the kicks are type of rising and fall in level, obviously in the example, they ' re not, yet in the live kick they are. So the compression is mosting likely to help tighten up that up too, since it ' s still the almost all of the sound of the kick. It ' s -1.8 right here in the network, it was -5.8 as well as this is -14 so it ' s still developing over half the audio of the kick.And so these fluctuations in'level are mosting likely to have an effect on just how it is regarded when it ' s in the full mix. Which is why we ' re mosting likely to utilize a compressor to aid regulate that variation along with the punch attack as well as suffer. So when setting up a compressor, if it ' s something you ' ve not obtained an awful great deal of experience in doing or otherwise positive in what you ' re hearing or you fully comprehend what strike and also release because of a noise, then the ideal way to hear it is to truly exaggerate the compression. So what I want to do is simply offer you a pair of numbers to help you start to hear what it is these parameters are doing to the kick drum.So first of all, let ' s most likely to our ratio and held up to its optimum degree. These minus numbers here are negative numbers that are, I think, pretty special to this compressor, as well as it enables you to get truly creative
and also produce all sorts'of different pumping type of noises with balanced elements of your track. However we ' re not going to enter into that for this video clip. So I ' m just mosting likely to establish it to its highest point, say, 20 to one. The proportion control is just how much compression you wish to apply. Next off, I ' m mosting likely to check out the attack'as well as the release settings. I ' m going to set the attack to one nanosecond, which is unbelievably quickly, as well as it ' s not usually a setting that you would utilize. However if you assume of the assault setup as like the reaction time of the compressor, just how rapidly it clinches the short-term, one millisecond is unbelievably fast.But we ' re beginning from this factor due to the fact that as we begin to open it up and reduce the assault, this is where you ' re permitting that leading edge of the kick drum to begin to come through the compressor. And this is what you ' ll hear as the click, you will certainly'hear it, and you ' ll be able to envision the beta head really hitting the skin of the drum. And that ' s what we ' re controling below with the attack parameter. However in order to listen to that, that ' s why we ' re starting it so fast to make sure that it ' s going to appear far and also it ' s mosting likely to slowly come'into emphasis'as we dial it in the release, we ' re going to establish to concerning 30 milliseconds about. As well as this is when the compressor begins to allow go as well as go back to its typical state.So if the assault is setting just how fast the compressor starts to work with the noise, the launch is the length of time we desire the compressor to use it before it starts to let go of the sound to make sure that it can return to
its regular state. When you start to use slower launch times, it will smooth out the performance. As well as likewise this can have that very same impact where it ' s pushing the instrument or the drum back right into the mix, making it seem further away. And in a similar way, like, if you have your assault setting set also quick, exact same with the release. If it'' s also slow, you ' re going to suck the life out of the audio again, making it sound really dull as well as dull. So I desire to establish this up back to that 30 nanosecond once more. So what we ' ve done so much, we ' ve got the high proportion of about as high as your compressor will certainly go.Some compressors, it might be 10 to one, some 20, some more. So we'' ve got our proportion here readied to 20 to one, which is in reality limiting. But that is the topic for one more video clip. We established our assault time at one nanoseconds wonderful and quickly, as well as we'' ve established a kind of slowish assault right here at 30 milliseconds. I quit having fun with it. Okay. On the bottom row of this compressor, there are some EQ controls. As well as once more, decrease limit, limiter. We ' re not going to make use of those, but we are going to utilize this make-up gain since as we start to apply the compression by raising or reducing the limit, it ' s going to start to obtain quite quiet. So we ' re mosting likely to require the make-up gain so we can hear what we ' re really doing with the attack and release. So allow ' s have a listen to that. Then since we'' ve obtained those preliminary three settings made as well as I ' ve obtained the Kick soloed presently, as well as I ' m going to call in the limit so that we get a really healthy and balanced degree of gain reduction.So I'' m most likely going to go around concerning twelve or 15 dB of compression. And this is mosting likely to sound quite horrible at this'stage. Yet this is what you need to do so that you can really hear what the attack and also launch are doing to the signal. Once you get even more skilled, then you ' re much less most likely to require to do this. However as you begin, this is a great means to find out just how compression actually sounds. So let ' s try. Okay. So that ' s actually extreme, however what that ' s done is set us up well to currently focus on the assault as well as the launch. So this is where you require to think back to the kind of noise that you intended to use right here to make sure that you can call in this strike time. Did you want it to have even more strike or attack, or did you desire it to have even more low end thump? Now it ' s constantly useful to have in your mind the type of common specifications that are discovered on drums.And for a kick drum, the strike time typically winds up somewhere in between ten to 30 milliseconds. Currently, this isn ' t a rule. It simply takes place to
be where it typically finishes up appearing ideal. So allow ' s have a have fun with that. I stated that I wanted it to appear a bit, have a little much more assault. Generally, I do this in the mix, yet what I ' m going to do is I ' ll do it right here in solo so you can listen to the change as I open this strike up, I ' m going to go for begin truly listening somewhere in between ten and also 30 milliseconds.Let ' s see just how that is influencing the beginning section of the waveform of the kick. Remember, the strike is acting on that initial transient. What you can hear there is it just begins to get you start to
hear that click a little extra as well as that ' s the compressor assault opening up as well as allowing the short-term to come through. Let ' s maintain going. What I ' m hearing there now is that it ' s opened up up until now, it ' s permitting much even more of that preliminary section of the wave kind through so much so it ' s actually allowing even more of the'body of the kick to find'through some reduced end punch, that breast striking strike and a lot more so there too at 20 milliseconds.Let ' s take it a little bit further and see what takes place to the sound so completely wide open. The strike isn ' t doing anything. It ' s simply permitting the full sound of the kick to come through. It ' s not managing or securing
down on the transient or any kind of portion of the signal. As we ' ve started at one millisecond, you might even turn around that idea. You can begin with the attack completely open such as this as well as draw it down. This could be a various approach and also you can hear that now. It ' s sort of reduced the audio'of the kick drum and also you ' ve lost a great deal of the body, yet we are going to obtain that back with the release. So with the attack, I ' m assuming about the short-term as well as the degree of click. Okay, I ' m mosting likely to rest there for the time being 13.3 milliseconds.I liked the strike, the click, and also what I wish to do now is just relocate on to the launch. What I ' ll do is when we ' ve got these harsh figures dialled in, I ' ll pay attention to it in context'of the set and after that in context of the mix as well as go
back as well as fine-tune these specifications. So as I discussed before, kick drums tend to benefit, especially in rock or pop tunes with a shorter tail. The sustain last component of the waveform benefits from being kind of squeezed or cut off a little fast so that it doesn ' t begin to tread around the bass guitar or any type of various other low end tool that you ' ve got in your mix like a subsynth or other synth noises that are all mosting likely to wind up developing in addition to one another.And so they usually gain from having actually a reduced receive to make sure that you can then keep the begin its own separated area of the audio stage where it still got the body and the power, however it appears separate from your other reduced end instruments. And also this is where we would make use of the release control to do that. Common numbers after that for you to assume around on a release for a kick drum, normally in a rock or pop track requires to be relatively quickly. So somewhere between 50 and also 150 nanoseconds depending upon the tempo of the tune. So if you ' ve got a kick playing a faster tempo and even double hits in quick sequence, you want the compressor to launch totally before the following kick hit. Currently I locate that to listen to the maintain much better, I need to pull this ratio pull back to something a lot more sensible, something that ' s a lot more common for drum. So I ' m mosting likely to establish it to concerning 4. What that ' s mosting likely to do is not going to sound rather squashed, as well as that ' s mosting likely to enable me to simply hear the launch working a little more.What I ' m also going to do is possibly draw this threshold down and also opt for something a lot more along, state 70 dB gain decrease. So let me set that up now. Okay, that ' s about right. I assume. Okay, so let ' s play the kick once more currently and also allow ' s play about with this launch and open it up a bit.
And also the reason you might want to do that is if you ' ve obtained even more than one track of kick, if you ' ve got a kick in and the kick out, for example,'in this instance, we ' ve got the initial kick and also we ' ve got a tested kick as well as they ' re both being combined with each other, being rooted together with this kicks accessory to this channel here.And after that what I ' ll do is procedure that mixed audio as if it were the best kick drum that we ' d tape-recorded in the recording studio. I feel as though that this kick needs a little bit more of that.You ' ll additionally see that I ' ve got an SSL channel strip on the bus that I ' m not using any type of compression on that way just to make certain that it ' s not doing anything. What I ' ve obtained here on the live kick, I am utilizing a gate, and also I ' m using a reduced cut filter to reduce from 70 Hz down just to obtain rid of some rumble.And there ' s a touch of 8k there simply to include a little bit of click to the audio. When establishing up a compressor, if it ' s something you ' ve not got a horrible whole lot of experience in doing or not positive in what you ' re hearing or you fully comprehend what strike and release due to a sound, after that the finest method to hear it is to truly overemphasize the compression. Typically, I do this in the mix, but what I ' m going to do is I ' ll do it below in solo so you can hear the adjustment as I open this assault up, I ' m going to intend for beginning truly paying attention someplace in between ten as well as 30 milliseconds.Let ' s see just how that is impacting the starting section of the waveform of the kick.As well as right here concerning what it'' s doing to the tail end of the kick, the maintain. Currently, what I ' m seeking right here is a bit a lot more body, however likewise, I put on ' t want it to be too wish for the factors I stated previously. Now it'' s normal to set the launch to really match the tempo of the track. So what you would love to see on the gain decrease meter is that it returns to absolutely no prior to the next kick hit happens. Keep in mind, if we go too sluggish with the launch time, it compresses, it'' s simply mosting likely to make the performance sound truly flat as well as distant. As well as that'' s not what we want in this case. So whilst I play this, then take a look at the gain reduction meter.I ' m going to be trying to find that to drop almost back to no before the following kick hit. I can hear that when I got round to that type of 220 nanoseconds, the kick drum starts to appear a bit away. Allow me do that once more for you. Begin at 30 and also pay attention to just how the kick drum begins to appear quieter. Okay, to ensure that'' s not something I desire in this certain instance. So I'' m mosting likely to draw it back and also I'' m mosting likely to seek where this gain decrease meter appears to be dropping in time with the rhythm of the kick. Okay, I liked it there at 60 nanoseconds. It was fine at the slower setting around about 100, 120 milliseconds on the slower areas in the knowledgeables. But when it starts to do that kind of double beat, I was starting to be able to hear the compressor working as opposed to it being a more all-natural noise. I can hear the quantity of the sustain relocating unnaturally. Allow me play that section once more for you so you can hear it.I think it'' s this area right here. Okay. I think that sounds great, yet when I had it up below type of 140, I tried to show it there by rapidly snapping the launch. I wish you can listen to the compressor operating in such a way that it simply wasn'' t rhythmically in time. That'' s what I suggest when you can hear the compression working. So I type of liked it back right here, didn'' t I? 60 thereabouts what we'' ve obtained here currently, after that we'' ve got a compressor that ' s set near adequate flawlessly for this kick drum.We ' ve got the ratio now at 4 to one, we'' ve got an attack time concerning 13 milliseconds and also a release time of 60 nanoseconds. We brought the limit down to a factor where the compressor was able to start applying compression. And also we set that gain reduction to be around about 7.5. The limit in fact manages when the compressor has the ability to start pressing, and also when that takes place, the compressor reduces the degree based on what you'' ve obtained your ratio setting readied to so ratio is just how much compression and also limit is when compression is allowed to start.All that ' s
left to do currently is to set the make-up gain correctly. We established it up actually in a sort of arbitrary fashion previously so that we could simply actually listen to the signal so we can recognize what the strike and release setups were doing. Today, in the blended scenario, it'' s great practise to simply establish the makeup gain to a point where when you use the bypass control, you put on'' t actually listen to a level modification as such. And afterwards in this manner you can really hear what compression is doing as well as the compressor circuitry itself as well as not get fooled by the level jumping. One, 2 dB'' s. So allow ' s snap the bypass control on and off and set the make-up gain by ear to try and achieve that. Okay. I assume that sounds rather close. There'' s a fantastic technique on professional tools you can do, and also you can transform the read out here to peak.This is my complementary fade that both kicks are running via. As well as what you can do is you can bypass your compression and also simply make a note of what the peak reading is. So it was concerning 15.8. As well as then with the compressor in, let'' s check once again 15.2. So it'' s simply a little bit loud. I didn'' t do regrettable doing it by ear! So try that once more. Yes. Bang on, isn'' t it? So, I ' ll begin this bypassed. Yeah, that sounds even more complete. What I instantly hear is the maintain. It appears as though it has even more size and also life to it almost like you can hear more space around the kick drum. Which'' s something that I particularly like in drums, normally something that I attempt and also bring into my drum mixes. One point I didn'' t actually listen to a great modification in was the attack, the click of the drum. See what you believe? I ' ll take that back.It has actually added a little bit a lot more assault click. So the overall examination now is to see what it seems like in the drum mix. So let'' s take the kick itself out of solo. The drums are still soloed, yet I want to hear what this compression appears like in the context of its instrument group. Firstly, so I'' m going to begin it bypassed and begin the beginning of the track, and after that I'' ll bring it in. Yeah, I such as that. That'' s just bringing far more life and also realistic look, in fact, to the audio of this sampled kick. Pay attention once again, I'' ll begin bypassing, then I'' ll bring it'in. Okay. So it ' s much more present as well as has even more weight, which is something I did wish to bring to the sound now. I put on'' t really feel any type of requirement to make any kind of changes to the strike and release.The release I understand is set for where the drummers highlighting tempo area. Let'' s pay attention to that. Yeah,'I ' m satisfied with where that ' s set at 60 nanoseconds. It just makes it seem more lifelike, even more of the space. So the following final check is to pay attention to it in the mix. Currently, this could be where you might revisit the strike control and try and also either draw out a bit a lot more strike or even more body by reducing the attack to make it sound much more existing in the mix. So let'' s see what that
appears like.First of all, I'' ll play it bypassed, and afterwards I'' ll bring it in, and afterwards we'' ll discuss whether we require to change the assault and launch criteria for the mix. Yeah, I think that was in fact functioning really well. The assault is definitely being established to a point where I am hearing extra click of the kick drum and also it is extra existing in the mix. And after that, as we'' ve previously gone over, the release is including that air around the kick drum as well. So I'' m actually really delighted with where this is sitting as well as what it'' s doing to the kick drum. One last check is just to think of the various other low end elements in the track. In this mix, it'' s just a bass guitar, and I intend to listen to currently what I ' ve done on this compressor, whether it'' s influencing the bass guitar in an excellent or a bad method. So I'' m simply going to begin at the start here of the track where the drums are anyway, as well as let'' s have a listen to it bypassed. And what I intend to do currently is really pay attention to the bass guitar, not the kick drum.I ' m listening to the bass guitar now, what occurs to the bass guitar when I bring the compression know the kick drum? Currently the most effective place for me to highlight this for you. What I'' ve listened to is in that faster area again, where we particularly established the release much shorter since of just how we heard it effecting on the kick drum. What it'' s actually doing is we ' ve set the launch to the rhythm of the kick. Now pay attention to what the compressor acting upon the kick drum has in fact done to how the bass appears in the mix. I'' ll start it bypassed, play it once with, and after that I'' ll unbypass. I truly wish you listened to that because the bass guitar seemed a lot more isolated in the stereo area. It sounded in its own area because with the launch setting at 60 nanoseconds for this song for this pace for this kick drum, so it'' s not 60 milliseconds is not your magic number.This is working especially well in bringing quality to the bass in addition to the kick drum. If you need to know more concerning that, after that I ' ll placed a connect top'for you to see my video on blending kick and also bass. Allow me do it once more for you due to the fact that I'' m particularly pleased with this. Listen once again to the bass guitar with the kick drum compression bypassed, as well as then I'' ll bring it in. Yeah, I believe that'' s a success. More than delighted to proceed currently and also mix the remainder of the track. In reality, establishing a compressor on a kick drum takes only a few mins, and the even more practise you have, the quicker you'' ll get. As well as I hope this video has given you some assistance on what you should be listening for so you can make compression choices swiftly. If you want the multitracks to mix this tune on your own, then you can discover them in period 8 at the Producers like a Pro Academy.The terrific membership program by my pal Warren Huart that houses the very best music production community on earth, including your own really. The web link remains in the description as well as it will certainly take you right. Currently you understand all concerning compressing Kick. Below are some more video clips for you. One will additionally aid you mixing kick and also bass and also the various other will certainly assist you decide to put your compressor prior to or after EQ. Thanks for watching. And also I ' ll see you in the next'video clip.
Currently, what I ' m looking for below is a bit more body, however additionally, I wear ' t desire it to be also long for the reasons I stated previously. I'' m going to draw it back and I'' m going to look for where this gain reduction meter appears to be falling in time with the rhythm of the kick. Yeah,'I ' m pleased with where that ' s established at 60 nanoseconds. What it'' s actually doing is we ' ve set the launch to the rhythm of the kick. Let me do it once more for you since I'' m especially pleased of this.