Watch a few minutes of the video below, Andy James plays the guitars first, then he adds the kick and bass, and this is where the magic happens. How thick the low-end and impact sounds!
It seems most of the impact and thickness comes from kick and bass, and the guitar is not doing much there.
The drums seem to be Drum forge and SSD Samples. I want to learn how to make this sound without downloading new drums library!
and as a side thing, if you know from which library the kick sound is coming please introduce that to me.

 

Last edited: Nov 9, 2018

No Ideas? I thought this topic is interesting for lots of people

 

I don't know, SD 3?

 

Thought this was going to be some sort of guide, but it seems to be a question.

I don't know. Layer up and eq samples that kinda sound like that kick until it sounds like that.

 

All the balls comes from the kick and bass in metal songs. Something many people overlook when making metaaaalllll.
Notice the 3 tracks of bass ;) Get those bass tracks layered and compressed to fack!! \m/

 

This does not help me much but thanks, however. BTW, how to layer different samples ( Like using EZdrummer beside Kontakt?!) without phase interference problems?

That's right! and that's why I asked the question

 

I may be able to help you out here.. depending on what daw and drum plugin you are using.. Got some templates for this and you can go from there.. So if you use Cubase version 7 or higher i can send you some.. using SD2 and 3.. havnt converted all SD2 to 3 yet and most of them are actually SD2 still.. bonus here is that you get some bass chains aswell that you can finetune after taste..

 

Probably no help for your particular situation (I'm using live recorded tracks) unless you can extract say the kick as an audio file.

I use Slate Trigger to layer sampled drums over my live drums. There's several in the Trigger Expansion that would likely suit your needs. I use the Dream Theater kick a lot. But there's also a Metallica kick in there and some others that sound pretty deep.
Another trick that's effective on both Bass and Kick is a resonate eq curve such as Bark of Dog VST or Voice of God VST or do it yourself with any eq such as Izotopes that will let you do a boost and cut. It mimics the boost/cut of the Pultek EQP-1A. I usually do a boost somewhere around 50-60Hz, a pretty lo Q, under +3db and then do a cut about 10-15Hz away from that, also pretty lo Q, ~-3db. Learned that trick from @spencer26 in the thread where he walked @subGENRE through a mix:
https://audiosex.pro/threads/local-rock-band-im-recording.24129/#post-179566

I do suggest to read through that entire thread, but I've pointed you at the curve I'm talking about.

For Bass, I'd run the curve up in the 100 Hz area. You've got to find the sweet spot for the track and the mix you're working on.

 

I don't have SD library, I use some specific EZX instead. However, thanks for your help!

Thanks dude! I used the XLN addictive trigger, and it worked greatly! I could shape my sound.
Also, I tried T-racks EQP-1A while increasing and attenuating at my desired frequency for both Bass and Kick, and it works wonderfully. Thanks for your suggestion. It is much more better to beef up without making things muddy.

 

Yeah, that resonant eq curve trick has worked to beef up some less than stellar kick recordings for me. I'm hoping that next time we burn tracks, I can use some of the newer mic'ing tricks I now have up my sleeve.
You've got to be careful with it, however, if your mix room acoustics aren't up to par. I've got a small room and it kills the low end so it's easy for me to get out of hand with the bottom end. I didn't realize it on a typical car stereo listening environment, but once I put a subwoofer in my truck, it made me realize how exaggerated the low end was in my mixes.
I always have to sanity check myself in several different mix environments. I hate guess mixing like that, but it is what it is until I can put my attention to taming some of the resonances in that room.

 

I use a headphone for mixing my tracks, so that's not a problem for me. You should really consider using headphones until when you can treat your room correctly.

 

Last edited: Nov 15, 2018

you liked my drums a while back, remember? I can throw ya the sd3 patch if ya want. you just gotta cut a decent portion of the low end info out of your guitar bus from what I can tell. I feed my kick a bit closer to the sub freqs and my snare to the low mids/bass (as I only keep the immediate impact and cut the tail out with an envelope and make my own tail with a reverb.

 

SD3 allows you to use your own samples. Ive even ripped kontakt libs to WAV and use those samples in superiors drummer 3.

 

tightness ! it's not the gear

 

Oh my goodness gracious me... what a brutal kick indeed. No wonder you are asking about it.
I'm gonna pass to try with EQ matching... this is way over my head

 

Thank you for the answer, yes I would appreciate the patch!

 

To be honest I struggled with this a lot aswell
What helped me a lot was Nolly's Top down mixing approach.
Basicly it's a pre EQ with some limiting on it.
The EQ move around 110Hz gives the kick a nice boost.
After that my kick got a lot fatter due to the master bus eq.

Im mainly using the GGD Invasion drumkit for my mixes and compress it with smash and grab.
After that I use slate's digital virtual tape machine on the kick which gives it that fat sound.
Just be careful that you don't overdo it because it can sound muddy if you use a fast kick.
For some reason layering kicks doesn't work well for me but to each their own.

The next important factor would be the bass sound.
An approach that is mostly used is the three track sound in which you use the same bass DI three times but mix each one different.
The first is usually the DI itself but heavily compressed with high and low pass filters around the bass frequencies.
This will get you that stable low end which enables you to get that pump effect.
The second is a distorted bass guitar to give it that metal drive sound.
The third one is usually a high and low pass in the higher frequency range to get that "clanky" bass sound.
Some people leave the third one out but it always depends on taste.
Don't forget to use new strings when recording it makes an insane difference for bass

If you use these techniques you will usually and up with a quite big fat kick and bass sound.

These two videos show the techniques in a nutshell:

 

Last edited: Aug 25, 2022

Totally cool cross ref , but can he do african child Hes looking for that one unique bit , I would chop it set the variables and put it into a randomizer every set up is going to have its own different tone weather it be minimal or extreme diff. . if I said that right if I didnt I apologize