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  • Hey, what's up guys?

  • David Glenn for The Pro Audio Files and davidglennrecording.com, home of the free VIP Mix Training Bundle.

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  • more, all for signing up for the mailing list.

  • Tons of free stuff coming your way at davidglennrecording.com.

  • Today's video comes straight out of my latest course called Producing and Mixing Volume

  • 1.

  • The beast has been unleashed, it's here, and I would love for you to check it out.

  • These are videos that have come straight out of the course.

  • I pulled them because I felt like they stood on their own as valuable content.

  • The last thing I want to tell you about with the new course is currently, I've got some

  • exciting bonuses.

  • We've got a free plugin, right?

  • Free plugin for Pro and Elite bundle customers, and that plugin is Levels from masteringthemix.com,

  • connected with Tom Frampton, the owner and developer over there.

  • Incredible guy, and I'm stoked to include that in the Pro and Elite bundle packages

  • for Producing and Mixing Volume 1.

  • Go check that out, I'll shut up, moving on to the video, I hope you guys dig it, and

  • we'll see you soon.

  • Alright guys, in this video, we're going to have some fun.

  • We're going to layer some kick drums, and we're going to do a couple of examples, and

  • show you one way to be very intentional with the different samples and what you allow them

  • to contribute, be it subs, punch, mid-range, room sound, verb, clarity, top end, click,

  • etcetera, to kind of build one cohesive sounding kick drum.

  • This process can be applied to kicks, snares, or just throwing a bunch of stuff together

  • and creating your own sounds.

  • Some sound design stuff.

  • The second example we're going to look at would be where we're going to get a little

  • bit more technical on layering multiple sounds where you want to retain low end for multiple

  • elements.

  • Checking phase, the difference between that and then also looking at how to make sure

  • that you get the best phase relationship out of your samples.

  • Before we do that, the thing I want to note is one kick drum, or one snare drum, sometimes

  • that's enough.

  • A lot of times, you get a kick drum sound, it's got a nice sub, a nice punch, it's got

  • the right mids, good top, bam, you're done.

  • All you need is that one sound.

  • But that can be kind of boring, and it can be a lot of fun to layer kicks, especially

  • when you can create your own custom sound.

  • So be it to enhance the song, or put your own kind of stamp on the production, the sound

  • of that kick drum layering it, all of a sudden kind of becomes your own thing.

  • Unless you're watching a video and copying the exact same settings, then you're just

  • taking someone else's — as I smack the micyou're just taking someone else's sound.

  • But if you get in and just kind of mix up libraries, and you pull things, and you create

  • your own sounds, that's what this is all about is creating art and something that's unique

  • to you and expressing yourself through it.

  • So get all artsy about creating the perfect kick drum, but I did want to say, sometimes

  • that one sample is enough, but we're going to have some fun and we're going to layer

  • multiple sounds.

  • I don't want you to just start clicking and dragging clicks or snares for no reason.

  • Let's have intent.

  • Let's do this with a purpose.

  • For this example, I've got a starting kick drum, and then we're going to layer multiple

  • sounds, but we're going to filter out and focus in on, frequency wise, whatever those

  • sounds are contributing to the original.

  • We're not just going to layer for layering's sake, and we'll look at that in a second,

  • but theyou know what, nope, it's time to look at that, so here we go.

  • As I talk, I think there's more to say, but let's look at this first kick drum sound.

  • I'm going to solo itactually, I don't even need to solo it, because I have my control

  • surface here and the faders are all down, so here is a loop of this first kick drum.

  • I just pulled it in from the That Sound library.

  • This is called Tight Kick 2.

  • [Tight Kick 2]

  • And we have a nice tight kick.

  • Okay?

  • To me, I would love to have some more bottom end in this kick.

  • I think a little room sound or something so it's not so clean and direct sounding would

  • be cool, and then maybe a unique top end, or some click in the kick would be really

  • cool.

  • Now, I have these samples, but if I just put all of these at zero, and I hit play, let

  • me turn this down a little bit, make sure it's not going to blow your speakers, these

  • are allyou know, here's what we started with.

  • [Tight Kick 2]

  • Then I've chosen them for certain things, but then if I just hit play...

  • [kick]

  • It could be cool, you may like that, but I think we can make it sound a lot better, so

  • what we're going to do is we're going to do this with purpose.

  • So the first sample I want to talk about is the sub.

  • So let me solo that.

  • [sub kick]

  • Okay.

  • Not so sure about the top end, it's a little bit extended, the note, the sustain is a little

  • bit much for me, so I wanted to control that, but blending the two together, let's go back

  • to what we started with.

  • [Tight Kick 2]

  • Okay?

  • And then blending in this for sub frequencies.

  • [Tight Kick 2 and sub kick]

  • Could be cool.

  • Top end is not bad, but I'm going to go ahead and get creative with this.

  • I'm going to take out the top end.

  • I only want to hear the subs.

  • So let me just listen to this sample.

  • [sub kick]

  • Come in here and just take out — I'm even going to go a little bit morethere we

  • go.

  • Somewhere around there sounds pretty cool.

  • Now, let's play these two together, and I'm going to blend in the subs.

  • [Tight Kick 2, blending sub kick]

  • Okay.

  • We're feeling the subs, but to me, I think it needs a little bit more work.

  • I want this to be really tight, so we have some tools at our disposal.

  • Right here, we're just going to use nice, tight fades.

  • I'm going to break up this clip, put a little fade, and let's see where that gets us.

  • [Tight Kick 2 and sub kick, with fades]

  • Okay.

  • It's quite a bit tighter.

  • I'm going to go even further with the fade.

  • Then I'm going to copylet's go ahead and get rid of these — I'm going to copy

  • the edited kick drum.

  • Nice, tight sub frequency kick drum, and let's hear those together.

  • [kick]

  • Okay.

  • One more time, before, without this guy.

  • [Tight Kick 2]

  • Now with our extra sub frequencies.

  • [Tight Kick 2 and sub kick]

  • Okay.

  • Still a little bit loose.

  • We'll look at phase in a minute.

  • There's a couple of things we can do to tighten that up, but I feel like we're getting somewhere.

  • Still a little bit tight, a little bit dry, I think we can do with some room sound.

  • I was searching through my libraries, I found this one, and I really like the room in it.

  • Let me pull open thethis one in solo.

  • [room kick]

  • Okay, it's extended, it's got a lot of subs, we don't need that.

  • We already have our subs.

  • We already committed to that second kick drum contributing to the sub frequencies, so let's

  • pull open an EQ and let's get rid of the subs.

  • We're going to do the opposite.

  • Instead of taking out top end, we're going to take out bottom.

  • [room kick, filtering]

  • So I'm just going to come out here.

  • I've kind of lost some of my room sound, so let's pull it back a little bit.

  • Okay, so somewhere in there, I still don't know if I want any of that 100Hz.

  • That's kind of the punch frequency range.

  • I'm going to pull that back.

  • [room kick]

  • Okay.

  • And then I'm not sure that I really need the top, so let's take out the click in it.

  • [room kick, filtering top]

  • A little bit.

  • Then maybe something in here.

  • [room kick]

  • Okay, before this sampleexcuse me, before the EQ.

  • [room kick, no EQ]

  • Then after.

  • [room kick, after EQ]

  • A little bit of extension.

  • Now let's see what we get when we blend that in with the original two kick drums.

  • [kick, blending in room]

  • Okay.

  • I think it sounds pretty cool.

  • It's not in context to a song or anything at this point, but the only other thing I

  • would say is maybe some fades here to kind of tighten it up a little bit more.

  • There's always some things we can do after the fact that will help us a little bit too,

  • but let's hear that again.

  • [kick, with room]

  • Then without it.

  • [kick, no room]

  • Okay.

  • Might be a little bit choked.

  • The OCD in me is kicking in.

  • Okay, now let's go to this final kick.

  • I really liked thewhen I was listening to itand this is trial and error too,

  • just for demonstration's sake.

  • Sometimes it doesn't work out.

  • Sometimes you go, “Oh, I didn't need that last kick,” totally cool.

  • This one, I've got — I pulled in for the click, so let's get that guy up in the mix.

  • Let me solo it so we can hear it by itself.

  • [click kick]

  • That's just this last kick.

  • I've got the punch I want, I've got the beef I want, I've got the sub frequencies that

  • I want.

  • Let me go ahead and take out the sub, similar EQ, first move to that guy, let's hear that.

  • [click kick, filtering low end]

  • I think somewhere around there is going to be cool.

  • So we're going to start with that, and let's blend some of that in.

  • Some click.

  • So here is out.

  • [kick, blending click kick]

  • Then we're going to blend it in.

  • Without it.

  • [kick, no click]

  • Very cool.

  • These samples could still be a little bit tighter with the phase relationship.

  • We're going to look at that in another example, but here is a very basic way to then have

  • these kick drums locked in together.

  • You could bounce these down as one.

  • I tend to be the mixing engineer, producer that leaves them on their own tracks, because

  • then I can automate between different sections, or I could pull outlike, you're going

  • to see what I did in the track once we get to it.

  • These are different kick drums for example's sake, but then let's say, the first hit, I

  • don't want the click, but the second and fourth I do, then we could come in and manipulate

  • it like this.

  • [kick, automating click]

  • There you go.

  • So different things you can do once you layer them, but the biggest thing I wanted you guys

  • to take away from this was filtering to allow the different kick drums to be focused in

  • the area that they're complimenting the original.

  • So blending kick drums, the next video, the next example we're going to look as is going

  • to be taking these same kicks and then diving deeper into the phase relationship.

  • I'm going to kind of explain the samples and nudging, and trying to get the best out of

  • our kick samples so that we can retain the low end for multiple kick drums, and it'll

  • come out with a good sound there as well.

  • So next video, we're going to take a look at that, and I'll see you there.

Hey, what's up guys?

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A2 初級 美國腔

製作小貼士:如何有針對性地對Kick鼓進行分層[節選] 。 (Production Tip: How to Layer Kick Drums with Purpose [Excerpt])

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    Jack Jack 發佈於 2021 年 01 月 14 日
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