How to Get a Metal Bass Drum Sound | Season Three, Episode 34
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- Опубліковано 31 тра 2024
- One of the most genre-specific drum sounds out there is the metal bass drum. Articulate to the point of being “clicky”, punchy but without too much boom, and immediate- the sound is there and then it’s gone. Both of us have been hired to create these sounds in studio environments and we decided to put together a video that details the approach that we took and demonstrates the progression of changing variables to get to the finished sound, completely mixed.
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Signal chain:
Mics - Focusrite Clarett 8Pre USB & OctoPre - MacPro w/Pro Tools 12.8
Recorded at 48kHz / 24bit
Focusrite Clarett 8Pre USB tinyurl.com/Clarett8Pre
Focusrite Clarett OctoPre tinyurl.com/ClarettOctoPro
Full kit: AKG C314 at drummer perspective (Hyper Cardioid)
Snare drum & tom tom close mics: Shure SM57
Bass drum: AKG D112 (inside) and KAM R3 Ribbon mic (outside)
Drums: Pearl Masters Maple Custom Extra w/Keplinger Black Iron 8-lug custom snare drum.
Drumheads:
Snare: Evans Power Center Reverse Dot / Snare Side 300
Toms: Evans Onyx / G1 Clear
Bass Drum: Evans EQ3 clear
Cymbals:
15” Zildjian ‘Fat Hat’ Prototypes
20” Zildjian K Custom Ride
18” Zildjian K Custom Dark Crash
Hosted by: Cody Rahn
Production: Ben O'Brien Smith @ Cadence Independent Media
Production Partners: Evans Drumheads, Promark Drumsticks
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It's just mind-blowing how much that sandbag changes the sound.
Grabbing a sandbag ASAP. My dampening pillow always moves around and this one variable changed the tone drastically.
I'm shook tbh... doing this immediately
from what i read years ago, it stops the shell vibrating and produces attack :)
simon phillips adds two paint cans full of sand to his bass drums and has the same effect :)
More on this here: ua-cam.com/video/mWekstZjfRQ/v-deo.html
And the sandbag: www.bhphotovideo.com/c/product/1161029-REG/impact_sbf_b_15_saddle_sandbag_15lb.html
I have respected you since day 1, but when you said you tech’d for Mario Duplantier my respect when to another level. Dude is a beast with amazing tone.
Man he is, and a lovely person too. So inspirational 🔥 -Cody
mario,yeah,no shit,what a beast behind the kit.
Triggers + Alesis DM5 = all 90s extreme metal
Was still happening in 2008. The reggae setting I think.
Sadly the DM5 only comes with garbage sounds. I own it and only use it as interface to Steven Slate Drums.
I’m loving the traditional grip metal playing here! 😂
surprisingly 2 of the best metalcore drummers alive right know play trad grip. Nick Pierce from Unearth and Jason Costa from All That Remains. watching them blast beat is really entertaining.
@@xsonicassassinx Jason playing the tom roll in This Calling is really something else.
Red Damnars, the bane of any worn backline bass drum head.
True! 😆
The destroyer of worlds and drumheads alike!
@@SoundsLikeADrum 😆
DUDE! You worked with Mario? He's like my favourite metal drummer of all time! That's awesome!
in the minotaur (duplantier's solo on youtube) cody is credited!
12:48 Hey, I recognize that beat! Under a Glass Moon. That's one of my favorite double kick beats, it's so tasteful and musical.
One of my favorites too! Figured we needed at least a little bit of double kick in here. -Ben
I feel like this was the sound through the mid 80s, until the Danmar pads started happening. I first noticed Charlie Benante using one. Vinnie Paul made his sound even more plasticy later on. When I was an aspiring metal musician teenager, we used to all run out and get a pinstripe head, the Remo internal muffler system (the plastic tray that held in the foam), a wood beater, and the Damnar pad. It sounded pretty legit, and cut like crazy.
Those Danmar pads sounded plasticy cuz they had a plastic disc in them, yeah? And then there was the Double Metal Kick that actually had a metal disc. Vinnie's signature trick was duct-taping a quarter to the head to get more attack.
@@oblivionwalker8613 me and some friends used to tape the quarter, but the tape residue would eventually cause our beaters to stick. then we saw Benante used the damnar pad and we all ran to our local music shops to order some.
I still use a Remo Muffl on my bass drum. There's no equal to this day. Even muffling all around the head. And I have NOTHING inside my bass drum. No pillows, no blanket. The sound is killer.
Metal player here - with my own $0.02:
1. I use plastic, not wood beaters because they are even harder and create more of a direct thump.
2. Some kick head pads will have a thin piece of metal inside of them which will create an even more pronounced click. I hear that the same effect can be achieved on the cheap by taping quarters to the kick head or the pad, but can’t back that up with personal experience.
3. Triggers are becoming increasingly common, as are samples, but consider that they can’t nearly as easily reproduce any dynamics in the performance being recorded. I’ve heard that mixtures of samples and the recording are a thing.
Great video!
So, I've been using the Simon phillips method for the last several months. With the sand filled paint can, single ply heads on the front and back with excellent results. The sand bag or paint can in my case really helps focus the sound a lot. Little tip, go to five below and in the area where the sell workout stuff, they have sand bags for $5. Can't go wrong with that!
What do you mean you spent time with Mario Duplantier in the studio ! WTF DUDE ! That is so awesome, he is one of the most inspiring metal drummers out there. Such cool grooves and also very groovy and his time is rock solid.
You did a really good job with this sound. Something like a falam slam will also add a bit more punch. Not a fan of the ones with the metal plate in them, normal ones do fine.
Also putting a reso head with just a port hole and then making sure that the blanket inside touches the reso head, helps a great deal to give it more "Ooomph". Lastly, a double mic setup is very very helpful. One inside for the attack and one on the outside for the low frequencies.
But every other thing I would recommend for metal kicks, you showed in the video. Great job !
Acoustically, I use an evans emad 2 on batter side with a patch and the thicker dampener ring, an eq3 on the reso, and both heads are a half turn past finger tight with a towel inside against the reso head. Deep, big, maximum punchification.
the song 'The Camera Eye' from Rush has to this day the best sounding toms and bass drums I've ever heard
Under a glass moon by dream theater was very appreciated to hear played!
you reminded me of another cool topic - using a speaker as a kick microphone, be it a bass cab, a passive monitor like an NS10 or that Yamaha dedicated gadget.
and name dropping Mario Duplantier was a solid flex :)
Ahh, the sub kick :)
Live Metal Kick 101: Resonant head tuned and Batter head tuned very low. Internal muffling, and 2 Mics. One inside the kick that is EQed with the focus on Attack and one outside at the port of the resonant head that is EQed to focus on the low end. Also scoop the low mids at around 100hz so the low end focus is in the range of 80hz to 40hz. Add a touch of slow attack/fast release compression and you should be in the ball park.
Good stuff, good stuff. Number 1 rule: Have batter head as loose as possible. :D I'm using those Kicker 2.0 bassdrum pillows. They are really great for getting very controlled and short ringing bassdrum sound. Then you can actually have an usual resonant head with a mic hole to get some of that low humming sound. The resonance makes the drum sound big, but it just have to be short in order to be punchy. Anyway.. loose heads and kicker 2.0. Makes metal kicks great.
Just saw testament at Milwaukee metal fest. Fn awesome. Played the whole legacy lp
Definitely the sound of 80's/90's bass drums! Love the Enter Sandman playing at the beginning!
I believe that modern metal kick drum sounds are a bit more extreme nowadays: more sub, more scoop, more click, more compression. Actually, so compressed there's absolutely zero dynamics at all.
It’s really too bad that there are so many who just use samples and drum machines instead. It’s so much more fun to get these sounds and discover new ones on the way.
On the other hand, sampling is a convenient and cheap way to copy what has already worked. I guess I can’t deny that. In metal that’s so dense and loud, aggressive and consistent kicks are really a must.
I love that bass drum sound so much
Those drums sound great!
I really enjoyed this episode because it just showcases the breadth of knowledge both of you have access to when it comes to getting particular sounds/effects out of drums no matter the style the drummer might be playing whether it be in studio or in a live setting.
Thanks, Julien! We really appreciate it and had a blast producing this episode. As you've certainly come to learn, we're total geeks for this stuff. Thanks for watching! -Ben
@@SoundsLikeADrum Well it definitely shows in all the videos I've watched on the channel and definitely doesn't go unnoticed. As someone who's tuning can be summed up to "As low as it can go while still sounding like a drum" I've learned quite a lot!
THANK YOU SO MUCH FOR THIS. Long time coming! Cheers :)
What I do to my kick drum:
-Super tight head or heel toe won't work
-Super tight head or triggers won't work
-Pillow against the head to make it less resonant
-If mic'd get a suboctaver going in the mixing desk because the head is so tight
-Practice a lot so that even super fast stuff sounds powerful and clear if triggers are not available
That's for Death Metal and similar genres thou, which rely on blast beats n stuff.
Btw I love your videos, but I think the voice mic sounds super scooped.
Try adding a broad EQ around 500hz which boosts by around 6db, that sounded more natural to me.
Wow this is an expert video - great work, thank you for posting!
You're a group of heros. Thank you.
Great video as always!
Here's my odd take for this sound:
•Ddrum Dios Maple kick (24x20), •Aquarian Super Kick ll batter w/patch,
•Remo Power Dot as a "reso" (the thickness helps muffle it), then doubled up with a Remo tray and muffling ring, no port hole
•Shure SM57 internal mic, mounted an inch off the batter head
As odd as all of that sounds, I can run that drum as is, wide open, and the mic picks up all the clicky attack and the low end beautifully. Played a gig with that setup and the sound guy absolutely LOVED IT, said it was so full and punchy, but cut through and he couldn't understand what I'd done 😂 I've not recorded in studio like that though
In my studio I even used pencil mics inside the kick for extra snap.
For the triggered sound, (can't recall if I've seen here in past eps or another channel) I also cut an old kick head, like a BFSD and cram it under the dampening ring...
The weight inside and the beater type are great ones. Awesome content as ever!
Good episode.thanks
front stock logo head, 4 to 6" port, covered in various stickers, port surrounded with duct tape inside and out. no internal muffling, wide open. emad 2 with the thick ring just past finger tight. remo falam slam double pedal patch, iron cobra felt beaters.
Very cool, not a metal player myself anymore but supercool to learn from your experience as always; need a sandbag for sure! All the best, another '81 born drummer here!
The sand bag tightened the sound A LOT, was surprised by that result. Might experiment with that later on my own drumset.
Others have mentioned it for sure, but using a boundary mic, like Sennheiser e901 or Shure beta 91A seem to be kinda popular to get the "click" sound easier, without triggers. I know Ryan van Poederooyen uses that and I think Gavin Harrison has done it too (but he has other tricks going on as well, mostly with phase cancellation).
that Gavin Harrison thing with phase cancellation makes sense! should get rid of a bunch of low end and enhance the attack. how can i find that video?
Guys! Thanks for this!! I’ve actually been looking into this under the microscope, looking at your videos to come up with a better metal kick sound myself. My current go-to metal kick sound is a shallower, 22”-24” kick with a very thick batter with a patch, tuned finger tight, with a thin front head (medium to large port hole, tuned medium low). I used to use a typical blanket or pillow inside the drum, so as to focus the tones, and keep it short, but after watching your videos I was inspired to try lining the shell with sound foam and using my 15 lb weighted blanked as dampening. Hard, medium heavy beaters with a long throw are also awesome to enhance the attack and punch.
Thanks again for taking the time to share this sound with us! This has been one of my favorite episodes to date.
So glad to hear that you enjoyed it!
What batter head are you using? I have had massive success using a thick batter (Aquarian Deep Vintage II) tuned to more of a medium tension- somewhere just shy of a full turn, instead of the quarter-turn-past-wrinkle technique- and a thin reso head real loose. My reso head is a custom EMAD reso I made by taping a leftover foam ring to the inside of the head. That focused the subs a lot, and cut a bit of the sustain, while still keeping the unported front head vibe that I love. Of course, beater choice helps too, and you mentioned pedal settings- I have my spring tension mid-low and the beater real far back, so there's a long throw for more attack just like you said, without needing to fight the pull of the spring. By the time it's fully extended, that spring is plenty tight!
I get great results using a Remo clear PS3 with either a Remo Ebony PS3 with no port, Tama Starclassic front head with no port or an Evans equivilant with a port. I move the drum around the room and don’t have to do much after since the room position gives me the bottom end which I can dial back with an extra towel and the punch is basically restrained bottom end. Any click can easily be added with the plastic DW beater or even an extra piece of old drum head I tape to the head with some clear tape. I actually PREFER a 2” to 3” piece of drum head as a traditional patch to the thicker patches that rob the tone from the head. I usually use a patch made from a 10 mil clear head for normal playing and use multiples when looking for extra “click”. I’ve also used a credit card lightly taped to the head. That might be the closest to the Danmar click pad and it’s free.
oblivionwalker861 I’m using an Evans Hydraulic at the moment, and it’s pretty sick. The EMAD Heavyweight is another ultra meaty batter head I’ve enjoyed playing with. I will say though, thinner batter heads can be awesome for metal, too. It just depends on the context and tuning.
That’s an interesting concept you’ve got there! I do enjoy the sound of an unported kick, but I will say it’s a lot easier to get a modern kick sound with a ported front head.
Another interesting point you’ve got there. As much as I love a loose, heavy kick pedal, I need a little more spring back for faster parts. I usually have my springs tightened as far as they’ll go, with the beaters pulled back 45 degrees or so. I have the beaters extended to hit the bass drum as high as they’ll go as well. It took some getting used to, but it was well worth my while. I’m able to play powerfully at a wide range of tempos, with precision. Try it sometime if you haven’t already!
Joe Rico sounds pretty sick! Thanks for that, by the way. Will definitely be trying out those tricks with an old drum head and credit card.
Question, how would you go about miking an unported kick for metal? I bet the sound is huge, but in my experience it’s kind of difficult to capture the fullness of the attack and initial punch without getting many mics involved.
I haven’t watched this video yet but I have watched several of yours over the last few days. I’m a guitarist of 20 years that always enjoyed drums but never pursued them seriously. I just got my first set. Nothing special, just a 5-piece Pearl Roadshow. I’ve been a metal guy all my life and I want to tune my kit for metal. I searched for “drum tuning for metal” and sure enough you had a video video on exactly what I needed! Time to sub now. I love your entire getup here, especially your explanations and delivery. Keep it up!
the classic metal bass drum sound i consider the standard was vinnie pauls bass drum sound, the blend of kick & trigger + his playing magic = the perfect metal tone IMO :)
if you check out live Anthrax footage from the 80s, thats where I first heard the clicky bass drum sound. I think VP took it to another level for sure, but Charlie's still sounded like a real drum + the extra attack.
Great video! Pretty cool you worked with Mario from Gojira, I imagine that to be quite interesting.
great video
That's so cool about Mario and how down to a science it was. This was a good episode as a metal guy🤘🤘 it's crazy the difference that sand bag makes
Thank you!!
It’s so nice of you to make a video specifically for me 🥰
02:00 Love that tone. Reminds me of GREEN DAY "dookie" album.
Good stuff! I'd love to see you guys try to emulate some electronic drum sounds acoustically, stuff like clap sounds and 808 snares and kicks.
Super informative and great vid! Also I'm so jealous you teched for Mario.
At last! My number one genre has been ignored all this time on this channel! Thank you.
Aw, sorry to hear that you feel like it's been ignored. We'll cover more related to heavy rock and metal in 2021. Cheers!
oh nice
didnt see that coming
now i know why marios floor tom sound is so sick :)
also under a glass moon was nicely brought in haha
Well as soon as you name dropped mario... yeah you're qualified to talk about metal drum sounds
I have a D112 and a Sennheiser e901 both inside the kick drum. I find that the D112 gets a beautiful warm and round "oomph" sound and the e901 adds those high frequencies needed for the "click". Sometimes I add a Beta 52 outside the resonant head for the boomy sustain but it almost never proves useful in a full metal band mix. Great for slower songs though where the bass drum needs to fill more room.
I used to tape a silver dollar to the strike zone of a wooden beater for obnoxious high end click sound. 🤘🏼
Awhhh there you go! Under the Glass Moon!!! @12:40 I use this for sound check too😆
Couldn't resist throwing that in!
I've been waiting for this episode!!!!
We hope you enjoyed it!
12:50 really cool kick sound
I'm definitely trying the sand bag thing. I feel like it would kill the resonance of the shell. I've already dampened the batter and reso head but still get some sustaining overtones that I'm assuming come from the shell. Tryin it in the morning for sure.
How about having a higher pitched kick for metal? I usually go for a medium-high pitch for the batter because it gives less punch but much more attack. It also has a fuller tone than a finger-tightened head
I use a 20 inch kick for extra punch and less low end. Tuned just above finger tight, with an Audit D6 mounted internally and a diy subkick made with a 10 inch speaker to pull in some extra low end if needed. The rest is all EQ, slight low end boost with a more significant boost in the high mids for punch. For beaters, u am using DW control beaters with the hard plastic beater and all of the weights to add extra force at the end of the stroke for extra punch.
I just use an emad 2, ported aquarian sound control reso, and a piece of egg crate foam around 8 x 18 inside for just a small touch of dampening. I tune bother batter and reso to Rob Brown's "tune it flate, then turn it back" method. In my birch bass drum, that has given me the sound I've been looking for for years.
Edit: forgot to mention the DW DWSM105 Hardcore Beater. My absolute favorite beater of all time.
I use a 22x18 bass drum with a Aquarian Super kick 1 and a ported reso head. A small blanket in the drum and a aquarian patch. Beta 91 microphone. The biggest thing i think is to tune the reso head a little higher for resonance and the batter head finger tight to get that attack! And KICK HARD! Listen to Chris turner for a great example of this!
Easily my favorite video from you guys! I could easily tell the sound differences thru my phone speaker, I’m going to rewatch it with headphones here soon. Have you considered looking into the mega dry attacky toms that were used in 90s death metal drums? Perfect example is Dawn of the Angry (from Morbid Angel)... there’s a sweet snare/tom fill right at 3:25 where the toms just cut thru like a speedbag.
thanks for turning me onto Mario Duplantier !!! i didnt even know we were allowed to drum like that!! ize haz a new role model..
Nice work guys!!👍🙂 On my last recording I took the front head off my 24” , used a bath towel for dampening, a kick pad, a blanket draped over the front enclosing the mic, and bolstered the sound with a sample!! The room is a big deal too. The first album I ever recorded was pure source sounds with reso’s on my kicks and room mics without any of that nonsense. You won’t be surprised to hear that I personally prefer the natural sound, but like you guys say, that’s not the “metal” sound...
My go to metal kick drum sound is a 14”x22”, pinstripe, 3” leather patch with a Sacajawea dollar glued to it, red Danmar. Front head is the inner ply of a pinstripe with a 4” hole. 1 1/2” thick foam 1/3 of the way around the bottom of the beater head, pressed pretty tight, not touching the front head at all. Both heads tuned just to the point of no wrinkles. D112 inside, large diaphragm about a foot away from the front head. Sounds pretty close to Vinnie Paul’s tone to me. At least I like it. :) People always swear it’s a triggered sound when I use it live.
Great video, I love how you approach these vids man, very informative. But on this occasion you should have talked about how you eq'd the kick. Did you just scoop out the mids or did you increase the top/bottom end too. And what frequencies, how much Q factor on each... that sorta thing.
Did you also apply compression, and what settings did you use, ratio, knee, attack/release settings... stuff like that. A newbie would have benefited from some insight.
Keep up the great work though!
I mostly play metal, and at rehearsal i find it extremely usefull to have a trigger on the bassdrum.
The bassdrum gets very cluttered in most rehearsal spaces, especially when you play double bass.
For live i have tried using a trigger at different places, small venues, big stages. I found a trigger is usually better for me and the band when we play a small venue, but on a bigger stage with lots of speakers and a decent sound guy it was always best to leave the trigger out and use the acoustic sound.
Thanks guys! The turning point was the wood beater. You could’ve gone for an EMAD Heavy-Weight, but the beater and damping got the sound. I just finished cutting out a 24” batter for its dampening ring. It still resonates when left un dampened, but once a blanket is in there, it’s fine. If Evans is listening, a 24” Reso bass with a 21” centred port hole and an EMAD ring for protection 😂 My setup’s an SE V-kick + U47 FET + DW Moon Mic + moving blankets for isolation. Happy new year :)
You got a really nice sound and although its processed, its still natural. The only thing I would say is this... I love EQ3 but an EMAD head (especially the 2 ply ones) has the advantage of having way more dampening straight away. That's why its so good for pop, rock and metal. It just means that you compress the sound a little more at the source. But apart from that, that bass drum punches you pretty hard anyway 😄
Awesome!!! More metal videos, please! lol, I''m completely astonished to know that Pantera recorded Cowboys from hell with no Trigger or sample. Of course it's always processed a lot, but as we know for sure the right way to sound big is right from the start! Acoustically sounding the closest to the metal sound, and only processing to enhance the real deal is the science behind it
to me (not a drummer) it's not like metal drums doens't sound real. It's just like a distorted guitar. If you can process your drums analog and live, why is it any different than a chorus pedal or a tube amp crancked in a guitar? I only have one drum, so a use a shure SM57 in the beater (focus the medium freq) + subkick, but I do miss the sound of the kick from the outside (with a ribbon or a condenser), I could never took out the sidehead because of it lol
Something i do to get even more attack is putting a coin under my EQ Patches, and using the Sonitus Kicker with the mounting plate and a Sennheiser e602 or an Audix D6. Wouldn‘t do that for anything else but for that sound it works.
01:03 maximum metal cred right here :)
I can't remember what his name was, but at a bar in Daytona I ran into a guy who said that in the studio he packs his bass drum full of pillows to the point where it's just the attack and no sustain. He said he puts an SM57 maybe an inch away from the batter head on the inside pointed directly at the beater. The drum is tuned to feel and is super tight. To get the right pitch he ran the kick track through Melodyne. Never before did I hear a more complicated way of getting a pretty triggery sounding kick drum without using samples, especially because he was using the red ddrum triggers and Remo mesh heads at the gig that night 😂
kick pads and microphones go a long way these days. not sure how that head compares to the EMAD and GMAD, but a lot of guys i know favor those. Mics like the audix D6 has SUCH an aggressive EQ curve that it turns almost any kick into a clicky metal machine. for live, this is a major time saver. pultec EQ's, transient designers, stuff like that goes a long way. but acoustically, you nailed it. kill the overtones and sustain, highlight the attack. the only thing out of place is that you aren't trying to kick a hole in the head. you made plenty of disclaimers that you aren't a metal guy, so it makes sense that you aren't out here trying to break things. a good metal drummer will have a ton of tension on their pedals, sit high, and kick hard.
oh yea tha 80's didn't have Emads back then! i almost forgot what it's like in a world where EMAD didn't exist and wow i'm so glad i don't have to go through those methods just to get a similar sound just by havin' a Emad alone with and without a port with no pillows or sandbags
good video here
The one thing samples have that you can't replicate with live playing is the fact that sometimes all recording settings in the studio are optimized for one shots, meaning you can get away with EQ and compression settings that make drum hits huge but would probably be unusable if you played a full groove with cymbals
Thank you very much for this awesome information. I have a question. When you were teching for metal guys in the studio, how many of them actually used a reso head on the kick drum? I am really interested in recording a good kick sound for heavy rock and metal. Your anwser would be much apreciated.
For me, the Shure Beta 91A has always felt like a must-have for getting the clicky attack thing! It is in no way a completed kick sound on its own, but pairing it with a second mic (like the d112) in the port in the front head gets you REALLY close to the final result without having to do anything too crazy in regards to shelving EQs/bringing out the attack 😊
All for nothing of the kick isn’t setup to be “attacky” in the first place though!! Great vid guys 🖤
For sure! It all depends on the drum, the player, and heads. I did a session a while back where we started with a Beta 91a in the kick and a FET 47 outside and ended up switching to a D112 inside and it did the trick. Some EQ and a distressor locked it in for a killer sound. We didn't have wooden beaters that day but it worked beautifully. For this video we only gave the D112 +5dB of a mild Q boost at ~5kHz to bring out the attack in the mixed versions. You're absolutely right- gotta have that sound at the source first! Cheers!
Great video..as always ..👍..i was wondering what you guys think about the evans 500 glass snare reso.i know its prob more for heavier playing..given it has less articulation ect having the thiicker head .i have had one onhand for almost a yr & havnt used it yet..im not sure how to go about tunning it ..prob try it on a metal 6.5 ×14 pearl new style tube lug sensitone..deeper snare..i normally have stuck with evan 300 for several yrs..it does great ..for all around playing in general..so i dont like idea of putting it on,just to waste it & be unhappy..i dont mind if one of my snares isnt as articulate..as long as it has a good ..clear ..cracking backbeat, for heavier stuff..so if have had any experience with using or trying the 500..id appreciate your insight & opinion on it...thanks 😁👍✔✔🎵
Fantastic video, very helpful! Just one thing is missing, and this is the step with the most dramatic change in sound: The production mix. How did you equalize and mix the kick drum? Without this information, there is no way to reproduce the result.
Would it be possible for you to show us any videos of you working with Mario by chance? That would amazing. Great video btw. Thank you for making it.
Not sure we've got any behind the scenes footage of that right now but who knows what we'll see in the future...
Glad you enjoyed the episode!
Damn bro, if you've worked with gojira then you're a metalhead in my book lol. Great vid, I'm going to be sampling my tama imperialstar kit with joey jordison sig snare. Throw those bad boys into SD3 and jam some tunes.
I do not have a ton of experience recording yet. But one of my favorite cake sounds that I have tried to replicate is a dampened batter head like an Emad two or EQ three Etc. That is pretty loose, finger tight or so. And the resonant head is fairly tight with a pillow or blanket against it to cut out the ring. This gives a very punchy Low pitched sound that is really short and clicky. I also have a port in my resonant head
22x18 maple/birch
Holy crap... I've been trying everything to get this sound and I am close but I always end up with too much low end resonating. Off to grab a sand bag !
Would a heavier shell for the bass drum also help in this regard? (For when you have the option to do this, like with the Sonor SQ2/Pearl Masterworks/Custom shells)
I go for 2 different sounds when playing metal. For faster, tighter material I run a 22” birch shell with a wood beater, Kevlar patch on an EMAD with a towel on the inside of the shell. Always a winner. As for my 24” however.. a wood beater on a Coated P3 with hand towels rolled and pressed and taped to where head meets the shell on the inside of the shell. Batter and reso. Beefy, punchy, super aggressive.
As a metal producer, I always use kick samples. I have spent hundreds of hours trying to get natural kick mics to work, but they always sound too flappy and all over the place compared to samples. The repetiveness of samples is smoothed out by the natural kick sound in overhead and room mics. That's where the helpfulness of this video comes in; it's very important to have a short kick sound, since small rooms always lengthen the low frequencies and tend to make them blurry in fast playing. So, thank you for this, will absolutely try this in the next session!
I have heard some cool sampled stufff but The Ensemble play and balance needs to be happening before we can record the band and hope to be able to pull a mix out it. A Natural kick is a much more dynamic instrument but if you are using a one shot kick sample and the drummer is placing it perfectly.....each are killer ways to control the time and sound cool in the mix.
@@LowKey657 I know it can feel disappointing, but 99% of modern metal is utilizing samples. This is because metal mixes are so dense, that clarity and consistency are extremely important.
naw. @@djentlover
@@djentlover I will admit I did feel dissapointed but I am over that feeling (tehe jk) :) haha Thanks for the reply. - D Also I know what you mean about a high density sample. AN HD sample triggered however you like - It can make the recorded kick sound weaker when you compare the two sounds in a mix or even solod side by side in comparison (shoot out) I love a nice loud kick in the mix always and a lot of mixes for one reason or another have a washed out kick sound. So in that case lets dust off some one shots. Also do you use multiple samples to try to simulate a realistic Drum Sound? As you might already have discovered -- Each time a kick pedal stirkes the head the story line might be different and make a different sound. By story line I mean the consideration of what had happened to that drum head just before the current stroke hitting it (was the batter head resonating from a legatto kick stroke or could it be recovering from a quick RR double set?) and what then comes after as a result. It could be programmed in a certain way if you had enough of the right samples. Might be more interesting than just relying on a one shot. All I could find is Random or Round Robin on my use of a sampler with more than one kick sample in the sample set. And those dont make any sense other than a bit more natural but not nescsarily in a good way. So right on @djentlover657
+soundslikeadrum *Evans Drumhead Division, J. D'Addario & Company Inc., produces kick batters that can achieve the "metal" bass with fewer unconventional tweaks.* The Hydraulic is a go-to for engineers for funk and disco. My experience with the EMAD Heavyweight shows it able to make the gamut of attack-versus-sustain profiles; I've eventual plans for a double-kick append of my TAMA®/HOSHINO® poplarbuilts with a southfoot double pedal and two ø22"x18" kicks with radically different treatments (viz., a Classical-level sustain on one kick and a clicky staccatissimo on the other kick).
i heard double bass and was like yoooo Cody--- oh. damn haha. i wanted to see you play some techy stuff haha
I like this raw sound more than the triggers
I’m having a problem with slight ringing after each hit, I have a remo o ring foam muffler on the beater head, and also the Pearl small pillow that lightly presses against the beater head.
I have a drumbot. Any clue what the problem is? Should I just loosen the beater head a bit?
The metal kick is all about the attack and basicly all other things come second. If your attack transient isn't usable, yout whole sound isn't usable. That's why it is really important to get the best out of your kick.
You're going in the right direction all the time in the video, but there are few things I'd do different;
1) Damping the head _shorten_ the attack sound until it dampens it. Therefore most of the people use already dampened heads (to kill most of the overtones) and use as little as possible of the outside dampening to keep a healthy amount of the attack around. Some use non-dampened heads, but they tend to struggle a bit with the amount of dampening vs. the attack transients (or at least I've noted it that way).
2) Some people don't use any amount of dampening because the head has it already innit.
3) Without the resonant skin used to be the no.1 choice, but today most of the drummers still use some sort of head with a hole. It will be quite loose and somewhat dampened, but it gives you so much beater bounce that the faster double kick parts benefit from it.
4) The good metal kick sounds like loose and flappy crap pile without mics. There's way too much attack and not a lot of ring/low end. Like hitting a sandbag with a shovel. However, it all comes alive with mics.
how did you tune your batter-head? I once played on a bass drum on which the batter-head was only fingerthightened and it produced a very short and clicky sound, like you did here. Tho I think, fingerthightend is to extreme for me, but im curious how loose you had it here.
Hey there! It was maybe half a turn past finger tight. Just enough tension to keep the tension rods from backing out 👍🏻 -Cody
Awesome topic well presented but i have a question im about to buy a kickport bass drum enhancer i was wondering if i will get a metal bass drum sound for my two bass drum pearl master maple should i invest in that product does it really do what they say about it at 60$ a piece im not scared of investing im scared of being decieve thanks for what you do for us drummer👏👏👏👏🤟🏻🤟🏻🤟🏻🥁🥁🥁🇨🇦🇨🇦🇨🇦
I liked how it sounded pre eq with sandbag 😳
The quarters are huge. I wonder what difference various coins would make. I wonder if a B20 bronze coin would sound brighter? Or maybe a thicc coin is louder?
This is a pretty decent bass drum sound. I usually use a 20” kick, single ply batter and reso with internal muffling ring. Reso head has a port hole in it. Both tuned low, yet with reasonably little wrinkle. Front head has an evans EQ patch. I use mapex felt beaters with 20g weights to get extra punch. I have a small pillow inside touching both heads. I use this technique to minimize the processing I have to do. This gets alot more low end, which works great in terms of mixing.
I'm learning recording right now and found this setup to work nicely for me. I have a pinstripe instead of a single ply batter, but I actually don't even like the head, so trying something else next. The low end is amazing and plastic beater + Evans EQ patch seem to bring some click, don't know yet if it's enough as I haven't really started mixing currently. Raw sound is very nice for my application.
@@samuliauno8163 The EQ patch does really bring out the attack, doesn’t it?
@@thedutchdjentleman
I bought it mostly for durability purposes, but I've seen enough before/after videos of the patches to justify their use sound-wise.
The clear EQ patch I got hold of now isn't as thick as I remembered them to be, I have to try other brands too maybe. The black one damaged my beaters enough that I needed to replace them and that did cost enough that I won't use that stuff again any time soon.
Learning the stuff little by little! Thank you for your input. :)
@@samuliauno8163 I had bought them for the exact same reason as you, but from now on, I’m buying for sound purposes hahaha. It was the missing link in my kick sound
great video! what bass drum beater were you using?
How is the batter head tune tight med or low thanks🥁🥁🇨🇦
I'd really like to know more about how diameter, width, skin dampers, and tension changes the sound.
You’re in luck, as we address those variables throughout this channel!
I pulled this sound off with no pillow or sand bag and an emad head on the batter and a generic pearl reso head on the resonate side.
Really surprised you didn't use an EMAD heavyweight
That’s a great head (it was actually my project at Evans) but it’s not necessary in the studio, particularly for how hard we play. -Ben
The fad in the late 2000s was to put a metal plate on the head. I believe someone also made a product called clickers to accomplish the same goal. It was harsh
Oh yes! This (or the silver dollar approach) was like drumming equivalent to the baseball card in the bicycle spokes 😂
Yes, it was Danmar and it was called the metal kick! 🤣🤣🤣 Just a piece of metal sandwiched between two stickers. The stickers would break and the metal plate would fall out! Plus that plate would kill a felt beater! That thing would be flat in a matter of minutes!
Do the st anger snare sound
Nice video. I’ve seen too much behind the scene, metal drum sound uses a lot of EQ and effects. One of my favorite drummers kit was wide open and ringy like a jazz kit but after the sound man set it up it sounded like the album. Another was tight but completely dead, used same effects and bam it sounded like the album. Others use triggers and Roland module behind the kit instead of the mics. Really disappointed me to realize the sound is processed. Since then I’ve notice it a lot in every album I listen to. Many metal drummers have a processed sound.