Lots of you asked for "more summaries". Is this what you had in mind? ► Disclosure's go to kick - bit.ly/disc-kick [affiliate link*] 👋 Disclosure's Discord - discord.gg/disclosure
You know, this is the type of content that will explode your channel An excellent evolution congratulations! Also nice elegant subscribe reminder, not those obnoxious FULL SCREEN ONES from 50k subs ago :P See you at 100k, 200k, 1mil etc.
Don't you wish Madeon would do livestreams so we could learn all of his secrets? I mean his mixes sound sooo clean and full. He mixes and masters all of his music so it would be cool to hear him talk about his process in FL.
as a musician, this is so informative. I'm slowly learning more about this part of music and it helps so much. I do a lot of live performances on the internet building songs from scratch, and your videos really help me out. I'm a huge Disclosure fan (22nd January, Boss, Omen). Thanks for taking the time to break this down for us.
This is great! Nice breakdown and what a lovely coincidence that the length of the video is 8:08. When mixing it's important to decide what the lowest thing in the track is- the kick or the sub, and figure out where to carve frequencies out of each one so the mix is clean. EQ and side chain compression are my go-to techniques for this, after leveling.
One tip I saw on a Mr. Bill video about layering kicks is that it's not necessary to split the 3 parts or layers of the kicks in different channels but rather have them all in a single track and have them not fade with each other, this would make some clicks because of phase being different between the end of one sample and the beginning of the next but that's actually something you want for the transient and it's not even noticeable.
the whole thing about the kick being in three parts was really useful kinda how the thump of a snare is in the low mids and the texture is in the upper mids
I have always had problems with kicks punching through my mix with nice bottom end. In a smooth way. So I bought big kick and wow what a plug in something like ten minutes I had a perfect kick. Kicking through the mix
I believe they mentioned in one of their streams they keept the kick volume at like 8db or maybe it was 12db, to give them more headroom for the mix. THought that was interesting as I did studio sessions before and 3db seemed to be the norm, but I actually prefer their way.
wow you can still hear the kick?? even if it's not beng CRAMMED DOWN YOUR THROAT EYEBALLS?? and every cell of your body?!?! what a frigging concept...amazing...THANK YOU!
The most important part is how the rest of your mix sits around the kick, that's what can create the contrast to make it sound punchy or deep or whatever
Interesting point about the Disclosure mixdown being for pop records. It’s something I’ve taken away from his twitch feeds and it doesn’t apply to the house or techno that I produce which are more club orientated than pop. I need bigger louder kicks to be comparable to the reference tracks I use. The key element for me it’s the transient and punch element and these vids have helped me tune this element of my tracks. Previously I’ve focussed on the oomph of the kick.
@@SolStateMusic ya - I'm bad with the terminology; I think what you're showing would be called a realtime analysis but I meant a non-realtime. The type where X is time and Y frequency and color is amplitude
Best to get a subwoofer or something like a subpac, it really helps fine tuning the length of a kick and the processing and mixing of it. I think a lot of people get confused when talking about the kick cutting through the bass, there is actually two distinct parts to this not one. You can have your kick cut through the bass in the upper low frequency ranges but not the bottom, this is what I see a lot, as it gives the listener the illusion that it is cutting through but if you listen with a sub you won't be able to feel a distinct separate hit when the kick plays over the bass. For me anyway this is pretty much impossible to detect this without the help of a subwoofer.
My favorite kick technique: take a kick with a lot of body and bass, one of those that you feel in your chest not a dinky edm kick. Then route your kick and your hi hat or shaker etc to a new channel together. Then you add a soft clipper and tweak the input levels of each track till you like the result and bam, your kick has a fuck ton of punch and body at the same time without the kick sounding like a dinky edm kick.
If you think about a kick is really just a diving frequency, you can start to hear which are the right samples to fit your groove/need. if you want a short kick it has to get to the lows fast after the transient too, or else you might chop/fade it before it reaches the fundamental and you'll end up losing the bottom end and just end up with the 'chest'. if your in a small room or on not very good speakers or phones you won't catch this, get a good FFT like the free span by voxengo to help you check. (and no don't bother trying to time stretch a longer one that's a phase nightmare you'll also end up with no bottom end)
I tend to just grab a Monotron and in around a few minutes of noodling with it, I have found my kick. Nomadik have done some nice old skool sample packs - on their own the kicks may be a bit dry for some... However, gold is found when mixing between three or four to make hybrids. Also, if a kick starts light - it's useful (as the vid highlighted v well) as it leaves space for other stuff. In fact, if I recall the "offset" baseline in old Trance tracks occurred, simply because the limits of audio production (trance was a thing 30 years ago - bear that in mind) could not get the separation between baseline and kick when mixing.
Think it comes from the french house they love. Huge sub-y kicks weren't a thing on the genre, that's why Daft Punk could even use reverb on kicks. If you have a moving bass line, a sub-y kick will take too much attention off it. If you have a steady, reese-ish bass, a sub-y kick makes more sense because it gives it some energy, some oomf to the bass itself.
Good take. I think the lack of sub-y-ness as you've pointed out was compensated by the heavy compression/ducking effect that's also so prevalent in French house, which added some needed body to the kick.
Have always been a connoisseur of kicks. Finding the perfect one is the holy grail. My two favorites have to be the one used in Quivver's Surin, and the kick from Magnus's Velvet. Both are astonishingly good.
Sol State, is there already a video uploaded on how Guy is using that ghost sidechain to control ducking on his Kick and the compressor settings he likes to use for that sidechain?
I remember him talking about it, but not sure if I included in an edit. Guy uses a ghost sidechain trigger cause he likes to automate the length of the kick. I think compressor settings depend on song.
yo ive been watching you for awhile but just now realized how helpful your videos have been and i feel sinful to not have subscribed to you for so long, im sorry:(
