{"id":474,"date":"2018-03-10T22:13:30","date_gmt":"2018-03-10T22:13:30","guid":{"rendered":"http:\/\/jackiemjoyner.com\/studiotrix\/?p=474"},"modified":"2018-03-10T22:13:30","modified_gmt":"2018-03-10T22:13:30","slug":"mixing-kick-and-low-end","status":"publish","type":"post","link":"http:\/\/jackiemjoyner.com\/studiotrix\/mixing-kick-and-low-end\/","title":{"rendered":"Mixing Kick and Low End"},"content":{"rendered":"
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Mixing Bass and Kick for Low-End Balance<\/h1>\n
March 18, 2015<\/span>\u00a0\u2022 By:\u00a0\u00a0MIXING & MASTERING<\/a><\/span><\/div>\n<\/div>\n
The biggest hits ever recorded would be unlistenable if their mixers didn’t achieve the perfect low-end balance between the bass and the kick. Get this wrong and nothing will sit well in your mix. Get it right and the rest of your job nearly does itself…<\/div>\n
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When it comes to turning off your listeners, I don’t know what’s worse: having an anemic, powerless low-end or having a muddy, overpowering mess with no clarity. \u00a0Unfortunately, these are two of the most common problems with amateur mixes. \u00a0These two scenarios and could doom the reception of the best song ever written before it even hits the first chorus, so what’s it likely to do to average songs? \u00a0And guess who’ll be to blame and who’s reputation will be at stake? \u00a0Yours, as the mixer. \u00a0So let’s get to the bottom of this pronto so we can save face, make hits, and make bank.<\/p>\n

While any studio-head can apply these tips while mixing bass and kick drums, there are a few factors that will increase your chance of a successful low-end balance. \u00a0First, we’re assuming you have a monitoring set-up that can allow you to hear these frequencies clearly. \u00a0This means you either have a acoustically treated mix room equipped with a subwoofer or you have powered\u00a0mixing headphones<\/a>\u00a0with large enough woofers to reach the low frequencies (we explored the differences previously<\/a>). \u00a0It’s important to be able to hear what you’re doing at the low-end, otherwise it’s just guess work guided by visual cues from the DAW.<\/p>\n

Now that that’s out of the way, let’s talk about refining a crystal clear, powerful low-end that contributes to a song instead of ruining it’s chances for greatness.<\/p>\n

Before you start making changes to your tracks, we need to make sure we understand the proper relationship between kick and bass. \u00a0This will help establish a final destination so we aren’t tweaking forever.<\/p>\n

\"mixing<\/p>\n

The Purpose and Relationship of the Bass & Kick Drum<\/h2>\n

The bass guitar and the kick drum are among the two most important instruments in music. \u00a0Even if they aren’t present, some other instrument will be playing their\u00a0roles, because without the fundamentals, you’re building your song on sand and the tide is coming in. \u00a0Throughout history and even more so in the current musical culture, these two key segments of a song’s instrumentation have been used to establish drive and and reiterate the chordal roots.<\/p>\n

ON THE BASS WE BUILD CHORDS<\/h3>\n

Bass lines are generally build on the roots of chords, no matter the inversions, chord changes, key, or genre. \u00a0A sustained bass note drives the root home for a length that allows harmony to be achieved in the long or short note-lengths of the higher frequency instruments. \u00a0Without the root, you don’t have a 3rd or a 5th. \u00a0Without the root, you loose sense of the chord changes. \u00a0Only because the listeners’ ears lock into the bass’ tones and rhythms can we even build the rest of the song.<\/p>\n

THE KICK DRUM HIGHLIGHTS THE\u00a0RHYTHM<\/h3>\n

Whereas the bass has a smooth build and swell with sustained length, the kick drum features a short punchy attack. \u00a0Of course this is generalized, but traditionally these are the roles of each. \u00a0While the snares and high-hats tend to lock in the rhythm, the kick drum helps drive home the strong notes or lands on weak notes to establish syncopation and a sense of driving forward through the song. \u00a0It is so strongly felt that\u00a0any change in it’s rhythmic pattern needs to be considered carefully, let alone have perfect timing the entire time.<\/p>\n

TOGETHER WE GROOVE<\/h3>\n

Together, bass and kicks build the musical sense that allows for the lead instruments to be melodic, harmonic, and interestingly rhythmic. \u00a0This is why we must take special care with these instruments. \u00a0They must have volume and punch without clashing or interrupting other frequency ranges, volume especially since we love to feel the low-end\u00a0as much as we hear it.<\/p>\n

The Problem & The Challenge<\/h2>\n

Despite the differences described above, kick and bass are very similar, especially in that they essentially share the same fundamental frequency range. \u00a0This is the problem. \u00a0The challenge is allowing both to co-exist in their natural environment while not butting heads and getting in the way of the rest of the instrumentation. \u00a0Fortunately, the fundamental range is not the only portion that helps define the sound of both instruments. \u00a0The kick drum features an attack and decay, while the bass features a nice set of overtones that helps us distinguish which notes are being played.<\/p>\n

The goal\u00a0for all mix artists is to let the bass and kick co-exist in the low-end clearly where the bass’s overtones don’t interfere with the kick drum’s attack, and having neither the overtones or the attack interrupting the higher frequency instruments. \u00a0This challenge is amplified when we remember that we shouldn’t be panning either of these instruments at all. \u00a0They need to live right up the center so both speakers can share the burden of thumping them out and to keep the listener anchored to the stereo field.<\/p>\n

So what are we to do about this conundrum?<\/p>\n

Tips for Balancing the Low-End in a Mix<\/h2>\n

By making an important choice before starting the mix, we can apply the tips below to turn a disaster into a masterpiece.<\/p>\n

CHOOSE WHICH WILL BE\u00a0LOWER OR HIGHER<\/h3>\n

You can’t even start before you decide which instrument is going to be the lowest frequency. \u00a0Traditionally, the kick drum bangs out the lower portion of the low-end while the bass hums along higher. \u00a0But in recent pop music, largely in techno and drum & bass electronic music, the bass will be the lower of the two. \u00a0Both options are legit and you’ll need to make this choice first.<\/p>\n

This really should be decided by the songwriter and performers before the tracks even hit your hands. \u00a0This helps them choose the right kicks and the right bass tone to use which makes your job much easier and less destructive to the overall sound. \u00a0If they want a lower bass, hopefully their notes are sustained for a longer duration with less variation, because the overtones will be needed for these changes to be heard. \u00a0Think of 80’s pop bass lines and how many notes they cram into a bass line, and then notice that without the bass is always the higher of the two with a lot of overtone and distortion, almost sounding synthetic at times.<\/p>\n

THE EQ RANGES OF THE KICK AND BASS<\/h4>\n

The kick drum fundamentally will sit below 20 Hz to 100 Hz and a little beyond. \u00a0This is the bulk of the kick drum’s sound, but the noticeable part that helps us latch on to it is the attack. \u00a0The attack can be a fairly broad spectrum sound that will range from 100 Hz up to as far as 15 KHz. \u00a0The attack strikes first and quickly falls into the decay. \u00a0Reference the image below:<\/p>\n

\"kick

The typical kick drum decay<\/div>\n

The triple-axis image above shows the attack and decay of a kick drum. \u00a0Vertically you’re reading the decibel range (the loudness), while from left to right you’re viewing time in milliseconds. \u00a0From front to back, you’re starting at 16 KHz all the way down to 20 Hz. \u00a0To interpret the graph for you, basically the attack of the kick encompasses that full frequency range but the upper end quickly dissipates within about 100 milliseconds. \u00a0The decay is sustained at a lessening volume over as long as one full second.<\/p>\n

The bass guitar will reach as low as 31 Hz and even a bit lower while it’s overtones can reach as far as 20 KHz (essentially the same range as the kick drum!). \u00a0And here you see the conundrum. \u00a0A kick takes up the entire low-end and leaves no real room for the bass. \u00a0It’s so “bad” that we can’t even carve out a spot for the bass. \u00a0They literally have to share that part of the spectrum, and you have to make them both sound as clear as water. \u00a0Artists and listeners will accept no excuses and no reasoning. \u00a0You’d be totally screwed if you weren’t about to read some world-class tips to get this done painlessly (after some practice of course).<\/p>\n

GET SOME CLARITY WITH EQUALIZATION<\/h3>\n

Before you do anything else, you need some clarity. \u00a0You can’t compress or balance the kick and bass against each other or all of the other instruments until you can hear them correctly. \u00a0Get your EQ and get ready to boost and cut like a mad man.<\/p>\n

HIGH-PASS EVERYTHING ELSE<\/h4>\n

Funny enough, the first tip and usually your first step will be to slap a high-pass filter on everything but the bass and kick. \u00a0You’ll choose a threshold, probably around 80-120 Hz, that makes it so no other instrument sounds off below the threshold. \u00a0You can use a sharp cut-off or severe shelf but I wouldn’t recommend it due to the artifacts it can create. \u00a0Just let the volumes roll off with a wide Q. \u00a0If you go too tight, you’ll actually produce a volume bump just above the threshold. \u00a0Now, nothing exists in the low-end but the bass and the kick. \u00a0You can consider applying a low-pass to the kick to keep the attack from dominating too much of the higher frequencies. \u00a0Let the snare have some of the action, jeez!<\/p>\n

ROLL OFF THE HIGHER\u00a0OF THE TWO<\/h4>\n

Select the channel of whichever instrument you chose to be the higher frequency of the two and apply a high-pass filter to it at a threshold of around 50 Hz. \u00a0Let’s say you’re EQing the bass here. \u00a0You’re going to use a fairly aggressive roll off on it so that the kick drum can dominate around 40 Hz and lower. \u00a0The kick now will handle the sub-bass energies that you can literally feel in your chest. \u00a0Choose one or the other, but not both.<\/p>\n

\"roll

An example of a low-pass on the kick and high-pass on the bass<\/div>\n

Let’s clear up any possible misunderstanding here. \u00a0You can have both producing sub-bass thumps, but this will require the bass and kick to dance around each other rhythmically, never landing on the same beats. \u00a0This works great for genres like techno, rap, and reggae. \u00a0Even then a lot of mixers will still make the decision to assign just one of the two this task.<\/p>\n

SWEEP A TIGHT EQ BOOST TO FIND THE SWEET SPOTS<\/h4>\n

On both the bass and the kick drum, take a tight Q with a 6 db boost and sweep it up and down the frequency range. \u00a0It helps to loop and solo each instrument as you do this. \u00a0In this way, you can identify where the fundamentals lie, where the overtones are at, and where the attack of the kick drum sounds best. \u00a0For instance, take a look at the frequency chart below:<\/p>\n

\"kick

The picture above is\u00a0a good example of where the sweet spots lie. \u00a0You can see that kick’s fundamental range lies around 40 Hz to 60 Hz, while that of the bass resides further up around 110 Hz – 130 Hz. \u00a0The bass also quickly rolls off at about 50 Hz so the kick can breathe. \u00a0You can also visually spot some of the signatures of the attack of the kick and the harmonics of the bass.<\/p>\n

BOOST AND CUT WITH TIGHT Q’S AT THE SWEET SPOT<\/h4>\n

Now that you know where these sweet spots are, you can carve out some space for each instrument inside of each other. \u00a0For instance, in our scenario above you could take a tightly Q’d parametric EQ and boost the kick centered around 50 Hz, maybe no more than 2 db. \u00a0This will bring out some of the character. \u00a0At the same time, too much of a boost could create a weird boomy\u00a0or boxy sounding kick. \u00a0So instead of boosting 5 db, for example, we can jump over to the bass and apply a slight 2 or 3 db cut at the same 50 Hz spot. \u00a0This will look something like this:<\/p>\n

\"boost

Boosting and cutting kick and bass in Logic Pro<\/div>\n

Do the same for the bass’ sweet spots, boosting itself and cutting the region slightly on the kick. \u00a0This is mainly applied at the fundamental frequencies, but can also be done in the first overtone harmonics of the bass to help liven that up, depending on the decay of the kick. \u00a0Which brings us to our next set of tips.<\/p>\n

TAME\u00a0YOUR VOLUMES WITH COMPRESSION<\/h3>\n

Now that your bass and kick aren’t fighting each other to be heard, you’re ready to\u00a0caress the amplitudes of both in isolation so they jive well together even better. \u00a0Remember, as you go about this, don’t forget to disengage\u00a0the solo button and make sure you aren’t moving backwards.<\/p>\n

CONSIDER TRIMMING THE LENGTH OF THE KICK’S DECAY<\/h4>\n

The kick is mainly detected in the attack and felt in the bulk. \u00a0But the bulk can linger longer than you intended and still get in the way of the bass. \u00a0You may not have to or even want to trim the decay length down depending on the sparseness of of the song. \u00a0But in most mixes, you’ll achieve a better mix by chopping down the kick’s decay to about 250 ms to 300 ms. \u00a0Anything more than that can start to sound like a muddy reverb. \u00a0You can achieve this with a gate (a type of compressor).<\/p>\n

COMPRESS BOTH AGGRESSIVELY<\/h4>\n

Now that you have your clarity together, you’ll want to balance their relative volumes. \u00a0Compression comes in handy here, but remember, it can and will effect your equalization work if you apply it post-EQ. \u00a0This isn’t bad, just use your ears. \u00a0You may want to apply compression before you start EQing sweet spots. \u00a0It’s up to you, but you’ll likely have to do some tweaking if you compress after you EQ. \u00a0Not a big deal.<\/p>\n

When I say compress aggressively, I don’t mean for you to turn your compressor into a limiter. \u00a0Don’t drop the threshold to -60 db and set a 100:1 ratio. \u00a0For instance, if you compress too hard on a kick, you won’t have a kick. \u00a0You’ll have a square sine wave. \u00a0On the kick, set a slower attack on the compressor so that the attack of the kick can slip through unaffected. \u00a0If you want to reduce the attack some, you can set up a second compressor. \u00a0Apply a longer release to help trim the decay length.<\/p>\n

On the bass, you’ll be okay setting a lower threshold and higher ratio with a short attack and release. \u00a0You’ll want the volume of the bass to be very consistent to provide stability for the mix and the listener.<\/p>\n

Remember, you’re taking volume away and should be able to read how much on the meter or by calculating it from your ratio. \u00a0As the bass climbs above your threshold, the input will be reduced to the output of the ratio. \u00a0So if you’re ratio is 5:1, then for every 5 db going in only one will come out. \u00a0That’s 4 db reduction. \u00a0You’ll need to compensate for this volume drop using the Gain knob. \u00a0You’re basically turning up the compressed signal with a sub-fader here. \u00a0Don’t assume you need to boost by the same amount you reduced, because you won’t. \u00a0Use your ears!<\/p>\n

SIDE-CHAIN THE\u00a0COMPRESSOR TO DUCK THE BASS<\/h4>\n

Even though the bass and kick sound clearer, they still occupy the same region on the frequency spectrum. \u00a0Depending on the tracks you were delivered and the choices made before you, you won’t be able to achieve full on perfection just using EQ and standard compression. \u00a0Fear not. \u00a0You have another trick up your sleeve, and that’s to side-chain the compressor to duck the bass when the kick fires.<\/p>\n

Here’s what you do. \u00a0Slap another compressor on the bass track and bus the kick drum into it. \u00a0What’s going to happen is you’re going to compress the bass, as you’d expect, but only when the kick drum comes into play. \u00a0If and only if the kick drum bus is sending a signal will the compressor act upon the bass, and you’ll design it using the threshold, ratio, attack, and release settings.<\/p>\n

\"ducking

Visualization of a bass signal ducking for the kick<\/div>\n

The point of this is to automatically reduce the volume of the bass only when the kick drum hits, and just slightly enough that you gain clarity in the kick drum without effecting the bass too much. \u00a0The listener shouldn’t even notice the change in volume because the kick drum is coming in and fleshing out those frequency regions. \u00a0You can get away with 2 or 3 db, but be careful going any more aggressive than that. \u00a0The bass “ducks” out of the way like it’s dodging a bullet, just long enough for the kick to pop off, and then the bass rises back up in volume smoothly. \u00a0This should be a last resort, but can save your mix, the song, your job, and even your soul (for real, though).<\/p>\n

ACHIEVE THE FINAL BALANCE WITH THE FADERS<\/h3>\n

Now that you’ve tamed these wild beasts with your compressor, you’re ready to make sure their volumes balance against each other and then together against the rest of the song. \u00a0You’ve made it to the easy part. \u00a0It’s all downhill from here.<\/p>\n

REMEMBER, BASS AND KICK ARE RELATIVE<\/h4>\n

If you’re following along in order, you’re at a point where you’re ready to un-solo the two tracks and bring them into the rest of the song. \u00a0As you begin to bring up the faders on the other instruments, you’ll find it’s easier to change the volume of just the bass and kick once you’re too deep into the mix than to try to adjust everything else together. \u00a0You can lock the bass and kick drum tracks together and move them in unison to adjust their volume against the rest of the song.<\/p>\n

But what if you after you bring up the volume of the rest of the instruments that you find the bass would sit better a bit quieter in comparison to the kick, or vice versa? \u00a0Remember, the way you perceive either is based on the other. \u00a0Before you start dropping volumes on the bass, see if you can’t just increase the volume of the kick. \u00a0Maybe if you want the bass louder, but with too much volume it affects other instruments? \u00a0Try dropping the kick’s volume a tad. \u00a0Keep their relation in mind and you can solve a myriad of issues in ways you’d not have considered otherwise.<\/p>\n

ANCHOR THE SNARE TO THE LOW-END<\/h4>\n

The best way to keep your kick and bass volumes at a balanced level versus the rest of the song is to bring up the snare’s fader and find its appropriate volume compared to the low-end. \u00a0Once you anchor this in, bring up the rest of the instruments using the snare as the anchor and guide. \u00a0This should leave you with a full low-end, mid-range, and high-end so you don’t have a bottom or top heavy mix. \u00a0The snare, kick, and bass are the glue and drivers of your mix and song.<\/p>\n

IF YOU LOSE CLARITY, BLAME IT ON THE REST<\/h4>\n

At this point, if you bring up the rest of your instruments and suddenly your low-end is sounding muddy and unclear, it’s likely an issue with some other instrument. \u00a0Remember that although we applied a high-pass to the rest of the instruments, their fundamentals can get in the way of the attack and overtones of the kick and bass, respectively. \u00a0Remember the old boost and cut EQ technique? \u00a0You can apply it here to help, but at a much slighter decibel range. \u00a0Also, you’ll have leeway to pan the offending instruments some as well. \u00a0But don’t pan the low-end!<\/p>\n

You’ll want to cut from the offending instrument, not the low-end. \u00a0But don’t cut too much in volume, and use a tighter Q. \u00a0If you cut too hard and wide in their fundamentals, they are going to sound horrible. \u00a0You may find that the instruments sound pretty crappy solo’d. \u00a0They might sound tinny and thin, but as long as they sound good in the full mix, who cares. \u00a0You don’t want to star cutting from your low-end or you’ll lose the fullness and balance of the mix. \u00a0It’s literally your foundation.<\/p>\n

IF YOU MUST HAVE STEREO WIDTH, USE THE CHORUS EFFECT<\/h3>\n

One final trick for those who desire some stereo width on their kick or bass is to use the stereo chorus effect. \u00a0What chorus does is split your signal into two separate hard panned signals that are then inversely manipulated by an oscillator. \u00a0A small, varying amount of delay will be added as well as a slight pitch shifting. \u00a0The result is that the instrument is then stretched, as opposed to panning, across the entire stereo field.<\/p>\n

\"chorus

The semi-circle shows the harmonics of the bass spread across the stereo field<\/div>\n

The key to doing this properly is to place the chorus on an auxiliary bus where you can also add an equalizer and ultimately control the volume with a fader. You must use the EQ to roll-off most of the bass frequencies so the chorus only applies to the upper harmonics around 400 Hz and above, or you end up with the same distortion and phase issue problems that you get from panning these instruments. You’ll have to test for the proper cut off frequency, but that’s a good starting place.<\/p>\n

Who Knew Mixing Bass and Kick Was So\u00a0Easy?<\/h2>\n

Knowledge is power, and having the right tools for the job (like the\u00a0best studio subwoofer<\/a>\u00a0you can get your hands on) makes life so much more easier. \u00a0Understanding how to apply EQ to all of your tracks using high-pass and low-pass filters and parametric equalization for cuts and boosts can quickly bring clarity to your low-end. \u00a0After that, some compression can bring the bass and kick into balance with one another, and then using anchoring based around the snare you can achieve balance with the rest of the mix.<\/p>\n

That wasn’t so bad, was it? \u00a0Apply these tricks and methods to your songs going forward and you’ll be wowing your listeners and clients in no time at all.\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Mixing Bass and Kick for Low-End Balance March 18, 2015\u00a0\u2022 By:\u00a0\u00a0MIXING & MASTERING The biggest hits ever recorded would be unlistenable if their mixers didn’t achieve the perfect low-end balance between the bass and the kick. Get this wrong and nothing will sit well in your mix. Get it right and the rest of your…<\/p>\n

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