adjust it by twisting knobs whilst the rest of the track is chugging along.
That's a big factor. The best thing to do is dabble in other fields of interest , say grow some plants
![weed (*)](./images/smilies/Weed.gif)
"The road of excess leads to the palace of wisdom."
Yep, a bit of reduction around 300-400Hz can often help. It helps for a lot of sounds/instruments actually, to me that 200-500 region seems like the "mud range".5meohd wrote:notch filter in the low-mid range to taste. this might free up some energy so that the overall volume can be boosted... or saturated.
it can also be the 'punch range'simonb wrote:Yep, a bit of reduction around 300-400Hz can often help. It helps for a lot of sounds/instruments actually, to me that 200-500 region seems like the "mud range".5meohd wrote:notch filter in the low-mid range to taste. this might free up some energy so that the overall volume can be boosted... or saturated.
for sure! i always just make a basic kick in operator/soundforge/whatever just enough so you can tell it's a kick as opposed to a long sine wave or whatever.. then after i have some other elements in the track (chords/pad etc... something that fills up the lower mid and mid spectrum a little) then i delve deeper into processing and maybe frequency splitting the kick adding light saturation/compression if needed~AK wrote:I think maybe ( I'm guessing here ) is that you're making kicks in isolation. meaning, they're without context and NOT in a mix. In my book, it's how they work in the mix, not how they sound in isolation. I have sampled hundreds of 'perfect' kicks off heaps of stuff only to think, 'hey, these are sh!t'. In isolation, they might not be anything like they are in the mix.
My input on this, is that it's all about context.