EQing a kick drum

[troy mcclure]

I have a cover band I am responsible for doing sound for, and the bass drum doesn't seem to hit as hard as it should. I have an eq I can use on it, what frequencies should I emphasis.
I have subs and plenty of power.

 

[Jimbob Jones]

My EQ secret for kick drum is to filter at 50Hz, then boost 80-100Hz.

As far as the 'tap' goes, boost around 4-5k to pull out some definition.

A big fat cut between 200Hz and 500Hz will help 'clean up' the sound an awful lot.

If you want some serious punch, compression wouldn't go amiss.

All that said, the most important thing is having the right mic in the right place; what mic are you using and how is it positioned?

 

[Vinny D]

Jimbob has some good info, but for me a good sounding kick drum always starts with a properly tuned drum.
If the kick drum is not tuned properly the best you are going to get is amplified poop.

So, once that is taken care of, then proceed with Jim's suggestions

 

[Jimbob Jones]

I always forget that step!

Darn my drummer for having a great sounding kit!

 

[jaywa]

My EQ secret for kick drum is to filter at 50Hz, then boost 80-100Hz.

As far as the 'tap' goes, boost around 4-5k to pull out some definition.

A big fat cut between 200Hz and 500Hz will help 'clean up' the sound an awful lot.

If you want some serious punch, compression wouldn't go amiss.

All that said, the most important thing is having the right mic in the right place; what mic are you using and how is it positioned?

Yes to all of this, as well as the tuning. Keep in mind, that 100Hz area is also a prime area for bass guitar so if you're gonna give that space to the kick then it's a good idea to give the bass guitar some love in the next range up the spectrum... ie, the 200Hz-ish range where jimbob wisely advised cutting kick drum. Now when you do that, the bass guitar is gonna sound like dog squeeze solo'd, but in tandem with the kick it will... well... KICK.

Re mic placement, again big +1 and I am a huge advocate of hard-mounting the kick drum mic inside the drum. It cleans up the stage, makes set-up faster and ensures the mic is in the exact same position every time. And make sure you use a mic that's designed for the kick drum.

 

[troy mcclure]

My drummer insists on putting his mike at the whole in the front head. I am use to putting it inside on pillow. I think he has a cheap audix or samson mic set, I have a sure 81 I prefer to use but he is an ass. I did get him to tune it for the next gig so we will see.

 

[pbass2]

If you're missing high punch and "snap" see what kind of beater he's using on the kick pedal. If it's felt, see if he'll try wood, plastic, etc. for more definition (sometimes can be TOO much though). Many beaters are two-sided--one side felt, the other hard so you can just flip it around.

 

[mike phillips]

we use a compressor on our kick. it can be made real low and boomy or real punchy. i cant remember what ratios we use. the mic we use is a Sennheiser evolution e902 Kick Drum Mic.

 

[paparoof]

Next time you have a little extra time at sound check, Have the Drummer go stand out on the floor where the audience will be. Have the bass player sit behind the drums and stomp the kick pedal over and over while you move the kick mic back and forth from just outside the hole to within about 3" of the batter head. Let the drummer hear the different positions for himself.

Then while everyone is still in position, switch mics to one of these and do it again:

Sure Beta 52A by the way.

 

[bassgrooves2]

Yes to all of this, as well as the tuning. Keep in mind, that 100Hz area is also a prime area for bass guitar so if you're gonna give that space to the kick then it's a good idea to give the bass guitar some love in the next range up the spectrum... ie, the 200Hz-ish range where jimbob wisely advised cutting kick drum. Now when you do that, the bass guitar is gonna sound like dog squeeze solo'd, but in tandem with the kick it will... well... KICK.

Re mic placement, again big +1 and I am a huge advocate of hard-mounting the kick drum mic inside the drum. It cleans up the stage, makes set-up faster and ensures the mic is in the exact same position every time. And make sure you use a mic that's designed for the kick drum.

+1 for everything stated in these earlier posts. My drummer uses a TAMA tuning dial which helps a great deal and his kick sounds amazing as a result. We do EQ though and that is usually a filter @50, little bump somewhere around 90-110, bump the 4-5k area for attack and mild scoop around 4-500. I usually bump my bass around 170-200 and that gives us a decent place to start anyways. Compressors help a lot, but we go light most of e time I being just the two of us loading and setup etc.

 

[bassgrooves2]

My drummer insists on putting his mike at the whole in the front head. I am use to putting it inside on pillow. I think he has a cheap audix or samson mic set, I have a sure 81 I prefer to use but he is an ass. I did get him to tune it for the next gig so we will see.

We always put out mic right inside the hole as well, but the placement of that cutout is key. We always buy solid heads and cut the whole ourselves with a kit my drummer got from somewhere, maybe GC. It lets us line the whole up directly With the beater head/s. Helps. Lot for us as a good starting point before eq etc. Again good tuning is crucial as well. That includes rear or bottom heads on all drums on the kit.

 

[jaywa]

That includes rear or bottom heads on all drums on the kit.

Indeed. But you know, it's amazing how many drummers I still see (especially in small-town bar bands) with single head toms, the mics stuck way up inside the shells, and a kick drum with a huge hole in the front or no front head at all and the mic sitting inside on a nasty-ass old pillow. I suppose it's cause that's how they saw some big-name drummer rolling back in the 70s and they've just never adapted with the times.

 

[kraigo]

Lots of kits from that era have the hoops and tension rods lost forever. It's no excuse, but it's A LOT of kits that lived through that era.

KO

 

[jaywa]

Lots of kits from that era have the hoops and tension rods lost forever. It's no excuse, but it's A LOT of kits that lived through that era.

KO

Good point. I guess I've been spoiled in that the vast majority of drummers I've played with have been really really meticulous about having high quality drums, keeping them well maintained and being a stickler on tuning and mic'ing. It makes the bassist's job so much easier when the drums are putting out sweet sounds on their own (even before sweetening is added at the board).

 

[GreggBummer]

I know a guy who mics his bass drum three inches from where the beater strikes the bass head. Yep, on the drummer side of the kick drum. It sounds thin and has no bottom to it at all. It's his sound, he can do what he wants.... but it doesn't sound good to me.

 

[jaywa]

I know a guy who mics his bass drum three inches from where the beater strikes the bass head. Yep, on the drummer side of the kick drum. It sounds thin and has no bottom to it at all. It's his sound, he can do what he wants.... but it doesn't sound good to me.

Wow. That would be like putting a mic 6 inches away from the back panel of a Marshall guitar cabinet and then wondering why it doesn't sound like an electric guitar. I would think by the time you got that kick mic gained up to level you need it would be feeding back all over the place.

 

[chuck norriss]

@Bassgrooves2: Exactly where do you cut said hole please?

 

[kraigo]

Good point. I guess I've been spoiled in that the vast majority of drummers I've played with have been really really meticulous about having high quality drums, keeping them well maintained and being a stickler on tuning and mic'ing. It makes the bassist's job so much easier when the drums are putting out sweet sounds on their own (even before sweetening is added at the board).

As a drummer, that's nice to hear. You win a free live CD of the Bottom 40 @ Beaners in Duluth, MN from 7/1/2011. PM me with your address and I'll come to one of your gigs when either my work or my brother pull me down to Sioux Falls.

KO

 

[chuck norriss]

I substituted in as soundman last weekend & got to test drive a Yamaha M7CL board. Lovely board.

For the kickdrum: gave it some juice at 5k & 3k for texture, and plenty of juice at 100 for thud. Sometimes I overwork it & the bass, & usually end up scooping guitars & keys, but for the shape of the room it seemed/felt necessary at the time. Truth is, when I'm mixing I ignore the rules & just go by feel because that room I was in is shaped like a football. It's chaos anyway.

 

[chuck norriss]

My EQ secret for kick drum is to filter at 50Hz, then boost 80-100Hz.

As far as the 'tap' goes, boost around 4-5k to pull out some definition.

A big fat cut between 200Hz and 500Hz will help 'clean up' the sound an awful lot.

If you want some serious punch, compression wouldn't go amiss.

All that said, the most important thing is having the right mic in the right place; what mic are you using and how is it positioned?

Thanks I'll try.