Baseline Series: Kick Drum Processing for the Best Sound

Introduction to Kick Drum Processing

The Kick Drum

The Kick Drum, also known as the Bass Drum, is the lowest-pitched drum in a drum kit. Its size can range from 16 to 28 inches in diameter, with a depth between 14 to 18 inches. A larger diameter produces a lower pitch, while the depth determines how resonant the kick is.

The Kick Drum is one of the primary instruments for keeping time in music; it is typically played on the first beat of each bar. Musicians feel the Kick Drum’s low tone more than they hear it, which helps them stay on tempo more easily.

Now, let’s explore the settings that we will be using as our baseline for processing the Kick Drum. These settings can be applied to any mixing console and digital audio workstation (DAW), regardless of whether you’re using stock or third-party equipment and plugins.

Kick Drum Processing: Gate

The first plugin used in Kick Drum processing, after Gain, is the Gate. If you are not careful, the Gate can often be overused which impacts the overall tone. You should only apply gating as much as necessary. If you’re too aggressive with the settings, you will need to monitor the gate closely—turning it off for quieter parts and activating it again for louder ones. This adds another layer of complexity to your workflow.

Using a gate on a Kick Drum can be effective because there is generally minimal bleed from other elements of the kit, allowing for precise adjustments. However, I recommend avoiding overly aggressive settings so the Kick remains dynamic and tight. Aim for a very fast Attack time with a Release time that allows the sound to feel natural. You don’t want the volume of the Kick to open too late or cut off too soon.

A typical gate will include the following controls: Threshold, Attack, Hold, Release, and Gain Reduction. Here are some suggested settings for gating a Kick Drum:

Gate Settings

• Threshold: -24 dB, more or less
• Attack: Less than 1 ms
• Hold: 50ms
• Release: Between 300 ms and 500 ms
• Gain Reduction: As low as you want.

If you need to adjust the Threshold, go as low as possible without the other elements of the drum kit inadvertently triggering the gate.

Kick Drum Processing: EQ

Next will in the Kick Drum processing is EQ. When EQing the kick drum, the goal is to enhance the punch and smack. To achieve this, we will use a combination of boosts and cuts. Depending on the console or DAW you are using, you will typically have at least four EQ frequencies to work with whereas some may offer up to six.

I want to make sure this is applicable in any situation. So I will outline four key frequencies that most significantly affect the kick drum, along with two additional bonus frequencies. If you have a preset with the EQ set to these frequencies, all you’ll need to do is make the necessary boosts or cuts—no need to search for the right frequencies. Don’t be afraid to boost or cut by as much as 15 dB if it’s required.

Although you can use multiple EQ plugins in a DAW, this approach is not efficient and can be difficult to replicate on budget-friendly consoles. It is best to minimize processing on your computer when handling a broadcast mix.

4 EQ Frequencies for Kick Drum

1. Boost at 9.5k or 8k:
   • Use a boost at 9.5k for a bell curve or at 8k for a high shelf. This frequency adds “air” to the kick drum. A wide boost here tends to open up the tone and create a spacious feel. I usually prefer a bell curve, but when using an SSL EQ, the high shelf often sounds better.
2. Boost or Cut at 4.5k:
   • This frequency captures the “smack” of the kick drum. I recommend a wide boost here, as it, combined with Frequency #4, amplifies the kick’s presence. However, if the kick sounds too “clicky,” consider cutting at this frequency.
3. Cut at 500Hz:
   • Apply a wide cut at 500Hz to clean up the tone. Removing frequencies in this range tightens the kick drum and enhances its punchiness. Typically, I recommend cutting at least 10 dB and ensuring the slope is wide enough to include frequencies from 900Hz down to 200Hz.
4. Boost at 50Hz or 65Hz:
   • Use a boost at 50Hz with a bell curve or at 65Hz with a low shelf. For smaller kick drums (20 inches or less), you may need to go higher. Identify the pitch and boost just below it. In most cases, a boost of around 3 dB is sufficient to make the kick drum sound powerful.

2 Bonus Frequencies

5. Cut or Boost at 2.5k:
   • This frequency has a different attack than 4.5k. I generally recommend cutting here. However, if you’ve already cut at 4.5k, you might experiment with boosting at 2.5k to see if it improves the overall tone. Avoid boosting both frequencies simultaneously; choose one.
6. Cut at 900Hz and adjust to 300Hz:
   • This frequency is often referred to as the “basketball” frequency because it produces a sound reminiscent of a bouncing ball when soloed. Cutting at 900Hz can significantly clean up the kick’s tone. If working in a jazz genre, you might choose to leave this frequency as it is.

Kick Drum Processing: Compression

The last thing in the Kick Drum processing chain is Compression. We want the kick drum to maintain consistent volume without variation. However, it’s important to remember that the kick drum is played by a human, and humans are dynamic. Although the kick drum serves as the backbone of a song’s tempo, the player will have soft and hard hits. Therefore, we want the kick to reflect this human dynamic. But how can we achieve this without the kick getting out of control? Compression.

There are many methods for compressing a kick drum, but why is compression necessary? You’ll find various conservative compression techniques, as the goal is typically to avoid ruining the sound. If you’re unsure about how to use a compressor, it’s easy to ruin the sound. However, if you follow my approach, you can preserve the tone, enhance the punch, and manage the dynamics while still maintaining dynamics.

If you’re not familiar with compressor settings, you’ll generally encounter Threshold, Ratio, Attack, Release, Knee, and Make-Up Gain. Use the following parameters as a baseline for compression to achieve the ideal balance of dynamics and punch. These settings are inspired by a vintage analog console:

Compressor Settings

• Threshold: -20 dB
• Ratio: 3:1
• Attack: 30 ms
• Release: 100 ms
• Knee: Soft
• Gain Reduction: 5 dB

With these settings, you should achieve around 5 dB of gain reduction. Make sure to adhere to the gain levels recommended in my Gain Structure Guide. I’d suggest setting the gain level during the loudest sections of the song, such as the chorus, to get an accurate representation of the kick’s volume.

Notice that I didn’t mention using Make-Up Gain. Many people suggest using it because you’ll be reducing the kick’s volume. However, I believe it’s unnecessary and can introduce another volume variable that you might overlook. Trust that there will be sufficient volume from the kick drum if you set the gain correctly. In this case, using Make-Up Gain isn’t required.

Kick Drum Processing: Triggers and Multi-Channels

Part of the Kick Drum processing that is overlooked at times is using Triggers and processing multiple channels. I will touch on some of these additional elements and how you can best use them.

Triggers

A rule I like to use when it comes to Triggers is only use them when you need them. I have seen a lot of people use triggers as a handicap instead of enhancing the sound. I used to not like Triggers because that is how I saw people them. However, once I started mixing in the studio and online more, I did see the value in them. If you are new to Triggers then I would suggest using Steve Slate Triggers 2 for Free. The free Kick and Snare tones that are used here are actually really good.

When you use triggers is key. Here are some principles you should have when using triggers.

• Don’t Rely on Triggers:
  • Do not use Triggers by itself unless you absolutely have to. Make sure the real drum sounds good instead of replacing it.
• Blend Triggers with the Real Sound
  • When the real drum sounds good you can blend the Trigger tone to supplement the real drum
• Make sure the Trigger Tone sounds close to the real drum
  • This will make the kit sound more believable
• Adjust the Sensitivity
  • Have the sensitivity low enough so that you can capture the quiter hits as well as the loud hits. Make sure the sound actually matches with how hard the drummer is hitting the drum.

Multi-Channel Processing

With Kick Drum Processing, there is the potential of having 3 channels to process all at once. This is easier to do in a DAW, but if you have enough Busses and you can route a Bus Channel into another Bus Channel, then you could send your Kick In, Kick Out, and Kick Trigger (if you have one) channels to a Kick Bus Channel. Use the Gates on the Input Channel level and then EQ and Compress the Bus Channels so you are doing one layer of processing instead of 3.

Most budget consoles are not setup for this so don’t worry about it too much. Since all of the Drum channels are being sent to a Drum Bus anyway, it is nothing to stress over.

Kick Drum Processing: Tone

The tone of the kick drum is often overlooked in discussions about drum sounds. Most people only focus on whether there is enough low end, but that perspective misses many important aspects of the kick’s overall tone. Several factors influence the kick’s sound, including the size, head type, shell material, dampening, and the beater used. All of these elements contribute to shaping the initial tone of the kick. Investing in high-quality equipment will yield high-quality results.

Around 80% of the overall sound comes from the instrument itself. Therefore, it’s essential to maintain the kick drum by replacing the heads at least once a year, especially if it’s used weekly. Always check for any loose hardware before a performance. While you shouldn’t need to tune the kick drum every week, it’s wise to inspect it every one to two months to ensure that the head is tight.

Affiliated Products

Hear are my recommendations on equipment for the Kick Drum. All of these are affiliated links, but I have used these products and stand by them.

Kick Drum Heads

• Batter and Resonant Heads: I am most familiar with the 24″ heads since that is what my church used when I worked there. The batter heads come with an EMAD foam ring, which stands for Externally Mounted Adjustable Dampening. This feature does not replace the blankets or pillows you place inside the kick drum, but it does help to make the Kick sound tighter. Overall, these heads deliver excellent sound quality.
  • If you want the Evans EMAD2 Bundle 18″, 20″, 22″
  • Batter Head – 18″, 20″, 22″, 24″, 26″
  • Resonate Head – 18″, 20″, 22″, 24″, 26″

Kick Drum Microphones

• Microphones – I am very familiar with the Shure Beta 52A and Beta 91A microphones used for kick drums. The Beta 52A is typically used as the microphone for the Kick Out Channel (sound hole or outside the Kick), while the Beta 91A is used for the Kick In Channel (inside). The 52A offers a well-rounded sound and is a great choice if you have to select just one microphone. The 91A is excellent as well, primarily used inside the kick drum shell. However, it can sound a bit “clicky” if there is too much high-end frequency present.
  • Shure Beta 52A
  • Shure Beta 91A
  • I have never used the Audix D6, but I know a lot of people use it and get great results. Plus it does most of the EQing right from the Microphone.

Other Equipment

• Other equipment – I am not recommending additional equipment like sticks, beaters, or drum sets because these items are highly individualized and can significantly affect a drummer’s performance. While the items I mentioned may be a matter of personal preference, they have a major impact on the overall tone, regardless of the player.

Conclusion

This is your baseline for processing kick drums. By following these settings and advice, you’ll achieve a great-sounding kick. It’s important to emphasize that 80% of the tone comes from the materials of the kick and the way the drummer plays it. You cannot fix poor tone or an unpolished performance. However, you can shape the sound and determine the impact of the instrument.

References

• The Best Audio Mixing Template: Introduction To Baseline Series
• Gain Structure Guide
• 6 Steps for Gain Staging for the Best Results