How to mix a METAL KICK DRUM

Laying the Groundwork: Kick Samples & Initial Balance

Before any fancy plugins come into play, a solid source tone is essential. For this track, Robin utilizes multiple kick drum sources, primarily leveraging the power of Superior Drummer.

Choosing Your Weapons: The Kick Drum Sources

The kick sound is built from three distinct elements:

1. A Main Kick Sample: This forms the core punch and body of the kick.
2. A "Kick In" Mic Sample: Also from Superior Drummer, this captures the beater attack and click.
3. A "Kick Out" Mic Sample: Again, a Superior Drummer sample, this provides the low-end "thump" and resonance.

Using multiple sources like this gives you incredible flexibility to blend different characteristics and build a custom kick sound tailored to your song, a process closely related to drum sample replacement.

Finding the Sweet Spot: Gain Staging

With the samples chosen, the first step is to get a basic level balance between them. Robin’s approach here is straightforward:

• The Main Sample and the Kick In sample are set to roughly the same level.
• The Kick Out sample is brought down by about -5dB. This is because its primary role is to add that deep low-end weight, not to be the loudest element. Too much kick out can quickly muddy up the low frequencies.

Adding Character: Console Emulation on Individual Tracks

With the basic balance set, it’s time to start injecting some analog-style character. Before even hitting a master kick bus, Robin applies console emulation to each individual kick track. This helps each layer feel a bit more “real” and harmonically rich, directly addressing the problem with modern metal drums that can sound too sterile or robotic.

The "Brit N" Touch on the Main Sample

On the main kick sample, a console emulation plugin (using a "Brit N" setting) is driven so it’s just kissing 0dB on quieter hits and pushing into the red during fast double bass sections. This isn’t about clean gain; it’s about saturation. The effect? A noticeable boost in low-end warmth and a pleasing smoothing of the very top-end, preventing it from sounding overly harsh or digital.

Smoothing the Kick In

The same "Brit N" console emulation settings are applied to the "Kick In" sample. While the impact isn’t as dramatic as on the main sample (which already has more body), it effectively smooths out the high frequencies. This is particularly useful for taming any excessive "clickiness" from the beater attack, making it sit better with the other layers.

Warming Up the Kick Out

For the "Kick Out" sample, the console emulation isn’t driven as hard. The goal here isn’t aggressive punch, but rather to enhance its natural warmth and round out the low frequencies. This helps the "thump" feel more integrated and less like a detached sub-bass layer.

Together, these individually processed kick tracks create a more cohesive and richer starting point before they’re summed and hit the main kick bus.

The Kick Bus Processing Chain: From Raw to Raging

Once the individual kick tracks are sounding good and working together, they are sent to a dedicated kick bus. This is where the majority of the shaping and polishing happens. Here’s Robin’s chain, step-by-step:

Sculpting with EQ: Carving Your Kick’s Identity

The first insert on the kick bus is an EQ. The initial combined sound was a bit "pillowy," lacking definition.

• Tightening the Lows: A high-pass filter (or low-shelf cut) is used to remove some of the very low sub frequencies, tightening up the bottom end.
• Balancing Frequencies: Observing the frequency analyzer, the top-end was lower in level than the low-end. A boost of around +4.3dB in the high frequencies helps to balance this out, adding necessary click and attack.
• The Mid-Scoop: For this particular song, a fairly significant cut was made in the "bruised" mid-range. While Robin often loves a kick drum with prominent mid-range "slap," the scooped sound felt better for this track, making the kick feel deeper.
• Focusing the Boom: A final boost of almost +4dB in the low-end (around the fundamental) gives the kick a focused punch and weight.

These EQ moves transform the kick from something soft into a sound with definition and impact. For a deeper dive, see exactly how to EQ metal kick drums for a powerful, punchy sound.

Taming Dynamics: Compression for Punch and Consistency

Next up is compression, with the main goal of acting like volume automation. This is especially crucial for metal where kick drum dynamics can vary wildly between slow grooves and lightning-fast double bass.
After trying a Metric Halo compressor (which he found took out too much low-end for his taste), Robin settled on the Waves C1 Compressor.

• Settings: Key settings include an attack time of around 29.9ms. The threshold and ratio are dialed in to achieve a specific effect: during slower, single kick hits, the kick stands out clearly. But when the fast double kick patterns come in, the compressor ducks the kick level slightly. This keeps the fast parts from becoming overwhelmingly loud and clicky, maintaining punch without clutter.

This use of compression is vital for a consistent and powerful kick sound. If you’re new to the concept, understanding the basics of compression for rock and metal is a crucial first step.

Adding Analog Flavor: Virtual Tape Machine

To add more weight and a touch of analog vibe, a Virtual Tape Machine plugin (like Slate Digital VTM) is next in the chain.

• Settings: Robin opts for 15 IPS (inches per second) tape speed, the FG456 tape formulation, and a 2-inch tape machine model.
• Effect: This typically adds more low-end warmth and can subtly tame harsh high frequencies. In this instance, it primarily beefed up the low-end further.

Getting Loud: Strategic Clipping

For a bit more perceived volume and aggression, DF Clip (a popular clipper plugin) is used. This isn’t about heavy distortion, but rather shaving off the very loudest peaks to increase the overall RMS level, making the kick feel louder and more upfront without drastically increasing peak levels.

Final Peak Control: The Limiter

To catch any remaining unruly peaks that might have slipped through, a Waves L1 Limiter is added. This is used very subtly, with the threshold set so it’s only tickling the loudest transients. The goal isn’t to squash the kick, but just to provide a safety net and ensure no overly sharp peaks poke out.

Low-End Authority: Multi-band Compression

The final processor on the kick bus is a Waves C4 Multiband Compressor, used specifically to control and enhance the low-end. Robin shares a cool trick here:

1. Set the Attack to its maximum (slowest) setting.
2. Set the Release to its minimum (fastest) setting.
3. Adjust the Threshold of the low band so the compressor is just barely reacting to the kick.
4. Then, slowly increase the Release time of that low band.
   This technique allows you to precisely control how much the compressor clamps down on the low frequencies and how quickly it lets go, resulting in a punchier, more controlled, yet still powerful low-end. A similar multiband approach can be used to control low-end on metal guitars, keeping your whole mix tight.

The Final Product: A Kick Drum That Dominates the Mix

By carefully layering samples and then applying a well-thought-out bus processing chain, Robin transforms a collection of raw kick sounds into a single, cohesive, and powerful kick drum. Of course, a great kick is only half the battle; the next step is balancing the kick drum and bass to create a solid low-end foundation. This monster kick can cut through a dense metal mix, provide essential low-end weight, and drive the rhythm forward. Just as this kick has its own bus, you can apply similar concepts when you set up a mix bus for your entire track to achieve a polished, cohesive sound.

Ready to Nail Your Own Mixes?

Seeing these techniques broken down is one thing, but imagine watching world-class producers like Eyal Levi, Joey Sturgis, and Joel Wanasek apply them in real-time on real songs from bands like Meshuggah, Gojira, and Periphery. That’s what Nail The Mix is all about.

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