Syn­the­sis­ing kicks with Baz­zISM and Dru­ma­zon

Pim lay­ers and pro­cesses syn­the­sised sounds to cre­ate a dance­floor-friendly kick drum

Future Music - - THE TRACK -

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To en­sure that his remix of Lights is dance­floor-ready, Pim adds his own kick drums sound, which com­prises two parts. The first is a syn­the­sised body kick cre­ated with the ven­er­a­ble In­tel­li­gent Sounds & Mu­sic Baz­zISM. “It’s re­ally nice to use this for the low end of the kick be­cause it’s just a sine wave. it’s re­ally clean, and you can tweak any­thing you want,” Pim en­thuses.

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To cre­ate a suit­able top layer, Pim turns to D16’s Roland TR-909 em­u­la­tion Dru­ma­zon: “This is just for a lit­tle bit of at­tack. I cut out the low-end with Pro-Q 2 to form a nice solid kick with the sub. I like Dru­ma­zon be­cause you can tweak it lots and tune the bass drum – how much at­tack and de­cay you want and all sorts!”

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Pim EQs the Baz­zISM and Dru­ma­zon lay­ers in­de­pen­dently with Waves SSL E-Chan­nel: “I’m ba­si­cally only us­ing the EQ sec­tion. On the body kick I’ve cut out some of the low end and some of the high fre­quen­cies, and I’m boost­ing around 60Hz be­cause I like the sub fre­quen­cies in that re­gion.”

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Pro-Q 2 is brought in again to low-pass the body kick af­ter it’s been run through the E-Chan­nel. “I’m us­ing Pro-Q here be­cause it’s more ster­ile whereas the SSL is more coloured” he ex­plains. “I’m us­ing it to pin­point some prob­lem fre­quen­cies and cut them out. There was some “oomph” in there I didn’t want so I made a lit­tle dip, and for the rest I just cut all the high fre­quen­cies.”

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On the Dru­ma­zon track Pim uses No­mad Fac­tory Mag­netic II to sat­u­rate the sig­nal. “This is re­ally my go-to plugin for sat­u­ra­tion when I’m tweak­ing kick drums, it has a lot of crazy sat­u­ra­tion and un­wanted ef­fects but for some rea­son on kick drums it sounds re­ally nice.”

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The Dru­ma­zon kick is then high-passed with Pro-Q 2, then the kicks are pro­cessed to­gether with another Mag­netic II, glu­ing them to­gether to make a co­he­sive com­pos­ite kick. Another Pro-Q 2 is used to high-pass the sig­nal, and another E-Chan­nel is brought in for some sub­tle EQ tweak­ing.

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