Kick Drum EQ

More important than equalization, is finding the best bass drum available for the application and capturing it correctly from the source. Move the mic, not the knob! Drastic EQ may be a sign that the kick drum should be recorded again. To get the best results, new drumheads should be put on and properly tuned immediately prior to recording. However, regressing back to the tracking stage is not always an option, and even with a great kick drum track, some equalization may be helpful to balance the kick into the mix.

Prior to equing any signal, one should familiarize themselves with the range of frequencies produced by the source, as well as the ranges of its characteristics. The frequency ranges of the characteristics of the bass drum may slightly vary due to numerous factors, such as: the size of the drum, the type of drumhead, the tuning, the type of the microphone used to record it, the placement of the microphone, the preamp, etc.

A parametric equalizer grants the user full function of all its parameters and it can be used to identify the characteristics of a signal. To do this, set a tight q/bandwidth (to effect less of the surrounding frequencies); boost the gain (at least 12-13 dB, or higher); sweep through the frequencies; and become familiar with the characteristics and their ranges.

I have found much success EQ-ing the following characteristics within these ranges:

Subsonic (40-60 Hz)
This is a low, low frequency that hits in the gut! Many times in a mix, frequencies below 50-60 Hz in a kick drum are rolled off. However, some kick drumheads, like the Remo Power Sonic Bass, are manufactured to produce and maintain these lower frequencies.

Punch (80-100 Hz)
This is a low frequency that hits in chest and is one of the most important characteristics in the bass drum sound.

Mud (125-300 Hz)
Sometimes reducing the low end within this range will make the overall bass drum sound cleaner/clearer.

Box (400-700 Hz)
When sweeping through this range of frequencies, one may notice that the beater hitting the head will produce a sound similar to that of hitting a cardboard box. This issue is commonly resolved by gain reduction within this range.

Attack (2.2-5.5 kHz, 10 kHz and up)
The sound of this characteristic is produced by the beater hitting the drumhead.

A common issue with home recordings is that the low end in the mix is not balanced; this may be due to poor monitoring conditions. A simple way to avoid this is to refrain from boosting the gain; particularly lower frequencies. Instead, try reducing the gain. To keep a more natural sound, it is best to use equalization tastefully and avoid making radical boosts or reductions. It is very easy to get carried away and end up with a result that sounds similar to a bouncing basketball.

If possible, always attempt to fix any issues from the source. Adjust the tuning, add or remove dampening pads/blankets, adjust the placement of the microphone, or even try a different size kick if it's not producing the desired sound.

My name is Geof! I am a musician, producer, songwriter, and audio engineer.

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