Ableton Forum

...anyone got any theories on how its created. I love the sound but struggle to get it right. Will post some examples if need be but popular with artists like Shed, Dettman, Klock, Function, Sandwell District etc
help?? Cheers

Please do post a sample, then a lot more people could potentially help you.
I don't know the sound and the musicians so I can't help you, yet...

NRJay wrote:Please do post a sample, then a lot more people could potentially help you.
I don't know the sound and the musicians so I can't help you, yet...

Sure...should have done so in the first place

http://www.youtube.com/watch?v=HrEfR4dvJmA

http://www.youtube.com/watch?v=YIt_Iwcy ... 1&index=33

Can't listen here but will check later when in the studio.

But, why not just sample em?

Everybody does it, no copyright on a kick 9well technically there is but it would be nigh on impossible to enforce and unlikely that anyone would ever know. . .

I don't know how you hear a "broken speaker kick" in this.
Sounds to me like a regular deep hitting kick, that is easily made with operator.
Some compression, a bit of drive from the saturator and a low pass to roll off the highs.

Need help making a kick in operator:
http://www.youtube.com/watch?v=8IpWSIttXbw

Not that I have an answer to the original question but I agree that it doesn't realy sound like a broken speaker.

Hudson Mohawke sometimes used kicks that sound like a blown speaker though.
http://www.youtube.com/watch?v=etkl1FXO60A

bkm1978 wrote:

NRJay wrote:Please do post a sample, then a lot more people could potentially help you.
I don't know the sound and the musicians so I can't help you, yet...

Sure...should have done so in the first place

http://www.youtube.com/watch?v=HrEfR4dvJmA

http://www.youtube.com/watch?v=YIt_Iwcy ... 1&index=33

listening to those mate, sounds like it's all about layering. The low end of the kicks are clean but they both have some extra textures on top.

In the first tune it just sounds like the kick has been layerd with another sound ontop of it to me - just something subtle like a saturted band pased tom or woodblock or something like that. Maybe it's just a random snippet of noise.

Second one sounds like the top half of the kick has been processed with some saturation and bit crushing. Transients are a lot flatter than the kick drum itse'f so it's probably been compressed pretty hard too, some of the crunchiness might come from over-compression itself. some grain artifacts there too - from some kind of digital distortion perhaps.

Give this a try and see if it starts getting you close.

Get a nice kick with a little bit of top end tones to work with, compress and EQ to taste remembering that you're going to add some crunch ontop, so focus on getting the low end nice and phat. Send part of the kick to an FX send, high pass filter it to remove the low end and keep the top bit of the kick. Bit crush it a little, saturate it a bit, then tame the top end with high shelf EQ or low pass filter, and compress if needed. Maybe buss the new crunchy layer and the original kick together again, and saturate slightly/compress. Hows that go?

Track one soudns like:

KICK - RACK - REVERB - DISTORTION - FILTER


The second track has got a delay thing going on rather than reverb and possibly a sample as well.

For all of that style of music nice try nice analogue distortion a la sound toys or hardware then filtering afterwards

Will give these theories a shot! Cheers. To me, it does kinda have a sound you'd hear from a torn cone, hence the broken speaker thing
Will report back soon!

speakerphone by audioease maybe? parallel processing.

flippo wrote:Give this a try and see if it starts getting you close.

Get a nice kick with a little bit of top end tones to work with, compress and EQ to taste remembering that you're going to add some crunch ontop, so focus on getting the low end nice and phat. Send part of the kick to an FX send, high pass filter it to remove the low end and keep the top bit of the kick. Bit crush it a little, saturate it a bit, then tame the top end with high shelf EQ or low pass filter, and compress if needed. Maybe buss the new crunchy layer and the original kick together again, and saturate slightly/compress. Hows that go?

With the right twaeking, I reckon this is gonna work

Cheers

Probably not an option for you but yesterday I tried runnig the bassdrums throu my studio monitors very loud, an holding a guitar up close, so the magnetic fields from the speakers went straight to the guitar pick-ups. From there it was 3 fuzz's and into a Fender Bassman 50 with 2x15" speakers... That's a F*** up broken BD! I know it's proably not doable in ableton alone but it was so much fun, and actually quite useful

duckpow wrote:Probably not an option for you but yesterday I tried runnig the bassdrums throu my studio monitors very loud, an holding a guitar up close, so the magnetic fields from the speakers went straight to the guitar pick-ups. From there it was 3 fuzz's and into a Fender Bassman 50 with 2x15" speakers... That's a F*** up broken BD! I know it's proably not doable in ableton alone but it was so much fun, and actually quite useful

Would love to hear it!

Are you use it's your bassdrum and not your bassreflex port you are hearing?