{"id":163,"date":"2014-10-02T09:59:02","date_gmt":"2014-10-02T07:59:02","guid":{"rendered":"http:\/\/www.mixedbymarcmozart.com\/?p=163"},"modified":"2019-04-19T17:01:20","modified_gmt":"2019-04-19T15:01:20","slug":"mixing-kicks-real-kick-drums-808-909-subkicks-mix","status":"publish","type":"post","link":"https:\/\/mixedbymarcmozart.com\/es\/2014\/10\/02\/mixing-kicks-real-kick-drums-808-909-subkicks-mix\/","title":{"rendered":"Mixing Kicks: Frequencies, Tones, Tuning & Transients"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]This is a look into the chapter on mixing kicks, from the best-selling book \u00abYOUR MIX SUCKS\u00bb <\/a>.<\/p>\n

The book is a Complete Mix Methodology<\/a> for the entire process from DAW preparation to delivery – no bullshit, just solid audio advice that works all the time.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=\u00bbtrue\u00bb animation=\u00bbfade-in\u00bb margin_top=\u00bb10″ margin_bottom=\u00bb10″][vc_column][vc_message message_box_color=\u00bbalert-info\u00bb icon_type=\u00bbpixelicons\u00bb icon_pixelicons=\u00bbvc_pixel_icon vc_pixel_icon-info\u00bb]<\/p>\n

\u00abThe Kick is one of the most critical elements in your mix, in all genres, from Hip-Hop, Pop, Rock\/Country to Progressive Metal, and of course in all types of EDM.\u00bb<\/em><\/h4>\n

[\/vc_message][\/vc_column][\/vc_row][vc_row full_width=\u00bbtrue\u00bb animation=\u00bbfade-in\u00bb margin_top=\u00bb10″ margin_bottom=\u00bb10″][vc_column][vc_message message_box_color=\u00bbalert-info\u00bb icon_type=\u00bbpixelicons\u00bb icon_pixelicons=\u00bbvc_pixel_icon vc_pixel_icon-info\u00bb]<\/p>\n

\u00abMixing is 80% preparation, and 20% inspiration.\u00bb<\/em><\/h4>\n

[\/vc_message][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]This post is deconstructing the components of a Kick sound, and shows you what type of \u201ehandles\u201c you can create to control it in the mix.<\/p>\n

The Kick is of extreme importance, and it\u2019s worth – as part of building your mix – to spend a few minutes creating the \u201ehandles\u201c to control the parameters we\u2019re talking about in this article.<\/p>\n

What you need to control will develop as you\u2019re progressing with your mix, but it\u2019s important to have those controls at hand when needed, and to know how to use them.<\/p>\n

Before we go into detail, a few words on tuning: Prince invented a production technique for which he has rarely been credited – it\u2019s the tuning of drum machine instruments to the key of the song.<\/p>\n

He first used the Linn Drum LM-1 on his album \u201c1999\u201d, which was released October 27, 1982. The LM-1, not to be confused with Roger Linn\u2019s later machines simply called \u201cLinnDrum\u201d, had a potentiometer for each drum-sound that would allow separate tuning of EACH individual drum.<\/p>\n

Prince fearlessly tuned hats, rim shots, claps beyond the range in which they sounded anywhere near a real drum recording, but few people realised that while for example tuning a rimshot super low was certainly part of his innovative sound, the real reason behind it was him wanting to hear the entire drum set vibe along the track 100% in tune with the key of the song. That of course gave the drum machine a harmonic role in the arrangement and mix, and is also the solution to the questions how Prince got away with NOT HAVING ANY<\/strong> bass-guitar or bass-synth in the mix of his iconic No.1-hit \u201cWhen Doves Cry\u201d.<\/p>\n

Carefully tuning his Linn LM-1 (using the almost hidden potentiometers on the back of the machine) was something he did on most of the songs using the Linn LM-1, which spans his albums 1999, Purple Rain, Around the World in a Day, Parade, Sign o\u2019 the Times, Lovesexy and also the later released \u201cThe Black Album\u201d which he recorded between Sign o\u2019 the Times and Lovesexy. He almost exclusively tuned all drum instruments to the root-note of the song key.
\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row margin_top=\u00bb20″ margin_bottom=\u00bb20″][vc_column][vc_single_image image=\u00bb521″ img_size=\u00bbfull\u00bb alignment=\u00bbcenter\u00bb css_animation=\u00bbleft-to-right\u00bb][\/vc_column][\/vc_row][vc_row full_width=\u00bbtrue\u00bb animation=\u00bbfade-in\u00bb margin_top=\u00bb10″ margin_bottom=\u00bb10″][vc_column offset=\u00bbvc_col-sm-offset-0″][vc_message color=\u00bbalert-danger\u00bb css_animation=\u00bbleft-to-right\u00bb]<\/p>\n

KICK TONES: Frequencies + Tuning<\/h3>\n

Think of the Kick Drum Sound consisting of 3 different frequency components!<\/strong><\/span>
\n1. the fundamental root note in the low end (45 – 75\u00a0Hz),<\/strong>
\n 2. the pressure point<\/a> (an octave higher, 90 – 150 Hz)<\/strong>
\n and 3. harmonics and noise (anything above).<\/strong><\/p>\n

Think of them like an ensemble of tones and frequencies, like a string section that has a bass, celli, violas and violins<\/strong><\/em>.<\/p>\n

To place the Kick perfectly in your mix, it helps to look at and treat those 3 distinct components separately.<\/p>\n

Some producers use different samples for these components, and I often get them as separate tracks for my mix sessions.<\/p>\n

But even if your tracks come with a single Kick, you can create a copy of your Kick track on another track. By cutting (HPF) everything below 150Hz you can\u00a0exclusively treat the harmonics and noise-component (3.). Experiment with various treatments from Tape Simulation to Distortion, Compressing\/Limiting, then add that channel to the original sound.<\/p>\n

Just as an example for the separation of the 3 distinct frequency components: the screenshot below shows the fundamental removed with a HPF, pressure point (138 Hz) dipped by 5 dB, and a broad boost of the \u00abnoise\u00bb of + 5.1 dB at 2500 Hz.<\/p>\n

\"Complete<\/a><\/p>\n

The fundamental (1.) and pressure point (2.) are both an essential component of modern music and need their resonance frequencies for themselves to really cut through the mix.<\/p>\n

The harmonics and noise components (3.) are very important to \u201efind\u201c the Kick in your mix, especially on small consumer devices like laptops, smartphones, small portable stereos and cheap earbuds.<\/p>\n

I sometimes separate those three components to 3 distinctive tracks that sit on 3 large faders on my SSL console – top engineers have done this for many years and it\u2019s quite easy to achieve on an SSL, you just send the signal to the routing matrix via the \u201esmall fader\u201c, and \u201emult\u201c it to another 2 faders. Thats without even considering added parallel compression channels, and virtual overhead and room mics generated from a Drum Replacement Plugin (another future post).<\/p>\n

808 Kicks typically have a strong fundamental, but lack harmonics and noise.<\/strong><\/span><\/p>\n

Synthetic Kick Drums, like of a Roland TR-808\/909 have a very clean and defined fundamental tone. It often gets bend down after the initial attack though (an Envelope Generator modulating the pitch), which means the fundamental tone of the sound sweeps through the low end, for example from 80Hz down to 10Hz. A bend can make those Kicks\u00a0more difficult to mix, and I recommend to always carefully watch and use an analyzer while listening for the right balance. This is where a good sounding room is a huge advantage<\/a>.<\/p>\n

There are all kinds of boxes (or their plug-in versions) that generate harmonics – from subtle Pultec EQ, Fairchild Compression<\/a>, or Analogue Tape Simulation, to more extreme treatments like a guitar amp or distortion pedal simulation.
\nSometimes creating a copy of your Kick through a distortion pedal or amp simulation, mixed slightly in the original sound brings up exactly the harmonics needed to make your Kick easier to \u201efind\u201c in the mix.<\/p>\n

Real Kick Drums are a lot more complex than 808\/909 -sounds.<\/strong><\/span><\/p>\n

A real Kick Drum is a small physical space in itself, with two resonating drum heads interacting\u00a0within the recording room, which also adds to the sonic characteristics.
\nThe result are very complex harmonics, and sometimes a few neighbouring fundamentals and pressure points compete for each other in the mix.
\nWhile the complexity of tones modulating, adding to and cancelling each other adds to what we perceive as a real sounding Kick Drum, there is a lot more that can be done to those sounds in the mix.
\nUse a digital EQ with a very high\u00a0Q-Factor (a\u00a0narrow band) to identify the fundamentals and pressure points of the sound.
\n<\/strong>Yes, there can be several competing ones, and which ones to boost and cut is depending on many factors, like the key of the song, where the frequencies of the bass guitar or bass synth sit in the mix, and of course most importantly your taste and the genre of music.
\nEven a Kick that is totally out of tune with the key of the song and the rest of the instruments can be spot on in the mix, if it fits the genre and has the right attitude.<\/p>\n

However, tuning those frequencies in harmony with the key of the song is something many successful producers and engineers do. For more on this, have a look at my recent blog posts analyzing the low-end of the two biggest hits of 2014, \u201eAll About That Bass\u201c (Meghan Trainor) and \u201eShake It Off\u201c (Taylor Swift).<\/p>\n

BTW, \u201econvert audio into sampler track\u201c is a sensational feature in Logic Pro – it basically imports your audio-track into Kick Notes in Logics EXS24-sampler, and triggers them via internal MIDI.<\/p>\n

\"Mixing<\/a><\/p>\n

Now that they\u2019re in the EXS24, you can tune them in the sampler plug-in. Works great if your Kick is for example, a semitone too high, colliding with the key of the song, you just transpose it \u201e-1\u201c in the EXS24 and your low-end alignes magically.<\/p>\n

Sometimes 10 cent of a semi-tone can make a huge difference.<\/p>\n

Keep in mind, low end instruments have a lot of energy, and you don’t want them to collide and modulating by not being properly fine-tuned.<\/p>\n

\"Mixing<\/a><\/p>\n

Regardless of how you end up balancing the different components of the Kick, make sure to find the frequencies of the 3 main components<\/strong> so that later on in the mix you have handles<\/strong> in place to balance your Kick. You can easily identify those frequencies with a digital EQ, and an analyser obviously helps.
\nIn Logic Pro X, the Channel EQ in conjunction with the built in analyzer works great for finding resonances (as the Channel EQ is creating strong resonances like an analogue EQ), however, to boost or reduce them in level I recommend using the Linear Phase EQ, which works a lot cleaner and precise which is important when balancing the low-end.<\/p>\n

Concepts to use here are to pinpoint EQ-bands to the exact frequencies of the fundamental and pressure points, and boost or cut them depending on whats needed. Also, you can make the Kick more defined by cutting the frequencies between the fundamental and the pressure points – make sure to use very high\u00a0Q-factors!<\/p>\n

Again, a high-quality Linear Phase EQ is your friend. The one in Logic Pro is great, but there are many others on the market.<\/p>\n

One more thing…<\/strong><\/span><\/p>\n

The final boosts and cuts should be performed when all tracks of your mix are playing, or at least Kick, Bass and Vocals.[\/vc_message][\/vc_column][\/vc_row][vc_row full_width=\u00bbtrue\u00bb animation=\u00bbfade-in\u00bb margin_top=\u00bb10″ margin_bottom=\u00bb10″][vc_column][vc_message message_box_color=\u00bbalert-info\u00bb icon_type=\u00bbpixelicons\u00bb icon_pixelicons=\u00bbvc_pixel_icon vc_pixel_icon-info\u00bb]<\/p>\n

\u00abThe final boosts and cuts should be performed when all tracks of your mix are playing, or at least Kick, Bass and Vocals.\u00bb<\/em><\/h4>\n

[\/vc_message][\/vc_column][\/vc_row][vc_row full_width=\u00bbtrue\u00bb animation=\u00bbfade-in\u00bb margin_top=\u00bb10″ margin_bottom=\u00bb10″][vc_column][vc_message color=\u00bbalert-danger\u00bb css_animation=\u00bbleft-to-right\u00bb]<\/p>\n

KICK DYNAMICS: ATTACK aka THE TRANSIENT<\/h3>\n

The transient is the initial attack of your Kick. On a real-life Kick Drum, a pedal-controlled beater hits the drum-skin, and that short initial impact creates the transient in the audio.<\/p>\n

On electronic Kick-sounds, the transient is either the fast ramp-up of an envelope which results in a tiny click noise (808\/909) or an added noise generator with a very short envelope. In both cases, a very short click noise is the result.
\nThe added click noise was first used on a drum-synthesizer by Dave Simmons in the early 80s, if you\u2019re old enough you might remember the SIMMONS Drumset<\/strong> which was basically a 5 or 6 channel synthesizer with one voice for every drum-instrument.
\nThe sounds were created by mixing short click noises<\/strong> (simulating the stick or beater hitting the drumskin) with tones that could be tuned and connected to a pitch envelope generator<\/strong>, plus longer noise sounds added to the tones.
\nYou might have heard some of those iconic \u201elaser-gun\u201c or \u00abspitting\u00bb-type of sounds from the 80s.<\/p>\n

The SIMMONS Kick-sound was somewhere in between 808\/909 and a modern progressive metal Kick.<\/p>\n

\"mixing_kicks_simmons_drums\"<\/a><\/p>\n

Tools to control Transients<\/h3>\n

If you want to bring the transient in the Kick up or down in the mix, there are 3 ways to achieve this:<\/p>\n

1. Transient Designers<\/strong><\/span><\/p>\n

There are several of those plug-ins on the market, the most popular being SPL Transient Designer, which is based on the original 4-Channel hardware unit.<\/p>\n

The picture shows the hardware version of SPL Transient with 4 Channels.<\/p>\n

\"Mixing<\/a><\/p>\n

Many plug-in companies offer tools to achieve similar results, I personal like the original hardware best (and there is a plug-in version of that as well)<\/p>\n

2. Noise Gates<\/strong><\/span><\/p>\n

If you copy the Kick to a second DAW track and use a noise gate to make it extremely short, you can turn the transient up by mixing the noise gate track with the original sound. If you phase reverse the noise-gated sound, you can remove the transient or at least soften it slightly.<\/p>\n

\"Mixing<\/a><\/p>\n

3. Sampling<\/strong><\/span><\/p>\n

If your Kick is in a sampler, you can just shorten the envelope of the sound in the sampler plug-in. See the feature we discussed above (converting an Audio Track into a Sampler Track)[\/vc_message][\/vc_column][\/vc_row][vc_row full_width=\u00bbtrue\u00bb animation=\u00bbfade-in\u00bb margin_top=\u00bb10″ margin_bottom=\u00bb10″][vc_column][vc_message color=\u00bbalert-danger\u00bb css_animation=\u00bbleft-to-right\u00bb]<\/p>\n

KICK DYNAMICS 2: LENGTH aka DECAY TIME<\/h3>\n

To control the length of the KICK TONE is of course of utmost importance.<\/p>\n

The Decay Time of the Kick can make or break the groove, and again – it’s helpful to be able to control the three tone components of the Kick separately in length.
\nThe tools to use are somewhat similar to the Transient Control, but of course you can just go into your Waveforms and cut it where you want tone Kick to end, and apply the desired Fade to the audio.<\/p>\n

Another useful feature in Logic Pro… \u00abRemove Silence from Audio Region\u00bb<\/p>\n

\"mixing_kicks_logic_pro_x_remove_silence\"<\/a><\/p>\n

\"mixing_kicks_logic_pro_x_remove_silence2\"<\/a><\/p>\n

Automatically separates the silence between the Kicks below the threshold you can set.<\/p>\n

\"mixing_kicks_logic_pro_x_remove_silence3\"<\/a><\/p>\n

Applying a fade to the separated Kicks.<\/p>\n

\"mixing_kicks_logic_pro_x_remove_silence4\"<\/a>[\/vc_message][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]Finally, the Kick sits in the middle, mono, period.
\n<\/strong><\/span><\/p>\n

At least the direct and low end component of the Kick. If necessary, split the Kick at 300Hz, keep the fundamental and pressure point mono and only leave noise and harmonics from 300Hz upwards Stereo.<\/p>\n

Set up a Sidechain
\n<\/strong><\/span><\/p>\n

I recommend to always feed a sidechain bus<\/strong> with your Kick.<\/p>\n

In my personal mix template, the first send in the channel strip is set to 0dB (unity gain) and sends to Bus 64.
\nBus 64 doesn’t send to an output, disable the output.<\/p>\n

The busses 64, 63, 62, 61 are my standard sidechain busses for Kick, Snare, Vocals, and whatever else needs to push other elements to the back of the mix). I\u2019m not always using it, but when I need it, it\u2019s already setup by default.<\/p>\n

\"Mixing<\/a><\/p>\n

Without going into detail here, just know you would assign Bus 64 as your sidechain, most commonly on the bass guitar or bass synth, and push the bass a few dB back, triggered by the sidechain signal.
\nAgain, Logic Pro\u2019s standard compressor works great for that, but this technique works of course very well with a multiband compresspr\/EQ like the \u201eWaves C6 Sidechain\u201c.<\/p>\n

\"Mixing<\/a><\/p>\n

There is of course a lot more to be said on this topic, but the techniques above will give you the handles on important parameters.<\/p>\n

Please keep in mind that having the handles\u00a0in place doesn’t mean to have to use and tweak all of them.
\nThere are some genius producers out there who deliver Kicks that are sitting perfectly in the mix.<\/p>\n

In that case, turn it up and be done.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text][convertkit form=5236308][\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][vc_column_text]This is a look into the chapter on mixing kicks, from the best-selling book \u00abYOUR MIX SUCKS\u00bb . The book is a Complete Mix Methodology for the entire process from DAW preparation to delivery – no bullshit, just solid audio advice that works all the time. [\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=\u00bbtrue\u00bb animation=\u00bbfade-in\u00bb margin_top=\u00bb10″ margin_bottom=\u00bb10″][vc_column][vc_message message_box_color=\u00bbalert-info\u00bb icon_type=\u00bbpixelicons\u00bb icon_pixelicons=\u00bbvc_pixel_icon vc_pixel_icon-info\u00bb]…<\/p>\n","protected":false},"author":1,"featured_media":17390,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14,4,3],"tags":[],"class_list":["post-163","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-home","category-mixing-advice","category-ssl_console","category-14","category-4","category-3","description-off"],"yoast_head":"\nMixing Kicks: Frequencies, Tones, Tuning & Transients<\/title>\n<meta name=\"description\" content=\"Complete Methodology to Mixing Kicks: Frequencies, Tones + Tuning, Transient Design, Harmonics, Noise, TR-808\/909, Live Drums. Mixed by Marc Mozart.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/mixedbymarcmozart.com\/2014\/10\/02\/mixing-kicks-real-kick-drums-808-909-subkicks-mix\/\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/2014\\\/10\\\/02\\\/mixing-kicks-real-kick-drums-808-909-subkicks-mix\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/2014\\\/10\\\/02\\\/mixing-kicks-real-kick-drums-808-909-subkicks-mix\\\/\"},\"author\":{\"name\":\"marcmozart\",\"@id\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/#\\\/schema\\\/person\\\/3da9b6253db05a5664aeee78478e6343\"},\"headline\":\"Mixing Kicks: Frequencies, Tones, Tuning & Transients\",\"datePublished\":\"2014-10-02T07:59:02+00:00\",\"dateModified\":\"2019-04-19T15:01:20+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/2014\\\/10\\\/02\\\/mixing-kicks-real-kick-drums-808-909-subkicks-mix\\\/\"},\"wordCount\":2601,\"commentCount\":205,\"image\":{\"@id\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/2014\\\/10\\\/02\\\/mixing-kicks-real-kick-drums-808-909-subkicks-mix\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/mixedbymarcmozart.cdnport.com\\\/2022\\\/04\\\/6tWxKFUi-kicks_instaart_img_0900.jpg\",\"articleSection\":[\"Featured\",\"Mixing Advice\",\"SSL Console\"],\"inLanguage\":\"es\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/2014\\\/10\\\/02\\\/mixing-kicks-real-kick-drums-808-909-subkicks-mix\\\/\",\"url\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/2014\\\/10\\\/02\\\/mixing-kicks-real-kick-drums-808-909-subkicks-mix\\\/\",\"name\":\"Mixing Kicks: Frequencies, Tones, Tuning & Transients\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/2014\\\/10\\\/02\\\/mixing-kicks-real-kick-drums-808-909-subkicks-mix\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/2014\\\/10\\\/02\\\/mixing-kicks-real-kick-drums-808-909-subkicks-mix\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/mixedbymarcmozart.cdnport.com\\\/2022\\\/04\\\/6tWxKFUi-kicks_instaart_img_0900.jpg\",\"datePublished\":\"2014-10-02T07:59:02+00:00\",\"dateModified\":\"2019-04-19T15:01:20+00:00\",\"author\":{\"@id\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/#\\\/schema\\\/person\\\/3da9b6253db05a5664aeee78478e6343\"},\"description\":\"Complete Methodology to Mixing Kicks: Frequencies, Tones + Tuning, Transient Design, Harmonics, Noise, TR-808\\\/909, Live Drums. Mixed by Marc Mozart.\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/2014\\\/10\\\/02\\\/mixing-kicks-real-kick-drums-808-909-subkicks-mix\\\/#breadcrumb\"},\"inLanguage\":\"es\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/mixedbymarcmozart.com\\\/2014\\\/10\\\/02\\\/mixing-kicks-real-kick-drums-808-909-subkicks-mix\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"es\",\"@id\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/2014\\\/10\\\/02\\\/mixing-kicks-real-kick-drums-808-909-subkicks-mix\\\/#primaryimage\",\"url\":\"https:\\\/\\\/mixedbymarcmozart.cdnport.com\\\/2022\\\/04\\\/6tWxKFUi-kicks_instaart_img_0900.jpg\",\"contentUrl\":\"https:\\\/\\\/mixedbymarcmozart.cdnport.com\\\/2022\\\/04\\\/6tWxKFUi-kicks_instaart_img_0900.jpg\",\"width\":1068,\"height\":696},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/2014\\\/10\\\/02\\\/mixing-kicks-real-kick-drums-808-909-subkicks-mix\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/es\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Mixing Kicks: Frequencies, Tones, Tuning & Transients\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/#website\",\"url\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/\",\"name\":\"Mixed by Marc Mozart\",\"description\":\"YOUR MIX SUCKS \u2022 MIX TEMPLE \u2022 MASTER FEEDBACK\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"es\"},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/#\\\/schema\\\/person\\\/3da9b6253db05a5664aeee78478e6343\",\"name\":\"marcmozart\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"es\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/8871e93da69c4726421e2d0439501d87e373c4e5d8f969a4ad1754f9cb3d8a4b?s=96&d=mm&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/8871e93da69c4726421e2d0439501d87e373c4e5d8f969a4ad1754f9cb3d8a4b?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/8871e93da69c4726421e2d0439501d87e373c4e5d8f969a4ad1754f9cb3d8a4b?s=96&d=mm&r=g\",\"caption\":\"marcmozart\"},\"sameAs\":[\"https:\\\/\\\/x.com\\\/@marcmozartmixes\"]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Mixing Kicks: Frequencies, Tones, Tuning & Transients","description":"Complete Methodology to Mixing Kicks: Frequencies, Tones + Tuning, Transient Design, Harmonics, Noise, TR-808\/909, Live Drums. Mixed by Marc Mozart.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/mixedbymarcmozart.com\/2014\/10\/02\/mixing-kicks-real-kick-drums-808-909-subkicks-mix\/","schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/mixedbymarcmozart.com\/2014\/10\/02\/mixing-kicks-real-kick-drums-808-909-subkicks-mix\/#article","isPartOf":{"@id":"https:\/\/mixedbymarcmozart.com\/2014\/10\/02\/mixing-kicks-real-kick-drums-808-909-subkicks-mix\/"},"author":{"name":"marcmozart","@id":"https:\/\/mixedbymarcmozart.com\/#\/schema\/person\/3da9b6253db05a5664aeee78478e6343"},"headline":"Mixing Kicks: Frequencies, Tones, Tuning & Transients","datePublished":"2014-10-02T07:59:02+00:00","dateModified":"2019-04-19T15:01:20+00:00","mainEntityOfPage":{"@id":"https:\/\/mixedbymarcmozart.com\/2014\/10\/02\/mixing-kicks-real-kick-drums-808-909-subkicks-mix\/"},"wordCount":2601,"commentCount":205,"image":{"@id":"https:\/\/mixedbymarcmozart.com\/2014\/10\/02\/mixing-kicks-real-kick-drums-808-909-subkicks-mix\/#primaryimage"},"thumbnailUrl":"https:\/\/mixedbymarcmozart.cdnport.com\/2022\/04\/6tWxKFUi-kicks_instaart_img_0900.jpg","articleSection":["Featured","Mixing Advice","SSL Console"],"inLanguage":"es"},{"@type":"WebPage","@id":"https:\/\/mixedbymarcmozart.com\/2014\/10\/02\/mixing-kicks-real-kick-drums-808-909-subkicks-mix\/","url":"https:\/\/mixedbymarcmozart.com\/2014\/10\/02\/mixing-kicks-real-kick-drums-808-909-subkicks-mix\/","name":"Mixing Kicks: Frequencies, Tones, Tuning & Transients","isPartOf":{"@id":"https:\/\/mixedbymarcmozart.com\/#website"},"primaryImageOfPage":{"@id":"https:\/\/mixedbymarcmozart.com\/2014\/10\/02\/mixing-kicks-real-kick-drums-808-909-subkicks-mix\/#primaryimage"},"image":{"@id":"https:\/\/mixedbymarcmozart.com\/2014\/10\/02\/mixing-kicks-real-kick-drums-808-909-subkicks-mix\/#primaryimage"},"thumbnailUrl":"https:\/\/mixedbymarcmozart.cdnport.com\/2022\/04\/6tWxKFUi-kicks_instaart_img_0900.jpg","datePublished":"2014-10-02T07:59:02+00:00","dateModified":"2019-04-19T15:01:20+00:00","author":{"@id":"https:\/\/mixedbymarcmozart.com\/#\/schema\/person\/3da9b6253db05a5664aeee78478e6343"},"description":"Complete Methodology to Mixing Kicks: Frequencies, Tones + Tuning, Transient Design, Harmonics, Noise, TR-808\/909, Live Drums. Mixed by Marc Mozart.","breadcrumb":{"@id":"https:\/\/mixedbymarcmozart.com\/2014\/10\/02\/mixing-kicks-real-kick-drums-808-909-subkicks-mix\/#breadcrumb"},"inLanguage":"es","potentialAction":[{"@type":"ReadAction","target":["https:\/\/mixedbymarcmozart.com\/2014\/10\/02\/mixing-kicks-real-kick-drums-808-909-subkicks-mix\/"]}]},{"@type":"ImageObject","inLanguage":"es","@id":"https:\/\/mixedbymarcmozart.com\/2014\/10\/02\/mixing-kicks-real-kick-drums-808-909-subkicks-mix\/#primaryimage","url":"https:\/\/mixedbymarcmozart.cdnport.com\/2022\/04\/6tWxKFUi-kicks_instaart_img_0900.jpg","contentUrl":"https:\/\/mixedbymarcmozart.cdnport.com\/2022\/04\/6tWxKFUi-kicks_instaart_img_0900.jpg","width":1068,"height":696},{"@type":"BreadcrumbList","@id":"https:\/\/mixedbymarcmozart.com\/2014\/10\/02\/mixing-kicks-real-kick-drums-808-909-subkicks-mix\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/mixedbymarcmozart.com\/es\/"},{"@type":"ListItem","position":2,"name":"Mixing Kicks: Frequencies, Tones, Tuning & Transients"}]},{"@type":"WebSite","@id":"https:\/\/mixedbymarcmozart.com\/#website","url":"https:\/\/mixedbymarcmozart.com\/","name":"Mixed by Marc Mozart","description":"YOUR MIX SUCKS \u2022 MIX TEMPLE \u2022 MASTER FEEDBACK","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/mixedbymarcmozart.com\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"es"},{"@type":"Person","@id":"https:\/\/mixedbymarcmozart.com\/#\/schema\/person\/3da9b6253db05a5664aeee78478e6343","name":"marcmozart","image":{"@type":"ImageObject","inLanguage":"es","@id":"https:\/\/secure.gravatar.com\/avatar\/8871e93da69c4726421e2d0439501d87e373c4e5d8f969a4ad1754f9cb3d8a4b?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/8871e93da69c4726421e2d0439501d87e373c4e5d8f969a4ad1754f9cb3d8a4b?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/8871e93da69c4726421e2d0439501d87e373c4e5d8f969a4ad1754f9cb3d8a4b?s=96&d=mm&r=g","caption":"marcmozart"},"sameAs":["https:\/\/x.com\/@marcmozartmixes"]}]}},"_links":{"self":[{"href":"https:\/\/mixedbymarcmozart.com\/es\/wp-json\/wp\/v2\/posts\/163","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mixedbymarcmozart.com\/es\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mixedbymarcmozart.com\/es\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mixedbymarcmozart.com\/es\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mixedbymarcmozart.com\/es\/wp-json\/wp\/v2\/comments?post=163"}],"version-history":[{"count":0,"href":"https:\/\/mixedbymarcmozart.com\/es\/wp-json\/wp\/v2\/posts\/163\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mixedbymarcmozart.com\/es\/wp-json\/wp\/v2\/media\/17390"}],"wp:attachment":[{"href":"https:\/\/mixedbymarcmozart.com\/es\/wp-json\/wp\/v2\/media?parent=163"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mixedbymarcmozart.com\/es\/wp-json\/wp\/v2\/categories?post=163"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mixedbymarcmozart.com\/es\/wp-json\/wp\/v2\/tags?post=163"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}