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Mix Recipes: Kick Drum EQ and compression

There is no reason to settle for lackluster kick drum sounds on your home recording. This article explores some great mix recipes for equalizing and compressing your kick drum tracks. While every kick drum has an individual sound there are some general guidelines you can follow to get a great start in shaping your drum’s sound. Start by trying a few of these eq and compressor settings and tweak them in to suit your specific starting drum sound and desired results. All you need in your home studio is a four band eq to start shaping the kick drum sound of your dreams!

The kick drum big three: boom, smack, click

These are three key elements that can be used to describe the sound of a kick drum.

Boom is where the low end thud of the kick drum comes from. You can find a cleaner, modern sound boosting around the 50-60Hz area. A more traditional, ringing boom will be found a bit higher, perhaps in the 100Hz range. I typically use a normal, peaking band for the boom but you can experiment with a low shelving band here if your kick drum is lacking girth. Be careful not to overdo it with the shelf though, things can get blurry fast in the sub frequency ranges.

Smack is the primary attack of the kick drum. This is the frequency range that helps the ear identify individual kick drum hits. I like to start my search for smack in the 3-5kHz range. Microphones specifically tailored to kick drums will often have a bit of a presence bump somewhere in this range. I always use a peaking band for the smack and keep the Q parameter in the 1 to 1.5 range.

Click is exactly what you think it is. At first thought you might not attribute click as a quality desired in a kick drum sound. Click works in conjunction with smack to help bring a kick drum through a dense mix. This is the sound of the beater actually hitting the drum head. You can find the click up around the 6-8kHz range. A peaking band works well on the click (Q around 1.5) but a high shelf can be used to enhance the bleed of the snare wires in the kick drum mic.

Mud is not one of the big three because it is a bad thing! We want the opposite of mud in our mix, especially on the kick drum. You remove some of the mud and clean up your kick drum sound by cutting a thin band in the 250-300Hz range. I will often use a peaking band with the Q set to around 3.

Kick drum big three eq quick chart

More boom (modern) +6dB at 50Hz
More boom (solid, classic) +6dB at 100Hz
More smack (attack) +7dB at 3.5kHz
More click (beater) +6dB at 6.0kHz

Kick drum eq recipes

    Start here to get a solid, full kick drum sound with plenty of click

  • Band 1: +6dB at 55Hz
  • Band 2: -9dB at 275Hz (narrow)
  • Band 3: +7dB at 3.7kHz
  • Band 4: +8dB at 6.2kHz shelf
    Start here to get a more traditional kick drum sound

  • Band 1: +6dB at 100Hz
  • Band 2: -10dB at 800Hz (narrow)
  • Band 3: +6dB at 1.5kHz
  • Band 4: +6dB at 7.0kHz shelf
    Start here to get a ringy bottom end with less attack

  • Band 1: +6dB at 100Hz
  • Band 2: -5dB at 250Hz (narrow)
  • Band 3: +3dB at 4.0kHz
  • Band 4: +3dB at 10.0kHz shelf

Kick drum compression recipes

If I have a very consistent drummer with great dynamics then I often will skip compressing the kick drum at all. Sometimes you need to bring up the sustain or level out an uneven performance or you might be looking for the ultra compressed modern sound.

Reduction level is the amount your kick drum is being compressed. All good compressors have some kind of meter or way to gauge your signal reduction. This will sometimes be labeled gain reduction or will just be a meter that seems to work backwards, going down or showing negative values on each kick drum hit. You should be able to see the reduction increase (more into the negative range) as you lower the threshold of the compressor. I like to get about -3dB of gain reduction for subtle kick drum compression. I’m not afraid to get the gain reduction up to -10dB or higher when necessary though. You don’t have a reduction level control on your compressor. You adjust the threshold control until you are getting your desired reduction level.

Kick drum compression recipes

    Subtle kick drum compression

  • Ratio: 3:1 or 4:1
  • Attack: 4ms
  • Release: 200ms
  • Threshold: adjust for about 3-6dB gain reduction
    More “in your face” kick drum compression

  • Ratio: 6:1
  • Attack: 3ms
  • Release: 200ms
  • Threshold: adjust for about 8-10dB gain reduction

Drum processing plugins for your DAW

When it comes to plugins I am a big fan of Waves processors. If you are using moderately capable DAW software it probably came with some eq and a compressor. Using those will get you fine results. If you want to step up to what a lot of pros are using and take your home studio recording to the next level then Waves processors will make a good investment. Their software plugins are top notch, stable, sound great, and the company stands by its products and customers.

Waves Musicians 2 Native Software

Waves Musicians 2 Bundle price check

This is the bundle I recommend people use as the entry point to the Waves sound and experience. It includes the Renaissance EQ and Renaissance Compressor which are two of my favorite plugins ever.
Waves Renaissance Maxx Native Bundle

Waves Renaissance Maxx Bundle price check

This is the next step up if you can afford just a bit more. The two main go to plugins you will add above the Mus 2 bundle are the Renaissance Reverb and Renaissance Vox, two of my other favorite plugins.
Waves Gold Native Bundle Hybrid CD Win/Mac

Waves Gold Native Bundle price check

This bundle has a lot more plugins than the other two bundles, but it is a lot more expensive and doesn’t really add any go to plugins that are essentials. The coolest addition is the L1 which is great for mastering. Only you can decide if the extra plugins are worth the scratch.
Waves Mercury Native Software

Waves Mercury Bundle price check

This is the bundle for you if price is no object (costs more than most DAW packages). You get every Waves plugin currently supported by the company. There are a lot of cool, boutique eq and compressor plugins here. The SSL, API, and V-series plugins all have really great, classic sounds to them.

I hope you’ll find some of these kick drum recipes helpful and be able to put them to good use. Feel free to post some links to your results in the comments section below!

73 replies on “Mix Recipes: Kick Drum EQ and compression”


I really appreciate your tutorials! more please! The parallel compression drum compression worked a treat an im now using it in my mixes. The drums really stand out!

More Please!

Thanks a bunch!

hey thanx 4 the tutorials, this and the modern mastering one were exactly what ive been looking 4. any chance u could do something similar to the kick drum recipe but with snares and hats as well? thanx again

I am definitely planning on doing snare and hats. I’d also like to do vocals, guitars, bass, and anything else I can think of! Some of the other instruments will have more than just eq and compression. Reverbs and delays will most likely appear in some of the future recipes. It’s just a matter of finding time to fit it all in!

I love your articles! THis one, in particular was a BIG help. I have a question maybe you can answer though. I am a Hip Hop producer and beatmaker. Currently, I am producing on a Pro Tools 6.4 setup, and I like my tracks to come out sounding professional and robust. My only problem is that, on some of my more “bass and/or boom driven” tracks, the kicks, basses or booms over-power my master compressor and temporarily drop the levels in my mix. On my master fader, I almost always use the L2 compressor from Waves, and as long there is not a lot of heavy bass or boom, it can make my tracks sound INCREDIBLE. But bass escapes me in the finalizing of a track. Can you help me?

Thank you in advance,
Vibe One
Vibal Beats

Three possible solutions come to mind:
– This could be an indication that the kick is just way too loud for your mix or you are trying to compress too much on the master bus L2.
– Use an L1 on the kick track itself to even out the levels automatically.
– Use the L3 (or some other multiband dynamics processor) on the master bus instead of the L2. This will let you compress the bass frequencies independently of the other frequencies. So when the kick compresses it doesn’t affect the rest of the mix.

A fourth solutions has come to mind. Submix everything other than the kick/bass to one bus and the kick/bass to a separate bus. Then mix those two submixes to the master bus. Use your L2 on the non-kick/bass bus and maybe even an L2 on the kick/bass bus. Then mix those two tracks to the master bus.

Not to sound redundant but these are great articles. Quick question, theres a compression process that I don’t know the name of but it involves the bassline ducking when the kick comes in, does this sound familiar? Thanks in advance.

hey man i´m from germany youré tutorials are great you help me a lot
many many thanks

but can you say me what come´s first the equalizer or the compressor??

greetz izeman!!!

i got another question? Vocals equalizer or compressor first ???

first i take the Rcomp than the q 10 !!

how about you ???

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