The kik is 0445.WAV ON THE SUPERFRAGULICIOUS CD. DUH. (in the kick folder).

Fog

twaddle


I'm curious as to how you can both say with any certainty that there are two kicks in this? 

I have around 25 to 30 kicks with BFD2 and my expansion packs and listening through them I have a number that sound close and could easily be made to sound the same. 

I'm not trying to be contrary here I'm just genuinely curious. 
BFD2 allows me to load two or three kicks and link them together which is something I've not used yet but looks like an interesting idea. 

Steve

ask the folks at fxpansion how the kicks were made, they probably used tremor (or something electronic) + an acoustic drum layered on top.. eq'd so they don't clash and compliment each other , then joined / saved out. just because you see / have it as 1 drum. it could even be the same drum , but 2 layers of it and 1 bit of it given more strength and then a bit of parallel compression for example.


it takes the strength of the low end out of one kick + the character at higher HZ out of the drum used higher up..


same can be applied with a snare also, mistabishi used a basketball bounce on his dnb stuff.

I'm pretty certain that none of the BFD2 samples are layered with other kit pieces and certainly not tremor or anything electronic. For a start tremor wasn't even a glint in fxpansions eye when those kits were recorded.
I'm really surprised that you would think that let alone say it. Perhaps you should watch The Making Of BFD2. 

Whilst they have said there is some "slight" processing on some kit pieces the majority of their samples are completely unprocessed.

Irrespective of whether you believe there is any layering or processing in BFD2 (or other drumplers for that matter) my question as to what makes you both so certain the Cher Lloyd track has layered kicks remains unanswered. 

I'm not trying to say I don't believe you and that it's not layered and perhaps what I should have asked was, what is it that you can "hear" that makes you think it's layered? 


Steve

I tend to agree with Steve.

As an example, BFD can expose up to 3 different kick channels all of which can be routed to separate tracks within Sonar (Mic in, Mic out & Sub kick)

It doesn't take a lot of imagination to dream up a whole host of processing/mixing techniques with 3 different kick samples available.

I regularly use the 'In' for the thud, the 'out' for the click and savagely filter everything else out, followed by a bit of tonal shaping EQ on what's left.

Bristol_Jonesey


I tend to agree with Steve.

As an example, BFD can expose up to 3 different kick channels all of which can be routed to separate tracks within Sonar (Mic in, Mic out & Sub kick)

It doesn't take a lot of imagination to dream up a whole host of processing/mixing techniques with 3 different kick samples available.

I regularly use the 'In' for the thud, the 'out' for the click and savagely filter everything else out, followed by a bit of tonal shaping EQ on what's left.

That's exactly where I was coming from Jonesy.
The first kick I loaded was the DW kick which has three channels and I got something very close to the Cher Lloyd track in about 30 seconds. No layering what so ever was required.


Steve

The latest Sound On Sound issue has an article on the making of that song.

Sorry, wrong song.. SOS was covering Call Me Maybe..

twaddle

Bristol_Jonesey


I tend to agree with Steve.

As an example, BFD can expose up to 3 different kick channels all of which can be routed to separate tracks within Sonar (Mic in, Mic out & Sub kick)

It doesn't take a lot of imagination to dream up a whole host of processing/mixing techniques with 3 different kick samples available.

I regularly use the 'In' for the thud, the 'out' for the click and savagely filter everything else out, followed by a bit of tonal shaping EQ on what's left.

That's exactly where I was coming from Jonesy.
The first kick I loaded was the DW kick which has three channels and I got something very close to the Cher Lloyd track in about 30 seconds. No layering what so ever was required.


Steve

Another thing I like to do is this:

I don't normally use the Sub output per se, so I route the output of it to NONE and then send it to the compressor sidechain on the bass

The BFD2 drum library, as well as any 3rd party expansion packs, do not make use of layered drums. Instead we focus on capturing the drums as naturally as possible, so that you the user can handle the rest. Obviously our engineers that we work with have access to high end preamps, desks, and EQ's, but they are used to capture the natural 'vibe' of a kit. The kits are as vanilla as you'd get them tracking a kit to your DAW. If you want layering, you can do this very easily in BFD2.

My thoughts:
Find the nearest sample or create one with Synthesis drum module probally best
Sort out your attack in your sampler if possible or maybe use the transient tool, add reverb to suit until you get the depth you ask off  bang a gate on the end to keep the reverb tail short.