So I’m remixing / mastering New York Blues (with Glyn’s incredible vocals and Peter’s awesome Hammond), and I decided to try something with the kick that I’ve seen mentioned elsewhere often along with a trick I saw only once but loved the effect:
Something I saw Steven Slate do once in one of his videos was to duplicate the kick and add saturation on the duplicate track until just above the point where it starts to be overdriven. I pulled back the volume on this track, routed them both to a group channel, and then…
…I automated the EQs on the group track to be in line musically with the song’s chords. Basically, I added an EQ handle at the sub-100 Hz range to match the root chord of the song; another 2 octaves above that; and a 3rd two octaves above the 2nd. Then, as major phrases of the song moved to different chords, I changed the frequencies of these three bands to either be the same as the root of the chord or a perfect 5th. This really reinforced the kick because it’s no longer competing with the rest of the song.
When I’m done, I’ll post A/B for you to listen to. Obviously, these aren’t the only changes I’m making so it may be difficult to isolate the kick from everything else that’s different.