#1
Hey UG. I'm trying to mic up my two kicks so that they sound like Vinnie Paul's kicks from way back in Pantera. That tight almost click ish tone. Let me know what kind of mics I'd need as well cause I wanna nail it.
#2
I'm not sure of Pantera's set up at that time BUT I know a lot of drummers (especially metal dummers) get that tight, clicky sound using drum triggers. It's pretty difficult to get that clear, distinct kick sound with an acoustic bass and mics, it just resonantes too much.
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#3
Can't really help you with the mics, but worst case scenario, there are a ton of Vinnie Paul kick samples floating around that've been pulled from the Pantera records that you could sample replace you kicks with.

This may help: http://www.drummerworld.com/forums/showthread.php?t=47117

But honestly for recording, sample replacing or supplementing is the way to go.
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#4
I'd definitely go with replacing the audio, unless you've got a double bass pedal, and can use just one of the kicks.

Unless you've got the kicks tuned very close to each other, it's likely to sound weird recording and using both sounds on your tracks. Replacing the audio with some good samples will take care of this and give you a more controlled sound.
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#6
Surely the clicky noise comes from over compressing the kick as well as changing the volume envelope a bit, if you can put your kick into a sampler some how after you record and shorten the release.
#7
Some EQ-ing can help achieve this sound.
Here's a good link about EQ-ing drums...
Notice this part in particular
In regards to high-end boosts, the sweet spot tends to be between 6 and 10kHz for most kicks. It really depends on where you would like your high-end slap to lie, but a lot of the time the choice is self-evident as the kick will immediately sound better when you find it.

and also compression.
#8
Quote by Rmonix
Surely the clicky noise comes from over compressing the kick as well as changing the volume envelope a bit, if you can put your kick into a sampler some how after you record and shorten the release.


actually what most people don't know is that he taped quarters to his beater and drum head to get that sound early on, i don't know if he changed his setup down the road.
#9
great player, the right kit, proper recording techniques.

there is no magic recipe
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#10
Many people touching on things in this thread, but the truth is that it comes from a combination of things.

1) He's a big guy, I'd imagine he hits the kick pretty damn hard.

2) Whether he did the quarter-taped-to-beater-head trick or not, most metal and rock drummers use the plastic beater heads of their kick pedal rather than the felt ones, for a stronger impact, and often you'll see a Falam Slam pad or something similar, which is essentially a harder material stuck in place where the beater makes contact with the batter head and emphasises the clicky impact more.

3) They may well have used several mics on various recordings... something like an Audix D6 or Shure Beta 52A will get you in the right ballpark, with their raised upper mids/high end that emphasises the impact, again. Probably had one mic in close towards the batter head, off-axis to reduce LF rumble from the impact, and one mic placed half-in the cut-out of the kick, where there is a large build-up of pressure in the air as it rushes out from each kick. Get that mic in the right place and you'll get a chest-thumping kick (especially useful for live work).

4) Compress the living fcuk out of it. Seriously, 10:1 compression minimum for a raw kick track. Very fast attack (5ms or less) and a release of probably no more than 50-60ms - just enough to stop the track audibly pumping. Combine that with some heavy-handed EQ to scoop out pretty much all the midrange, boost the high 2-4k region where the click will probably lie, and a notch boost to emphasise the 'thud' of the kick's main harmonic.

5) Triggering samples of pre-processed kicks to blend in with the original and get a thicker tone through further complexity of harmonics and waveform... not sure if Pantera's engineer(s) used it, but it's on pretty much every metal record these days, if they even keep the original kick in the mix (I always try to but many people these days seem to have less love in the art of mic placement and the efforts pre-production, and will happily just put a mic on the kick to keep the drummer happy in tracking, before using none of his kick whatsoever).
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#11
An AKG D112 is pretty good at getting more of a clicky sound. Have it inside the drum halfway between the two heads pointing directly at where the beater hits the head. Also try a mic on the outside near the beater to get more of the attack and less boom. Adjust mics to taste. Mix the two together and EQ so you're accentuating more of the attack and less of the boom.
As mentioned before, you can use different things on the head to give a different sound (like quarters). It's not very good for the drum head though, so only do it if you're prepared to replace them a lot more often than normal.
Parallel compression might be helpful here as well. Make a copy of the kick track, compress the crap out of it, and mix it in with the normal kick track to bring out more of the attack.

There's a million and one things you can do to get different sounds, you'll just have to experiment and find what works best for you and your gear.
#12
Good skins, plenty of damping and some sort of click pad where the beater meets the drum. Try taping a credit card or coin to the skin. Maybe remove the front skin.

Copious amounts of EQ, compression and envelope can get a good clicky sound out of almost anything.