How to EQ a 909 Kick Drum for House Music
How to EQ a 909 Kick Drum for House Music on the Akai MPC Key 37 (Optimized for Club Systems)
As a sound engineer, I’m here to guide you through EQing a kick drum for house music, specifically using a classic 909 kick sample on the Akai MPC Key 37. House music demands a punchy, driving kick that cuts through a mix and thumps on a club sound system, where low-end clarity and energy are critical. The MPC Key 37’s onboard EQ tools make this process intuitive, allowing you to sculpt your kick for maximum impact. Let’s dive into the steps to EQ a 909 kick, ensuring it delivers that iconic house groove in a club environment.
Why EQ a 909 Kick for House Music?
The Roland TR-909 kick is a staple in house music, known for its punchy attack, deep low-end, and slightly distorted character. However, in a club setting, you need to ensure the kick has a focused sub-frequency presence (to feel the thump through the system), a defined attack (to cut through the mix), and minimal frequency clashes with other elements like basslines or vocals. EQing on the MPC Key 37 helps you achieve this balance, tailoring the kick for the dancefloor.
Step-by-Step Guide to EQing a 909 Kick
1. Load and Assign the 909 Kick
Load the Sample: On the MPC Key 37, tap Browser on the 7” touchscreen, navigate to Content > Samples, and find a 909 kick (or import one from a USB drive or Splice via Wi-Fi). Double-tap to load it into your project’s Sample Pool.
Assign to a Pad: In Main mode, select a Drum program track. Drag the 909 kick from the Sample Pool to a pad (e.g., A01) or go to Program Edit > Samples tab, select the pad, and assign the kick to layer S1.
2. Analyze the 909 Kick’s Frequency Profile
Listen Critically: Play the kick through your monitoring system (ideally with a subwoofer to mimic club playback). A 909 kick typically has a strong sub-frequency around 50-80 Hz, a punchy attack around 2-4 kHz, and some midrange body around 200-400 Hz. However, it can also have unwanted low-mid mud (100-200 Hz) or excessive high-mid harshness (5-8 kHz).
Use Visual Feedback: The MPC Key 37 doesn’t have a built-in spectrum analyzer, but you can use your ears to identify problem areas. If you’re in controller mode with a DAW, a plugin like FabFilter Pro-Q 3 can help visualize the kick’s frequency spectrum.
3. Apply EQ in Program Edit
Access Insert Effects: In Program Edit, select the pad with your 909 kick (A01). Go to the Effects tab and tap Insert 1 > EQ to add an EQ effect. The MPC Key 37 offers a parametric EQ with adjustable bands, perfect for precise frequency sculpting.
Boost the Sub Frequencies (50-80 Hz): For club systems, the sub-bass is crucial. Add a low-frequency band, set it to 60 Hz, and boost by 3-6 dB with a moderate Q (around 1.0-1.5) to enhance the thump. Be careful not to overboost, as this can overpower the mix and cause distortion on large speakers.
Cut Low-Mids (100-200 Hz): The 909 kick often has a boomy, muddy range around 150 Hz that can clash with basslines in house tracks. Add a band at 150 Hz, use a narrow Q (around 2.0), and cut by 3-6 dB to clean up the low-mids, giving the kick more clarity.
Enhance the Attack (2-4 kHz): The 909’s clicky attack needs to cut through the mix. Add a band at 3 kHz, use a medium Q (around 1.5), and boost by 2-4 dB to emphasize the transient. This ensures the kick punches through on a club system, even with other elements like synths and vocals.
Tame Harshness (5-8 kHz): If the 909 sounds too harsh or distorted in the upper mids, add a band at 6 kHz and cut by 2-3 dB with a wide Q (around 1.0). This smooths out any piercing frequencies without losing the attack.
4. Fine-Tune with Additional Processing
Add a Low-Cut Filter: In the EQ, enable a high-pass filter and set it to 30 Hz with a gentle slope (12 dB/octave). This removes inaudible subsonic frequencies that can eat up headroom, ensuring the kick’s energy is focused where club systems can reproduce it (around 40 Hz and above).
Use a Transient Shaper (Optional): If the attack still lacks punch, add a transient shaper as a second insert effect (tap Insert 2 > Transient Shaper). Increase the attack by 3-5 dB to make the 909’s click pop, a technique often used in house music for driving rhythms. The MPC Key 37’s effects library supports such tools, as noted in its specs.
Saturate for Warmth: Add subtle saturation (via Insert 3 > Distortion) to enhance the 909’s harmonic content, giving it a warmer, more analog feel that translates well on club systems. Keep the drive low (e.g., 5-10%) to avoid over-distortion.
5. Mix the Kick in Context
Access Program Mixer: Tap Menu > Prog Mix. Adjust the kick’s level to sit prominently in the mix without overpowering other elements like the bassline or hi-hats. For house music, the kick should feel dominant but balanced.
Carve Space for the Bassline: Since house tracks often have a prominent bassline, use sidechain compression to duck the bass when the kick hits. In Prog Mix, select the bass track, add a compressor as an insert effect, and set the sidechain source to the kick’s pad (A01). Adjust the threshold and ratio (e.g., 4:1) to create a subtle pumping effect, ensuring the kick’s low-end stands out on a club system.
6. Test and Adjust for Club Playback
Test on a Subwoofer: Play the kick through a system with a subwoofer to simulate a club environment. Ensure the sub frequencies (50-80 Hz) are felt, not just heard, and that the attack (2-4 kHz) cuts through without sounding harsh.
Adjust for Clarity: If the kick sounds muddy with the bassline, return to the EQ and cut more aggressively around 150 Hz. If the sub feels weak, boost slightly at 60 Hz, but watch for distortion on large speakers.
Check Mono Compatibility: Club systems often sum low frequencies to mono. In Prog Mix, toggle the kick to mono (tap the stereo/mono icon) to ensure the low-end doesn’t lose impact. If it weakens, reduce the low-mid cut or adjust panning.
7. Save Your Settings
Save the Program: In Program Edit, tap the disk icon and save your kit as “House909Kick.xpm”. This preserves your EQ and effects settings for future use. [Ref web ID: 2]
Add to a Template (Optional): Save the project as a template via Menu > Save > Project As, then set it as default in Preferences > Project Load/Save for quick access in future house productions.
Tips for EQing a 909 Kick
Focus the Low-End: Club systems emphasize sub-bass, so prioritize the 50-80 Hz range, but avoid overboosting to prevent distortion.
Balance with the Mix: Always EQ in the context of your track—soloing the kick can lead to overcorrections that don’t translate in a full mix.
Use Reference Tracks: Load a house track with a well-mixed 909 kick (via USB or Splice) and compare it to yours to ensure your EQ aligns with genre standards.
Troubleshooting
Kick Sounds Muddy: Increase the low-mid cut (100-200 Hz) or lower the sub boost if it’s overloading the mix.
Lacking Punch: Boost the attack range (2-4 kHz) further or use a transient shaper to enhance the click.
Low-End Weak on Club System: Ensure your high-pass filter isn’t cutting above 40 Hz, and double-check your sub boost at 60 Hz.
As a sound engineer, I’ve previously covered EQing a 909 kick for house music on the Akai MPC Key 37, optimized for club systems. However, playback systems like headphones and small speakers—common for personal listening or smaller venues—require a different EQ approach compared to club setups. This guide explains the differences in EQing a 909 kick for these systems, ensuring your house music kick sounds balanced and impactful, whether you’re mixing on the MPC Key 37 for private listening or small-scale playback.
Why EQ Differently for Headphones and Small Speakers?
Headphones and small speakers have limitations compared to club systems, which affects how a 909 kick drum—known for its deep low-end and punchy attack—translates. Club systems emphasize sub-frequencies (40-80 Hz) with powerful subwoofers, but headphones and small speakers struggle to reproduce these lows accurately. EQing must compensate for these differences to maintain clarity, punch, and balance in your house mix.
Headphones
Frequency Response: Headphones vary widely—some (e.g., studio models like Beyerdynamic DT 770) have a relatively flat response, while others (e.g., consumer earbuds) may exaggerate bass or highs. Most can’t fully reproduce sub-bass (below 40 Hz) with the same physical impact as a club system.
Listening Environment: Headphones isolate the listener, emphasizing details like the kick’s attack and midrange. However, stereo imaging is less natural, and low-end perception can feel “in your head” rather than visceral.
Focus Areas: You’ll need to prioritize midrange punch and attack to ensure the kick cuts through, while carefully managing low-end to avoid muddiness.
Small Speakers
Frequency Response: Small speakers (e.g., laptop speakers, Bluetooth speakers, or small studio monitors) often lack sub-bass response below 60-80 Hz, rolling off low frequencies. They emphasize midrange and can sound boxy if low-mids are overdone.
Listening Environment: Small speakers are typically used in untreated rooms, where reflections can muddy the low-mids (100-300 Hz). The kick’s sub-frequencies may be inaudible, so the attack and midrange body become critical for presence.
Focus Areas: Boosting the upper bass (80-120 Hz) and attack (2-4 kHz) helps the kick remain impactful, while cutting low-mids prevents a boomy or cluttered sound.
Step-by-Step Guide to EQing a 909 Kick for Headphones and Small Speakers
Starting Point: Load the 909 Kick
Load and Assign: On the MPC Key 37, tap Browser, navigate to Content > Samples, and load a 909 kick. Assign it to a pad (e.g., A01) in a Drum program via Program Edit > Samples. [Ref web ID: 8]
Base EQ Reference: Follow the club system EQ from my previous post—boost 60 Hz by 3-6 dB for sub, cut 150 Hz by 3-6 dB for clarity, boost 3 kHz by 2-4 dB for attack, and cut 6 kHz by 2-3 dB to tame harshness. Now, let’s adjust for headphones and small speakers. [Ref web ID: 0]
EQ Adjustments for Headphones
Reduce Sub Boost (50-80 Hz): Headphones can’t fully reproduce the physical thump of sub-bass, and overboosting can make the kick sound muddy. Reduce the 60 Hz boost to 2-3 dB (or lower if using bass-heavy headphones like Beats). This prevents the low-end from overpowering the mids, which are more audible on headphones.
Enhance Upper Bass (80-120 Hz): To compensate for the lack of sub-bass feel, add a slight boost at 100 Hz (1-3 dB, Q around 1.5). This gives the kick a sense of weight that headphones can reproduce, ensuring it doesn’t sound thin.
Emphasize the Attack (2-4 kHz): Headphones highlight transients, so the 3 kHz boost (previously 2-4 dB) can be increased to 4-6 dB if the kick lacks punch. This ensures the attack cuts through, especially important for house music’s driving rhythm in a detailed headphone mix.
Cut Low-Mids More Aggressively (150-300 Hz): Headphones can exaggerate low-mids, making the kick sound boomy. Increase the cut at 150 Hz to 4-6 dB, and if needed, add a second cut at 250 Hz (2-3 dB, Q around 1.5) to further reduce muddiness, ensuring clarity in the midrange where headphones excel.
Monitor High-Mids (5-8 kHz): The 6 kHz cut may need adjustment—headphones can reveal harshness more than club systems. If the kick sounds too sharp, increase the cut to 3-4 dB, or lower the attack boost slightly to balance the sound.
EQ Adjustments for Small Speakers
Minimize Sub Focus (Below 60 Hz): Small speakers can’t reproduce deep sub-bass, so a 60 Hz boost is less effective and may cause distortion. Reduce the boost to 1-2 dB or remove it entirely. Instead, use a high-pass filter at 50 Hz (12 dB/octave) to roll off inaudible lows, freeing up headroom.
Boost Upper Bass (80-120 Hz): Small speakers can handle frequencies around 100 Hz better. Boost this range by 3-5 dB (Q around 1.5) to give the kick a sense of weight, ensuring it feels present despite the lack of true sub-bass.
Increase Attack Focus (2-4 kHz): The kick’s attack is crucial for small speakers, as the low-end won’t carry the energy. Boost 3 kHz by 5-7 dB to make the kick’s transient pop, ensuring it cuts through the mix and maintains house music’s rhythmic drive.
Cut Low-Mids (150-300 Hz): Small speakers often sound boxy if low-mids are overdone. Cut 150 Hz by 5-7 dB and 250 Hz by 3-4 dB (Q around 1.5-2.0) to reduce muddiness, especially in untreated rooms where reflections can exacerbate this range.
Tame Highs (5-8 kHz): Small speakers can sound harsh if the upper mids are too prominent. Keep the 6 kHz cut at 2-3 dB, or increase to 4 dB if the kick sounds tinny, ensuring a smoother tone that doesn’t fatigue listeners.
Fine-Tuning and Mixing
Headphones: In Prog Mix, lower the kick’s level slightly if it feels too dominant, as headphones isolate sounds more than speakers. Test with a bassline to ensure the 100 Hz boost doesn’t clash—sidechain the bass to the kick if needed. [Ref web ID: 8]
Small Speakers: Increase the kick’s overall level in Prog Mix to compensate for the lack of low-end impact. Check mono compatibility (toggle in Prog Mix), as small speakers often sum to mono, and ensure the kick retains presence.
Transient Shaping: For both, enhance the attack further with a transient shaper (in Program Edit > Effects > Transient Shaper). Boost the attack by 3-5 dB to make the kick pop, especially important for small speakers where the low-end is weaker. [Ref web ID: 11]
Test and Adjust
Headphones: Test on multiple pairs if possible (e.g., studio headphones and earbuds). If the kick lacks weight, slightly increase the 100 Hz boost, but avoid overdoing the low-mids.
Small Speakers: Test on typical small speakers (e.g., a Bluetooth speaker). If the kick disappears, increase the 100 Hz boost or attack. If it sounds boomy, cut more at 150-250 Hz.
Key Differences Summarized
Sub-Bass (Below 60 Hz): Club systems need a sub boost (60 Hz, 3-6 dB) for physical thump. Headphones and small speakers can’t reproduce this, so reduce the boost and focus on upper bass (100 Hz).
Attack (2-4 kHz): Headphones and small speakers need a stronger attack boost (4-7 dB) to compensate for weaker low-end, while club systems need less (2-4 dB) since subs carry the energy.
Low-Mids (150-300 Hz): Cut more aggressively for headphones and small speakers (5-7 dB) to avoid muddiness, as these systems emphasize mids and lack sub-bass to balance the sound.
High-Mids (5-8 kHz): Headphones may need a deeper cut (3-4 dB) to tame harshness, while small speakers might require more if they sound tinny.
Why EQ Differently for Studio Monitors?
Studio monitors (e.g., Yamaha HS8, KRK Rokit, or Adam Audio T7V) aim for a flat frequency response, offering a more accurate representation of your mix compared to consumer headphones or small speakers. However, they differ from club systems in scale and low-end reproduction—most studio monitors (especially smaller 5-7” models) don’t deliver the same sub-bass intensity as club subwoofers. For house music, where the 909 kick drives the rhythm, EQing on the MPC Key 37 for studio monitors focuses on balancing the low-end, enhancing the attack, and ensuring clarity in a controlled mixing environment.
Studio Monitors
Frequency Response: Studio monitors typically reproduce frequencies down to 40-50 Hz (depending on woofer size), but they lack the visceral sub-bass impact of club systems below 40 Hz. Midrange and highs are more accurate, revealing details in the kick’s body and attack.
Listening Environment: Studios are often acoustically treated, reducing reflections and low-mid buildup. However, smaller rooms can still exaggerate low-mids (100-300 Hz), making the kick sound boomy if not EQ’d properly.
Focus Areas: You’ll need to balance the sub-bass (50-80 Hz) with the upper bass (80-120 Hz) for weight, emphasize the attack (2-4 kHz) for clarity, and control low-mids to avoid muddiness in the mix.
Step-by-Step Guide to EQing a 909 Kick for Studio Monitors
Starting Point: Load the 909 Kick
Load and Assign: On the MPC Key 37, tap Browser, navigate to Content > Samples, and load a 909 kick sample. Assign it to a pad (e.g., A01) in a Drum program via Program Edit > Samples tab.
Base EQ Reference: Start with the club system EQ from my previous post—boost 60 Hz by 3-6 dB for sub, cut 150 Hz by 3-6 dB for clarity, boost 3 kHz by 2-4 dB for attack, and cut 6 kHz by 2-3 dB to tame harshness. Now, adjust for studio monitors.
EQ Adjustments for Studio Monitors
Moderate Sub Boost (50-80 Hz): Studio monitors can reproduce sub-bass better than headphones or small speakers but not as powerfully as club systems. Reduce the 60 Hz boost to 2-4 dB (Q around 1.0-1.5) to add weight without overloading the mix. Overboosting can make the kick sound boomy in a studio environment, especially if your monitors are in a smaller room.
Reinforce Upper Bass (80-120 Hz): To ensure the kick has enough low-end presence on monitors with limited sub-bass, add a gentle boost at 100 Hz (2-4 dB, Q around 1.5). This range gives the 909 kick a sense of warmth and body that translates well on studio monitors, balancing the sub-bass with the upper low-end.
Refine the Attack (2-4 kHz): Studio monitors reveal the kick’s transients clearly, so the attack needs to be prominent but not overpowering. Keep the 3 kHz boost at 2-4 dB (Q around 1.5), or increase slightly to 4-5 dB if the kick lacks punch in the mix. This ensures the 909’s click cuts through synths and vocals in a house track, maintaining the driving rhythm.
Control Low-Mids (150-300 Hz): Even in a treated studio, low-mids can build up, making the kick sound muddy, especially with a bassline in the mix. Cut 150 Hz by 4-6 dB (Q around 1.5-2.0) to reduce boominess. Add a secondary cut at 250 Hz (2-3 dB, Q around 1.5) if the kick still sounds boxy, ensuring clarity in the midrange where studio monitors are most accurate.
Adjust High-Mids (5-8 kHz): Studio monitors can highlight harshness in the upper mids. Keep the 6 kHz cut at 2-3 dB (Q around 1.0), but if the kick sounds too sharp or fatiguing during long mixing sessions, increase the cut to 3-4 dB. This keeps the sound smooth while preserving the attack’s presence.
Fine-Tuning and Mixing
Apply a High-Pass Filter: In Program Edit > Effects > EQ, set a high-pass filter at 35 Hz (12 dB/octave) to roll off inaudible subsonics. Studio monitors don’t reproduce below 40 Hz effectively, and this cut frees up headroom without losing the kick’s low-end impact.
Enhance Transients (Optional): If the attack needs more definition, add a transient shaper (in Program Edit > Effects > Transient Shaper). Boost the attack by 2-4 dB to make the 909’s click pop, ensuring it stands out in the mix on studio monitors.
Mix with Other Elements: In Prog Mix, balance the kick with the bassline and hi-hats. Use sidechain compression on the bass track (set the sidechain source to the kick’s pad) to duck the bass slightly, ensuring the kick’s low-end (60-100 Hz) remains clear. Adjust the threshold and ratio (e.g., 3:1) for a subtle effect, common in house music.
Check Mono Compatibility: Studio monitors often reveal phase issues. In Prog Mix, toggle the kick to mono to ensure the low-end doesn’t lose impact, as mono compatibility is crucial for translation to club systems or consumer devices.
Test and Adjust for Studio Monitors
Test in Your Studio: Play the kick through your studio monitors in the context of your house track. Ensure the sub (60 Hz) and upper bass (100 Hz) provide enough weight without sounding boomy, and the attack (3 kHz) cuts through without being harsh.
Adjust for Room Acoustics: If your studio has low-end buildup (common in smaller rooms), increase the 150 Hz cut to 6-8 dB to reduce muddiness. If the kick lacks warmth, slightly increase the 100 Hz boost (up to 5 dB).
Compare with References: Load a house track with a well-mixed 909 kick (via USB or Splice) and compare. Studio monitors’ flat response makes it easier to hear discrepancies—adjust your EQ to match the reference’s clarity and punch.
Key Differences Compared to Other Systems
Vs. Club Systems: Club systems need a stronger sub boost (60 Hz, 3-6 dB) for physical thump, while studio monitors require a more moderate boost (2-4 dB) to avoid boominess in a controlled environment. The attack boost is similar, but monitors need less high-mid cutting since they’re less forgiving of harshness.
Vs. Headphones: Headphones need a reduced sub boost and more low-mid cuts (150-300 Hz) due to their inability to reproduce deep lows and their emphasis on mids. Studio monitors can handle more sub-bass but still need careful low-mid management to avoid room-induced muddiness.
Vs. Small Speakers: Small speakers require minimal sub focus (below 60 Hz) and a heavier attack boost (5-7 dB) due to their limited low-end. Studio monitors, with better low-end response, need a balanced sub and upper bass approach, with a more restrained attack boost (2-5 dB) to avoid harshness in a flat-response system.
Tips for EQing on Studio Monitors
Use Acoustic Treatment: If possible, ensure your studio is treated to minimize low-mid buildup, allowing for more accurate EQ decisions.
Test at Different Volumes: Studio monitors reveal more at moderate levels—mix at 75-85 dB SPL to avoid ear fatigue and ensure the kick’s balance holds up.
Reference on Other Systems: After EQing, test your mix on headphones or a club system to ensure the kick translates well, as studio monitors might underrepresent the sub-bass impact.
Troubleshooting
Kick Sounds Boomy: Increase the low-mid cut at 150 Hz or reduce the 60 Hz boost to clean up the sound.
Lacking Punch: Boost the 3 kHz range further (up to 5 dB) or use a transient shaper to enhance the attack.
Low-End Feels Thin: Increase the 100 Hz boost slightly, but ensure it doesn’t clash with the bassline—adjust sidechain compression if needed.
Conclusion
EQing a 909 kick for house music on the MPC Key 37 is all about balancing a powerful low-end with a defined attack, ensuring it drives the dancefloor on a club system. By boosting the sub, cutting mud, enhancing the attack, and carving space in the mix, your kick will thump with clarity and energy. Whether you’re producing for a packed club or an underwater nightclub scene, these techniques will make your 909 kick shine. For more mixing tips, check out MPC-Tutor.com or Akai’s support page. Happy mixing!