Signing Stories: Deep Sea DiverDate Signed: September 2024Label: Sub Pop RecordsType of Music: Indie RockBand Members: Jessica Dobson, Peter Mansen, Elliot JacksonManagement: Red Light ManagementPublicity: Frank Nieto - frankn@subpop.comWeb: thisisdeepseadiver.comSeattle-based rock band Deep Sea Diver, led by guitarist and vocalist Jessica Dobson, is celebrating their stronger support from their new home at the legendary Sub Pop Records. With the backing of the label, Dobson most looks forward to the extra care and assistance that she will have access to, something foreign coming from her hustling DIY nature."In the beginning, I have been close to the process and it can be painful at times," Dobson shares. "Hearing crickets from the time you send your record in. 'Is it in the void?' 'Do people not like it?' This time around, it was pretty quick that we got responses and Sub Pop was one of the first that said, 'We believe this. Let's keep talking.'""With self-released albums on an independent label, we know what goes into promoting an album, keeping it on the radar... there are moving parts," says Dobson. Dobson has logged time as a touring member for Beck and The Shins and has performed with numerous other acts, including Yeah Yeah Yeahs, Spoon, Dinosaur Jr. and more. In addition to headline touring, they've supported Death Cab for Cutie, Wilco, and most recently, playing to the largest audiences of their career, supporting Pearl Jam."It's quite a gift for us to have landed on a label that we have respected for years," says Dobson. "We went with SubPop because they were on board and loved what we were doing already. That's what we'd hope for when signing to a label is that they love you already. You're not having to work backwards." As for connecting with fans and labels alike, Dobson advises, "You cannot force an audience to love what you do. You can just make the best [album] you can, and the people will decide." Deep Sea Diver recently shared a video for “Let Me Go,” a collaboration with Madison Cunningham. Their fourth album Billboard Heart is out now. Check the group on their tour, which kicks off and finishes up with hometown shows in Washington.  – Joseph MalteseThe post Signing Stories: Deep Sea Diver first appeared on Music Connection Magazine.

Brian Armstrong says Coinbase spent $50M fighting SEC lawsuit – and beat itCoinbase on Friday said the SEC has agreed to drop the lawsuit against the company with prejudice, meaning it cannot be filed again.  The move, which is still subject to the approval of the SEC’s Commissioners, is yet another signal that the Trump administration plans to be more friendly to crypto than the SEC was […]
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Reviewing a Very Dodgy BSK-602 Adjustable Power SupplyThere’s no shortage of cheap & cheerful power supplies which you can obtain from a range of online retailers, but with no listed certification worth anything on them calling them ‘dodgy’ is more of a compliment. On the [DiodeGoneWild] YouTube channel an adjustable power supply by the model name BSK-602 is tested and torn down to see exactly what less than $5 off sites like Alibaba will get you.
Perhaps unsurprisingly, voltage regulation is very unstable with massive drifting when left to heat up for a few hours, even though it does hit the 3 V to 24 V DC and 3 A output that it’s optimistically rated for. After popping open the adapter, a very basic switching mode power supply is revealed with an abysmal component selection and zero regard for safety or primary and secondary side isolation. With the case open, the thermal camera reveals that the secondary side heats up to well over 150 °C, explaining why the case was deforming and the sticker peeling off after a few hours of testing.
The circuit itself is based around a (possibly legit) UC3843RN 500 kHz current mode PWM controller, with the full schematic explained in the video. Highlights include the lack of inrush protection, no EMI filtering, a terrible & temperature-dependent voltage reference, not to mention poor component selection and implementation. Basically it’s an excellent SMPS if you want to blast EMI, fry connected electronics and conceivably burn down your home.

UC3843-based BSK-602 circuit schematic in all its dodgy glory. (Credit: Diode Gone Wild, YouTube)

From Ole Obermann leaving TikTok to Daniel Ek’s $666m… it’s MBW’s Weekly Round-UpThe biggest stories from the past week – all in one place…
Source

Somerville Sounds Rubber Bridge PlucksOn a whim, spurred by a YouTube binge, Jon Meyer decided to transform a parlor acoustic guitar. He replaced the bridge with rubber, strung it with flat wound strings, and added the cheapest electronics... Read More

Skeuomorphism: What it is and why it matters in music
Learn about what skeuomorphism is, how skeuomorphic design is applied in audio plugins, and why it still matters in 2025 and beyond.

“Without small venues, you wouldn’t have Depeche Mode, which is a world like not really worth living in!”: Kellie Lee Owens on state of electronic musicElectronic music’s been caught in a strange position – although interest in the UK scene is booming, the infrastructure is facing grave threats.
According to findings from the Night Time Industries Association (NTIA) late last year, 37 per cent of all clubs across the country permanently shut since March 2020. They shut at an average rate of three clubs a week and 150 per year. Should that continue, clubs will be extinct by the end of 2029.

READ MORE: Over 100 UK nightclubs closed in past year, new study claims

Kelly Lee Owens has addressed the state of the industry in an appearance as both guest and co-host on the latest episode of BBC Sounds show Sidetracked with Annie and Nick in which they discuss the report.
“What’s worrying is that you’re getting these great stats that [the industry is] growing… but then you’re also hearing of clubs closing,” Grimshaw points out. “So, it’s interesting that it is growing, but then the venues aren’t there or the smaller venues aren’t there.”

Owens agrees, noting that the threat faced by large venues like Fabric in London was a “a wake-up call”. However, she also says that there should be similar outrage for when the “smaller places” which disappear which “people don’t kick up a fuss” about.
“I always think of Depeche Mode, they were on the tube with their synths coming to these small venues,” replies Owens. “I always think like without small venues, you wouldn’t have Depeche Mode, which is a world like not really worth living in!”
She continues: “So I think there’s a responsibility when it comes to everyone – from the booking agents to ticketing companies – they need to be investing back into these venues so that the up-and-coming people have a place to be.
“It’s ultimately like a symbiotic relationship and we need to start viewing and acting in that way towards it.”
The post “Without small venues, you wouldn’t have Depeche Mode, which is a world like not really worth living in!”: Kellie Lee Owens on state of electronic music appeared first on MusicTech.

ML Sound Labs released Mikko Reflex free version for Mac and Windows
ML Sound Labs released Mikko Reflex Free, a free-to-use edition of their flagship guitar cabinet simulator. According to ML Sound Labs, Mikko Reflex is the “most sophisticated guitar cab sim in the world.” If you feel intrigued, they now offer a demo version of the plugin for free – either as a stand-alone application, VST3, [...]
View post: ML Sound Labs released Mikko Reflex free version for Mac and Windows

Independent, College and Non-Commercial Radio Charts launchIndependent artists and labels often get their start at independent college, community and non-commercial radio. New independent radio charts launched by A2IM and Muzooka should bring much needed attention to these important outlets.
The post Independent, College and Non-Commercial Radio Charts launch appeared first on Hypebot.

How to Monetize Music on YouTube and TikTokIt's wonderful when a song goes viral, but it's even better to get paid for it. Learn how to monetize music on YouTube and TikTok and get every dime you deserve.
The post How to Monetize Music on YouTube and TikTok appeared first on Hypebot.

Is Musitronics calling out Behringer for “copying” Mu-Tron products?Revered effects pedal brand Musitronics has called out an unnamed German company for “[deciding] to copy a 3rd Mu-Tron product”. The statement, posted on Facebook, sees Musitronics alleging the competing manufacturer of “assimilating the history” of Musitronics and “[dissuading] retailers from carrying out products and musicians to not use them [sic].”
The competing company in question? Musitronics has evidently left it unnamed for a reason, but one potential brand is Behringer, known for creating new music products inspired by vintage gear. The details spelled out by Musitronics seem to align with Behringer – plus, commenters on the post have also suggested it could be Behringer, too.

READ MORE: Behringer takes inspiration from the Boss CE-1 Chorus Ensemble with its new Chorus Symphony pedal

Behringer released its B-Tron III pedal earlier this month (5 February). In its launch post on Facebook, the brand said it was “bringing back a pedal that shaped ’70s music”. Musitronics’ statement then arrived on 11 February.
“So a $2 Billion German company has decided to copy a 3rd Mu-Tron product,” Musitronics alleges in its post. “It is being distributed, sight unseen, six month pre-order through a $31 billion investment firm which owns the largest online music store in the world. The pedal is most likely entirely made in China and will sell for less than the cost of what it takes us to produce here in the USA. And even admits ‘tariff 1.0’, ‘chip shortages’, Covid, and rising labor costs [sic].”
The other two products emulated by Behringer that Musitronics is seemingly hinting at are the Dual Phase and Octave Divider. On its website, Behringer openly says these are recreations of popular effects from the 1970s – which is when the original Mu-Tron Bi-Phase and Octave Divider products were first launched.
The reactions to the Musitronics Facebook post are mixed, with some arguing that emulations are a natural part of the gear industry as it moves forward and adapts the classics to the modern age, and that not every musician can afford to pay for an original. Others, however, have argued that recreations are unethical.
“We have not raised the price of our products in eight years. Instead, we have continued to innovate new products and do our best to deliver awesome products to last a lifetime,” adds Musitronics. “This company has not only copied the trade-dress (colour schemes, fonts, labels and verbiage), they have even assimilated the history of Musitronics into their videos as if [it] was their own.”

So a $2 Billion German company has decided to copy a 3rd Mu-Tron product. It is being distributed, sight unseen, 6…
Posted by Musitronics on Monday, February 10, 2025

Previously, in response to similar resistance from manufacturers, Behringer has argued that it has made its practice is legal. “IP refers to legally protected rights over creations, such as trademarks or patents,” the company has said. “Unless these protections are registered, the content is typically in the public domain and free to use. This system is intentional. Society thrives on progress, and limiting rights to a few individuals or companies would stifle creativity. Imagine if only one company could produce cars or guitars – innovation would stall, and access would be restricted.”
It further added, “If companies want to protect their IP, they must file for trademarks, patents, or other legal measures. At Music Tribe, we’ve done this with around 100 patents to safeguard our innovations.”
MusicTech has contacted both Mutronics and Behringer for further comment.
The post Is Musitronics calling out Behringer for “copying” Mu-Tron products? appeared first on MusicTech.

Spotify Singles celebrates 10 billion streams worldwide by opening up its Stockholm Studio to artists across EuropeSpotify‘s Stockholm studio has been opened to artists across Europe as a celebration of its Spotify Singles programme crossing the 10 billion stream mark.
The programme is Spotify’s longest-running original recorded music franchise and has hosted more than 750 artists across all genres. It’s responsible for the creation of over 1,000 recordings from 45 countries.

READ MORE: It looks like Spotify lossless audio is coming later this year

To commemorate this, Spotify has officially opened up its studio in Stockholm, Sweden, to artists from all over Europe. First opened back in 2018, the Stockholm Studio has previously only hosted Nordic artists but is now open for artists across the continent.
The first artist to record in the studio was Damiano David, who created a cover of Mark Ronson and Miley Cyrus’ Nothing Breaks Like A Heart. It was released on the platform earlier this month.

“We are thrilled to have reached the 10 billion stream milestone for Spotify Singles,” says Bryan Johnson, International Head of Artist and Industry Partnerships at Spotify. Since 2016, the program has been an outlet for hundreds of artists to express themselves, engage their fans with new music, and connect with new listeners around the world.”
“By opening up our award-winning Stockholm studio to artists, including emerging artists from all over Europe, we plan to enable even more beneficiaries of the program, while encouraging new opportunities for creative collaboration.”
Federica Tremolada, General Manager Europe at Spotify, adds: “We’re absolutely thrilled to announce the reopening of our Stockholm Studio, where it all began for us. This isn’t just about having another recording space; it’s a symbol of our dedication to the rich tapestry of creative diversity and the spirit of collaboration that thrives across Europe.
“We believe that these values are the engines of economic growth, social unity, and cultural exchange. By opening up our Stockholm studio to artists all over Europe – commemorating our 10 billion stream milestone – we’re reaffirming Spotify’s enduring commitment to nurturing talent from Europe and beyond, giving artists the power to make a living from their art and share it with the world.”
The Stockholm Studio will also host a range of artists and projects in 2025, including a Singles collection celebrating the Eurovision catalogue.
The post Spotify Singles celebrates 10 billion streams worldwide by opening up its Stockholm Studio to artists across Europe appeared first on MusicTech.

Emma-Jean Thackray: “Moog synths are so recognisable in a track but you can make them do anything, it’s an amazing paradox”Finding her musical footings in brass bands across West Yorkshire, producer and multi-instrumentalist Emma-Jean Thackray is a fan favourite in the UK jazz scene. Offering a plethora of genres and an impressive array of talent, the artist has returned from a hiatus with the album, Weirdo, with a new perspective on how she approaches music making, as well as a newfound admiration for how music can be valued as a healing tool while mourning her partner.

READ MORE: Qrion: “My process is to first sit down in a chair and think about a specific moment – a memory, sound, or smell”

In this week’s Studio Files, Thackray takes us through her home studio setup, which includes an array of analogue synthesisers and instruments galore, as well as an insight into her all-hands approach to producing, ensuring she has control of all of the elements in her music. Thackray articulates her deep experience, which has seen her work with renowned talent including the London Symphony Orchestra and BBC Radio 6’s Giles Peterson.
Image: Press
It’s great to see you back with your new record after taking a break. Is there anything you’ve learnt over the last few years that has transformed your creative process with Weirdo?
Thank you! I’m a completely different person, to be honest. Losing my partner has changed the way I think and feel about absolutely everything, which includes my creative process. I’ve always known making music was my purpose, but after a lot of time staring at the wall and being unable to do anything at all really, I found my way back to art. I had to refind myself through music again, and making Weirdo gave me a reason to get up. It was cathartic, it was therapy, and it saved my life.
As a multi-instrumentalist, vocalist, producer, and mixing engineer, do you find it difficult to separate yourself from all of the elements of your releases, or do you prefer having this amount of control?
It’s not just a preference but a need for me to have total control. The only person who can translate what’s in my head to some tangible audio that others can hear is me. From writing and arranging the material to the nuances of how that is communicated via the performance, to how it’s recorded and how the sounds are sculpted through mixing, it all has to come from me. Other people might have great ideas, but only I have my ideas. Only I can say what I want to say in the way I want to say it.
Image: Press
Tell us a bit about your studio
My studio is in South London — it’s the back bedroom of my house. I can’t do anything structurally in this place, so I have some panels for treatment, bass traps, and the back wall is full of vinyl which soaks up a lot of room sound. I’ve got it sounding nice in here despite it being a very small room. It’s too small to collaborate in comfortably, but I have had some friends over for a jam. It got silly very quickly and I won’t be doing it again. Fine by me — I don’t like people in my house anyway!
What’s your latest gear or plugin purchase?
One of only a few things I’ve bought in years is the UAD Minimoog. I try to use analogue things as much as possible, but space is limited for me here, so this is the next best way to get an absolute grail of a synth. There’s so much Minimoog across Weirdo. Some key bass parts, but a lot of lead lines too. Moog synths are beautifully singular, yet so versatile. They’re so recognisable in a track, but you can make them do just about anything, it’s an amazing paradox. I think my favourite ways I used it on Weirdo are some lines in the title track, where at the end of the chorus I go for a kind of Jan Hammer lead sound, and also the fat bass in the drop at the end of Maybe Nowhere.
UAD Minimoog plugin. Image: Press
What’s the best free plugin you own?
Without a doubt, it’s the tremolo from Rhodes. It’s serious. It’s got a few different waveform options and pretty deep parameters to use. It’s all over Weirdo. I use it on almost every track as a warming vibrato for my Rhodes Mark II (which has no tremolo), but I was also playing around with it a lot on different synth pads. Panning is so important in the way that I mix; I want to create a live performance in the space in front of the listener but with a few moments of drawing the attention much closer to the ears and playing around with what you perceive as your internal head space.
What’s been the biggest investment in your career/studio?
I was going to say my Rhodes because I use it on most tracks, and it’s a core building block of my production style, but actually I think it’s my speakers: Genelec The Ones. They’re three-way monitors but with just one point source of sound, so they can be put on their side without disrupting the stereo field (most studio desks aren’t built for the average height of women engineers – so I need them on their side to be at the right height) and it massively helps with ear fatigue, too. I spend so much time zoomed in on the smallest details and these speakers mean I can do that for much longer before needing a break.
Truthfully though, I think my biggest investment is me. I’m the one with all the ideas. Gear means nothing without the creativity behind it. The investment is my education, the time I’ve spent listening to so much music, and the performing, composing, arranging, and mixing techniques I’ve honed over the years. Screw the gear.
Rhodes V-Pan plugin. Image: Press
Since your last release in 2022, how have your habits in the studio changed? Do you find that your relationship with the space has shifted during this time?
I’ve become more insular, in general as a person, but also in my work. My studio is my safe space, it’s one of the only places I can fully express myself, so the space has become even more sacred to me. No one else comes in here and that’s how I like it. I often think about how Prince would track his vocals alone, and my reasons for doing so are the same. I like to be able to take risks and be vulnerable, and I can definitely do that in my studio.
You’ve had to process a lot of challenging emotions and periods during your break from releasing music – how do you channel a lot of that grief through your music and production? Is it easier said than done?
There’s a lot of guitar on the album, I feel like that drives a lot of the connection with my emotions. The guitar is such an immediate and cutting sound, so it’s not a coincidence that people associate it with ‘angry’ music. I don’t think my record is particularly angry, but the anger is definitely there, chugging away with a distortion pedal. However, that distortion is a warmth — it’s driven and focussed, rather than something destructive and metallic. I think where I’ve used the trumpet and other brass is quite telling too. It’s been difficult to connect with that side of myself over the past couple of years, so in the album where there are trumpet solos or brass arrangements, that’s where I’m really feeling something heavy. Those are the moments I’m baring myself to everyone.
Image: Press
Do you have any studio rituals that help you get into the creative zone and figure out what you want to write? 
I usually go into every track with a very clear idea. Sometimes a fully realised track just comes to me and I have to rush to make it a reality, like in the middle of the night or when emerging from a daydream. It can feel like the music is coming from somewhere else.
But there are also times when I have a fragment and I work hard to develop it, where I really have to listen to my internal voice and hear what’s going on in my head. It’s not easy because I either have the worst attention span in the world, or I’m so hyper-focused I forget to eat and drink. I’ve had rituals in the past where I’ve sprayed a certain scent to get me in the creative mind of a particular project, and I burnt a lot of palo santo throughout making Weirdo, but recently the creative framework for me has been more holistic. I’ve been focussing on trying to take good care of my mental health and creating is essential to that. If I don’t sing or write a line of poetry or strum a guitar every day I’ll die.
Image: Press
How do you approach working with brass in your projects? Are there any production techniques lean into, or do you prefer the sound to remain quite raw?
In terms of the arrangement I never force brass into a track just because I play brass instruments. They only become part of the world if they’re supposed to. A lot of the Weirdo world is guitar and synth-focused, so the few moments from the brass are quite powerful. I’ve played trumpet and other brass since I was 8 years old and my sound is very special to me, so I definitely keep it raw when recording and mixing my brass sound. I usually use a Coles 4038 ribbon mic and very little processing, especially the compression. The consistency in the sound needs to come from my performance.
How do you see your sound and studio evolving in the next two years?
Processes are always evolving and rightly so! I remember tweaking the way I was approaching my bass guitar production throughout making the album and I actually went back to some tracks and redid it. I always say exactly what I want to say in the moment, but sometimes you learn a new word that helps you to say it better. In this case, it was figuring out that a plugin I already had (based on a DBX 160) was exactly the right amount of in-your-face punch I’d been needing. I don’t see myself evolving the studio too much in the near future; I have all the tools I need, the evolution will be me.
Image: Press
Do you have a dream piece of gear?
You know how I just said I have all the tools I need? Well, I’d love a reel-to-reel. Saturation is so important to the way I approach sound and getting a reel-to-reel would be incredible.
I’ve used beautiful (and huge) machines in other studios and the raw takes sound magical as is. I don’t have a lot of space here, but there are smaller machines I could incorporate. Over the years I’ve used 4-tracks, digital tape, and even down-sampling to use effects on my SP404 and rerecord my multitracks back into my DAW. A mix of techniques can be really interesting to do, and provide a lot of richness and depth, but also I kinda wanna sell my bed and have my bedroom be the reel-to-reel room whilst I sleep in the corner on the floor.
What’s a music production myth you think needs debunking?
That gear will get you where you wanna go. What really matters is your ideas and your performance. Sure, you can perhaps better communicate your ideas with good gear, but if you only have an iPhone, your voice, and a great song, then you can still do something really powerful. Most of your effort should go into gaining more knowledge and working on your composition skills. A lot of post-production is unnecessary if you get the performance and sound right while tracking. If you can arrange well, some of the mixing process is done for you already.
A good mix is invaluable, of course, but it’s the icing on the cake and it’s pointless icing a shit cake. Develop your skills before you go and buy something.

Who gave you the biggest lesson in your career?
Not to sound corny, but me. The lesson is about trusting yourself, and not only trusting yourself but being able to stand up to that trust being tested. I trust my artistic decisions completely and I only ever make what I want to, rather than making what I think other people want. People can question it all they want when the record is finished and I’m satisfied, but it’s much harder to stand up to questioning during the process of making it.
I remember once working with another engineer when doing some recording at Abbey Road some years ago, and the engineer said “Oh really, you wanna do it that way? I wouldn’t, we should do this instead” and it was difficult to stick to my guns and do it my way, a way that felt unconventional to him. But, at the end he said “You know what you were right, this sounds great”. It’s particularly hard to stand tall in these situations as a woman. Less than 2% of producers in the UK are women. Less than 0.5% are engineers. But what about women that engineer, produce, mix, perform it, write it, arrange it, and sing it? My artistic voice is singular. It won’t be everyone’s favourite and that’s fine, cos I have the trust in myself to do what I do. To be me.
You should have the trust in yourself to do what you do. To be you. Do it your way.
Emma-Jean Thackray’s ‘Weirdo’ is out 25 April via Brownswood Recordings/Parlophone Records and is now available for pre-order. 
The post Emma-Jean Thackray: “Moog synths are so recognisable in a track but you can make them do anything, it’s an amazing paradox” appeared first on MusicTech.

We tested five of the best kick drum plugins in 2025 — here’s which one you should buyThe kick drum is a crucial element in many modern genres, especially in electronic and dance music. It creates the foundation around which the rest of the track can groove, so it’s important to get it right. You could just pick a decent-sounding kick sample and be done, but to get the best results, you’ll probably want to refine your kick to make sure it fits perfectly with the other elements in the track, especially the bass. You could use the tools in your DAW to get meticulous with your 808s and 909s, but for quicker, deeper results, a kick plugin can be a worthy investment.
We’ve tested five kick drum instrument plugins that give you fine control over the transient clicks, the low-mid punch, and the sub-heavy tails. They use a mix of synthesis and sample playback to create powerful-sounding hits that can slot neatly into your mixes. There are a range of prices and tools on offer, the usefulness of which will depend on your genre and workflow.
Best kick drum plugins at a glance:

Best overall kick drum plugin: Sonic Academy – Kick 3
Best value kick drum plugin: Audija – KickDrum
Best kick plugin for sound design: The Him DSP – Kick Ninja
Best presets in a kick plugin: Plugin Boutique – BigKick
Best kick plugin for quick results: Drumforge – Kickforge

During testing, we find the import functions on both Kick 3 and Kick Ninja to be most effective; we have worse results with KickDrum as the import requires more editing and the sample layer plays back in mono. Of these three node-based instruments, Kick 3 is the most intuitive to edit, but all of them can create powerful and punchy-sounding kicks, and the added node modulation options in Kick Ninja and KickDrum lend them a touch more precision. The other two instruments are the best options for those who want a quick fix via a selection of decent presets.
Best overall kick drum plugin: Sonic Academy – Kick 3
£79.95, sonicacademy.com

 
Version 3 of Sonic Academy’s Kick plugin brings some fantastic new features to an already excellent kick drum plugin. It includes five layers of synthesised sub or sample playback, with fine control over the pitch and amp curves. New linear and logarithmic views help make editing more precise, alongside useful features such as phase locking nodes, and the ability to pitch track just the sub tails. This means the attack portion can remain consistent, whilst the sub can change pitch; a useful feature for moving 808 kick basslines.
Elsewhere, the import feature lets you analyse any kick from a full track and then create a preset version for further tweaking. There’s also flexible harmonics generation, a revamped effects section with a broad range of excellent effects, and a Trigger mode for replacing or augmenting kicks in your productions.
Kick 3 is one of the most expensive offerings here, but it’s also the most feature-packed including a vast number of presets, and it’s already seen a handful of updates since its release.
PROS

High-quality kick sounds with a broad preset collection
New programming features refine the editing process
AI import works well and lets you edit any kick in detail
Superb new effects section expands the sonic capabilities

CONS

Limited modulation options
A few missed opportunities
Macros limited to one effects control each
Rich with features, but a touch expensive

Read our full review of the Kick 3 here
Best value kick drum plugin: Audija – KickDrum
€44, audija.com

KickDrum is a colourful instrument that offers precise editing and a modular workflow. You can build your kick by combining different devices. These include a sine oscillator with harmonic distortion and a phase lock function, a sample playback and editing device, an EQ, a gain envelope, a saturator, and a clipper. Various device settings can be automated via the internal automation system, giving you the option to draw additional curves and fine-tune how the kick changes over time. There’s also excellent visual feedback where the oscillogram updates for every tiny change that you make.
Like Kick 3, it has an analyze function that can take a sampled kick and turn it into a device chain preset that utilises the oscillator and sampler, or just the oscillator. We find the results not quite as effective as Kick 3 and Kick Ninja though, as the import required more editing and the sample layer was playing back in mono. It is, however, very precise, punchy sounding, and reasonably priced.
PROS

Incredibly precise editing
Modular layout lets you focus on what you need
Flexible modulation curves
Very punchy sounding

CONS

Small number of samey presets
Some areas such as sample import no very intuitive
GUI can get a little confusing
Somewhat limited effects

Best kick plugin for sound design: The Him DSP – Kick Ninja
£59.99, pluginboutique.com

Kick Ninja is developed by EDM DJ/Producer The Him, and offers plenty of control for crafting the perfect kick. It includes a flexible anti-aliasing oscillator that blends a pure sine wave with a selectable waveform and harmonic oscillator. Alongside this, it has three sample layers with automatable pitch, amp and high-pass/low-pass filter envelopes. In fact there are a total of 22 different envelopes for various parameters that can be controlled over time, opening up options for crafting evolving kicks and basses.
Elsewhere there’s an oversampled effects section with two distortion modules, filters and a compressor. Again, this one has an AI import feature, but this time you can choose whether the original sample is layered on top of the sub, provided with a filter for further tweaking, or whether it just uses the attack portion to retain the original transient. It does an impressive job that’s on par with Kick 3.
PROS

70 presets
22 envelopes allow for broad expression and sound design
AI import function works very well
Can edit kicks in fine detail
Good sounding distortion and filters

CONS

Would be nice if there were more creative effects
Somewhat limited presets
GUI feels a little cluttered

Best presets in a kick plugin: Plugin Boutique – BigKick
£49 (currently available for £25), pluginboutique.com

BigKick is nearly 10 years old, but it still packs a punch. It lets you load two samples and combines these with a tone generation section for creating the body of the kick. The synth part lacks the visual precision and editing of some of the other tools here, but it’s arguably a simpler and faster plugin to work with. The sample layers each have a high-pass filter to help carve out space for the low-end, and the Body section has two models to choose from.
BigKick comes with some great artist presets, so it’s an easy choice if you want a decent collection of kicks that will work straight off the bat. If you want extra sounds, then there are 19 artist expansion packs in a range of electronic genres that are available for £5 each or £59 for a bundle.
PROS

Quick results with fast editing
Excellent and broad collection of artist presets
Good visual waveform feedback as you change parameters

CONS

GUI looks a little simplistic and dated
Can’t edit parameters with the same level of detail
Somewhat limited effects

Best kick plugin for quick results: Drumforge – Kickforge
£98 (currently available for £32), drumforge.com

Kickforge started off life as a Kontakt instrument in 2015, but it made the jump to its own plugin format in 2020, and added a bunch of new features and sounds. It differs from the other instruments here as it’s solely sample-based, and it features a sub layer and an attack layer. It also has a focus on both electronic and acoustic kick drums, including presets for rock and metal genres alongside EDM and drum and bass styles.
The factory library includes 13 natural acoustic subs and 40 electronic subs, plus 24 multi-sample acoustic tops (which can be set to round-robin mode for added realism), and 32 electronic one-shot tops. There are also additional artist presets packs from Vorso, Atrium Audio, Kane Churko and Prince Fox.
Kickforge provides fast controls for each layer with Filter and Sustain dials and a harmonics switch for the sub layer. You can then refine the sound using the Compressor, Transient and EQ effects section. It’s more basic than some of the other tools here, but the excellent presets make it a promising choice for those looking for quick results, or for kick drums outside of the more obvious electronic genres.
PROS

Quick and intuitive editing
Excellent collection of production-ready presets
Round-robin acoustic drums make for a broader palette than the competition

CONS

Limited editing options means no fine-tuning of envelopes
Basic effects with no distortion options
Quite expensive at full price

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