Ok ... the Sasha remix track.... basically sampled the intro where the kick can be heard and using Black Knight EQ to low cut and high cut to create a sort of band pass filter, to find the character of the kicks. Simply grabbed a 1 bar loop intro first 4 kick hits, set to 130bpm, and away we go.
For some MIDI note to key freq help use
http://subsynth.sourceforge.net/midinote2freq.html
75Hz seems to poke out fairly prominently (D - Eb) for the main subby part of the kick (using MOTU CueMix FFT analyser, would use Voxengo Span but not in Cubase, also so we can see both channels info same time). As expected this low end is mono, only slight stereo info probably coming from vinyl rumble. Black Knight settings Low cut at 69Hz, 0.5 Q, High cut 66Hz 0.5 Q, to get our BP filter (purely to hear characteristics, not to be all surgical - remember weire' looking for similar qualities, and not total cloning). Hitting around -17db for the sub end here (so quite solid, using Flower Audio default settings)
There's more of a beater hit up at about 100Hz (G to Ab) - so as far as we can tell, we have D and G, or Eb and Ab, which are harmonic and in the key of D Major / D minor. High cut 180Hz 0.5 Q, Low cut left as is for now
As we open the High cut upwards we don't hear much change until 500hz ish where the front end starts to come thorugh, the actual beater of the kick can be heard. 800Hz beater gets a bit more clarity. 1K and we're starting to hear the tambourine mix in a touch, which could be kick rattling the tambouring (or some clever editing).
2 to 3 K we're hearing even more beater and sounds a bit more airy, so while we're going up we'd expect this could be the higher end of the kick. If we move low cut up to800-900HZ we're getting beater range of the transent, quite clearly, at around -26db level. Moving Low cut down to 200Hz, we're hearing the beater really clearly, and a bit of punch from the kick too (so this tell sis the 'twack', that chesty sound maybe around this area). !30HZ and we're getting closer again to more electronic style kick. 100hz is traditional dance style kick presence, especially for breakbeats (bass has room to play) - but we're talking house here... Go back down to 67HZ and our subby end comes back. 50Hz can clean up the vinyl rumble (if we were to use this), but that now tells me that lower than 50Hz wont be a lot of signal, so this helps define the bass of our kick to be 65-80HZ region, so we can tune to our track
5k adds more tambourine, giving the impression of a bit harder transient, but the tambourine is more pronounced.
6.7k sounds a lot more toppy on tambourine, even close to a high hat sound.
Open the low cut completely and you'll have all the tops in (16th hats, definite tambourine clear as day)
Ok now the other side of things... the kick length....
Messing around with the EQ to 'mask' out certain frequencies, we found that the kick length is around the length of the beat or around that. We tried fades to see if the kick appears 'stuttery' or if we could smoothly dip the signal following the tail. Cut too far back you can tell the kick should be longer, so 1 beat length is about right. This is probably the extra drive for house tracks, because as the tail of one kick finishes the next propels hard and loud for maximum impact. You can have too much impact where the listener doesn't get the vibe so much of that 'illegal warehousey' sound, which is what these tracks strive to achieve, and probably why they sound so powerful on big rigs. Also we'd say if you were to use similar sounds in this way, make sure the kick is monophonic so you could easily have the following kick cut the previous kick without any overlapping. You may have to manual edit the audio bounce after due to possible clicks if the ADSR just isn't doing it - but that's more in the detail.
Also, the bassline that's in the track works well with the kick, giving the kick some extra 'roll' even though it's the bass - that's the thing with these types of tracks too where the kick and the bass do overlap; you could sidechain, or you could level automate or maybe filter automate at key points, or you could simply avoid having both playing at exactly the same time altogether (ala walking bass kick bass kick bass style patterns).
Ok what about the construction? We've addeda file here for you to download, so have a play with it. You could swap out the Physical modelled Kick for a more 'acoustic' or sampled kick, play with tuning, length, pitch bending too can give the front end that little more pronounced beater hit.
http://www.combinatorhq.com/index.php/d ... nstruction
Let us know if this helps at all