bottom snare mic placement

I would have the microphone about 1-3 inches above the edge of the snare rim. How about a thinner set of snare wires? But never really played with it a lot. Distance is typically 1-2 inches away from the head. Generally snares sound good miced a couple inches or closer to the batter head. But on this channel, you will need to invert the polarity. How to Mix a Bottom Snare Mic . As a former studio owner,Also, don't forget to take the snare side mic out of phase (reverse the phase), otherwise you will get a sound that you won't like. May I ask a question without seeming rude ? The side mic gets a much more … Listen to your signal, then flip them out of phase and decipher which one sounds better. The snare drives the back beat and is the backbone of the whole drum sound. One mic I've never liked on snare bottom is the SM57. When I interviewed the Feeling recently, they had also set up a large-diaphragm condenser at the side of the snare drum. If you want the snare sound to last longer, make the release a bit longer. Cool video! First off, this is a great question! I know some guys that play with very loose snare wires, dangling off the drum. We can also play with the Proximity Effect just like on the bottom snare mic. Correct and it is but if your bottom mic is working and you are on other drums, it's going to pick it up. Does anyone have any tips for dealing with this? Too fast and you squash the sound of the snare hit, too slow and the compressor won’t work! Behringer X32 WiFi Setup & Networking Guide, Behringer X32 Effects Tutorial Ultimo Compressor. The common practice is to flip the two microphones out of phase due to their arrangement, but that’s really up to the engineer’s ear. This microphone I love, because of the microphone pattern, you can sneak it in between the hi tom and the hi-hat, the nulls of the microphone happen to be right in the area where those two instruments sit, so we can reduce the bleed! The snare crack with a bit less tension has just a touch longer decay and I mean a very small amount but it's really nice, not sloppy. We pass on the hard-won wisdom of fifty top producers in the essential Sound On Sound guide to recording kick and snare drums, the backbone of modern music.. A good starting time would be 20-30 ms for the attack. When it comes to describing in interview how they record drums, top producers seem to spend more time discussing techniques for snare drum and bass drum than anything else. Govier966. With the mic placed above the snare and close to the center of the head, it produces a sound that is low, dark, and less snare-like. Mic placement is often limited by the amount of room available in the spaces between the drums, but getting the mic in the right place is crucial. I have always started around 2.5:1 on the compression. The snare wires (IMO) are supposed to make noise when the other drums are played. Also, putting a low shelf boost of +3-6dB at around 125-200 Hz can help boost a lot of the body of the … Prayers for baby, mother and the grandfather who’s gotta work (me) would be much appreciated! Can you help me?”. The bottom snare mic is a placement that can get a lot of body from a snare drum hit and typically most don’t think of it like that. This will allow the compressor to vary the compression depending on the type of hit your drummer is doing at the time. Again, Close enough to minimize bleed but not in danger of hitting the snares. I have always thought that a hard knee would allow more of the snap. Unless whatever you are recording is just completely solo drums and you want a really sterile (my words) sound - I would just leave it, or as others said, lower the gain on that mic. I personally prefer tom sounds with some snare wire buzz in the background. Our question came from Keld from Denmark! One of the great compromises of recording drums since well... forever. Even top and bottom snare mics together aren't enough for some people, though. Sometimes the snare can be miced from above and below but the snare side alone would give a peculiar sound that isnt desirable to me. Best of luck. In order to capture the full sound of the snare drum you must know how to capture and use the snare drum's most important sound, the snares. So unfortunately I don't know what to tell you to fix that particular problem. That is amazing! You are bound to get some nasty local resonances and a more "nasally" tone; miking across the head gives a much better overall snare sound. So when I tried miking a snare top/bottom like that I was caught a little off guard when the kick sounded funny. If you are mixing other instruments in, you'll never hear it other than just a bit more natural sound. Yet I clearly did. For the mic above the snare, when it gets closer to the center of the head, it picks up more low end and less of the sound of the snares. More important than all of those is the placement of the microphone. There's no rule that you have to mic the bottom of a snare drum. You can choose to either have only one microphone at the top or have two mics, one for the top and one for the bottom. The bottom snare channel should be significantly lower in volume than the top channel. The issue I'm dealing with now is when recording using top and bottom mics, the snares are giving me some buzz on the bottom mic when I hit various other drums while the snare wires are engaged. Although there are no strict rules in mic placement, it is a good idea not to mic the snare with the microphone totally straight and perpendicular to the top head. Adobe PDF Reader required. Mic Placement Is Crucial. Interesting as no one has mentioned the good ol` loosening the lugs a bit on either side of the snare bed(s), experiment with the snare tension (yes mentioned but experiment more), or the retuning/retensioning the offending drum(s) to get rid of the sympathetic vibrations. As a former studio owner and session player, I have done a ton of recording for 35 years and I would say that more than 50% of the engineers I have worked with (including myself) didn't mic the snare side (bottom) of the drum. The placement of the bottom snare mic should be aimed to avoid the thud of the drum and not be too far away that it picks up too many other nearby instruments. Let me know what you think! We need to make sure that the snare drum is first in good order with a good set of drum heads and tuned correctly. God Bless…BTW big day today…Grandkid number 9 being induced today. If the drum has a closed resonant head without a port, position a microphone on the batter head pointing at the beater. And I've seen Mickey Curry track like that. We … The release is really where you find the sound of the snare shine. My Studio. As you move away from the rim, the sound becomes balanced between the snares and the head.

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