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bottom snare mic placement

Share Quote. 25th February 2019 #2. easier to ask for forgiveness than permission I suppose.. My Studio. Typically we would want to see 3-6 dB of gain reduction on the compressor. Gear Nut . Good stuff Drew! Notify me of follow-up comments by email. By bringing the microphone closer, we can get a more hyped sound versus taking the microphone away where you’ll find a more natural, less bassy sound. I've made some tweaks to the tension of the snare wires and have a good clean sound with snares disengaged and a nice crack with them engaged. If you want the microphone to be out of sight, the 4099 Instrument Microphone has the same quality as the 2011C, but gives you a supercardioid pickup pattern which will result in even greater separation and detailed pickup. It … Also, putting a low shelf boost of +3-6dB at around 125-200 Hz can help boost a lot of the body of the … … I once tried using a Stellar CM4 tube mic in fig-8 about 10 inches under the snare and it sounded pretty great. I know some guys that play with very loose snare wires, dangling off the drum. Some do... but really, not many. But easiest way to clean the bottom snare channel is to gate it, so that it's automatically turned off when ever it's volume is under certain threshold. There's no rule that you have to mic the bottom of a snare drum. Can you help me?”. More important than all of those is the placement of the microphone. JavaScript is disabled. How to Mix a Bottom Snare Mic . If you need more attack from the stick hitting the drum, make the angle a bit flatter. I have always thought that a hard knee would allow more of the snap. Top mic is shure sm 57 and bottom mic is Sennheiser e604, our mixer is a Behringer X32. I’ll definitely give this a shot this weekend! Bottom snare Typically this mic is always paired with a top snare microphone. 5. First off, this is a great question! May I ask a question without seeming rude ? Mounting the microphone One mic I've never liked on snare bottom is the SM57. I tend to put the bottom mic about 3-5" away from the bottom head aiming at a very steep angle. Generally snares sound good miced a couple inches or closer to the batter head. Even if you use a disproportionate amount of the snare mic in the mix, the overheads will still tell your ears that something is amiss. It's suppose to pick up snare wire buzz... when I hit the snare though. I normally use a Shure KSM137 or an Audio Technica AT4021 in this microphone position. The 2011C Twin Diaphragm Cardioid Microphone is a perfect choice to close mic a snare drum. As you move away from the rim, the sound becomes balanced between the snares and the head. 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. Sorry to have offended you, which by your response I clearly did. If you want the snare sound to last longer, make the release a bit longer. Your email address will not be published. The snare wires (IMO) are supposed to make noise when the other drums are played. I'm personally a fan of the kick bleed I get in my snare mic, especially if I use a 57. The release is really where you find the sound of the snare shine. This site uses Akismet to reduce spam. Required fields are marked *. We … This is due to “Proximity Effect” which boosts the low end of a microphone as it gets closer to a source. 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. The bottom snare channel should be significantly lower in volume than the top channel. Cool video! 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. Best of luck. Why are you mic'ing the bottom of the drum if you won't want snare buzzing? If you find you need more body to the snare, angle the microphone down a bit more. Snare mic placement shootout: bottom vs shell using SM57 and NT5. Record the snare as a separate pass will theoretically work - but for most folks, the snare sound is a combo of the close mics, the overheads and the room mics - that's a lot of additional tracks to capture all of that separately. Also, putting a low shelf boost of +3-6dB at around 125-200 Hz can help boost a lot of the body of the snare. We can also lengthen the sustain of the snare drum which would provide more of the ‘note’ of the drum. In my job, we are commonly combining louder songs with softer songs in the same music set, so having the ability of the compressor to affect the snare at various volumes really helps. We need to make sure that the snare drum is first in good order with a good set of drum heads and tuned correctly. But if you get too much body and not enough snare, you will need to move it back towards the snares. But never really played with it a lot. Too fast and you squash the sound of the snare hit, too slow and the compressor won’t work! This will give you a more natural sound, or a more hyped sound. Best of luck. I have also always flipped polaritu on the bottom mic since it was the only non-kick mic out of phase with the Tom mics. Suggestions? Mic Placement Is Crucial. Ive never seen a mic ”mounted” on the bottom rim of the snare. Congratulations Paul on the 9th grandkid! I thought maybe a piece of tape across them on one end but I'm not sure about that. Learn how your comment data is processed. Again, Close enough to minimize bleed but not in danger of hitting the snares. The bottom snare is there to pick up the crisp rattling of the snares against the resonant head. Just to clarify, are you getting snare buzz only in the bottom snare mic or is the snare buzzing too much when you hit other drums and coming through all mics? Correct and it is but if your bottom mic is working and you are on other drums, it's going to pick it up. As I mentioned in an earlier thread I've been working on a Sonor Force 3007 snare. Microphone selection for this position is the Shure Beta 57. My last tip here is to have a softer knee on the compressor. 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. Does anyone have any tips for dealing with this? Try to get it as close to the beater as possible … Many engineers only mic the top head of the snare, while others prefer miking the top and bottom heads. We can also play with the Proximity Effect just like on the bottom snare mic. When I interviewed the Feeling recently, they had also set up a large-diaphragm condenser at the side of the snare drum. A good starting compression ratio is 5:1. I would have the microphone about 1-3 inches above the edge of the snare rim.

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