The snare drum (or side drum) is a percussion instrument that produces a sharp staccato sound when the head is struck with a drum stick, due to the use of a. A single ply batter will be livelier than a double ply batter. A too thick reso will kill your snare (wires) response. How to determine if your snare drum has snare beds The end plates are made of stainless steel with a nice gun metal finish. If you remove the hoop and the drum head from the bottom of your snare drum, you can quite easily determine if the snare drum has a snare bed or not. Simply place the drum - with the bottom facing down - on a flat table. Now see if light escapes under the edge of the drum where the snares should sit. These models have names which are common to most drum companies and are usually given according to either the diameter, or the depth of the snare. It's in all the mics whether you like it or not.If you can see light passing through, your snare drum has snare beds. And in the case of drums, don't try to all the sound of that close mike. Don't make the mistake of making a bunch of holes with eq in them. The overheads have to be right to get the sound you're looking for. You'll be tempted to grab an eq and try to tweak out some stuff that you might really need later on. Do that with each part of the kit.ĭo all this with at least some elements of the mix in there. Use this to your advantage and get even more out of the snare. By the time you get them that loud you'll probably need to compress them for when the crashes come. See how much of a snare sound you can get with only the overheads. Try bringing up the overheads only (into the mix), and try to get a balanced sound starting there. It can be really important to a well-blended drum sound. You don't want to pull out too much of the 900-1k range. Usually the overheads shouldn't need much in terms of EQ. It lets the snare spread out and live without having to get all of a sound from a single, close-mic'd (un-natural) source. The music you mentioned depends a whole lot on the crack that comes from the overheads for the snare sound. If it's already been recorded then this won't help much, but maybe next time. If there is a phase problem, then instinct might be making you try to get it louder and clearer and by the time you do that, you have a spike sitting on top of your mix. all having to do with the overheads.įirst thought would be phase with the overheads. I'm gonna get me a TD4 to have more transient and sustain tools, cause this is becoming an area I'm dealing more and more with to get where I want to go. Blend this in with the original snare and things start to sound better. Longer release gives you mostly snap, shorter you get a lot of body. I then put a compressor on it with an attack time around 5-10ms and compress the sh*t out of it. Release is around 100-150ms, depending on the tempo of the song to get most of the hi-hat bleed out. 5ms, which shaves of the initial transient. What did (some of the) trick for me on my latest project: mult the snare and on the multed signal I first put a waves expander with an attack of about. For a snappy compressor, I'm mostly looking in the 2-6ms attack time, which means that these 'initial' transients arent dealt with. With digital recording, at least to me there seem to be very sharp transients, in <0.5ms of the attack. When you think of all the instruments that are gonna be in the mix, and the compression+limiting on the master, it will tame everything out in the end anways. Go with the approach of a not so fast attack and then a quick release or a release in tempo. You want that transient to cut through the mix so you hear the snare. But in some respects you WANT that spike.
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