Just make sure to insert the 10dB pad (or even a 20dB one if you have that option) so the internal preamp of the mic doesn't overload, especially with a heavy hitting drummer. When you can't get enough snap from a 57, that's when to try something different. And don't be afraid to use something with a large diaphragm like an AKG 414. You probably won't find those vintage mics too available, but any new condenser like a KM-184, AKG 460 or Mojave MA-100 is a nice alternative. The sound of the snare on the old classic rock records out of England in the 70's (Bowie, Supertramp, Pink Floyd, etc.) was the sound coming from a Neumann KM-56 (impossible to find these days) or a KM-84. That being said, don't be afraid to try other mics, especially condensers.
That's why most engineers find the need to add some EQ at 8 or 10 or even 12kHz to get a little of that high frequency snap (they'll also might add a little at 120Hz too because of the low frequency rolloff). Then it has a dip in the response at 300 to 500Hz (the proximity effect frequency range), and a presence boost that peaks at 6kHz, although it rolls off quickly beyond that.
It also has a built-in rolloff in its frequency response under 200Hz, and that eliminates some of the kick leakage automatically. One of the reasons why that good ol' 57 works so well is it can take a lot of level and when it overloads, it does so in a pleasing way. In fact, I've found that aiming over the top of drum towards the opposite side sometimes works best for a rimshot drummer as it picks up a lot of attack, which is what you're usually looking for.Ĭheck out The Recording Engineer's Handbook for more snare miking techniques than you probably knew existed (some a bit bizarre, but all work in the right situation). Depending upon the drum and the drummer, either way can work. With a little height, you now have the ability to point the mic directly at the center of the snare, or a little towards the edge of the snare. I try to put it about two fingers above the rim of the snare at just where the body and the capsule of the mic meet. One of the keys to getting the snare drum to speak is to get a little height on the mic. This placement is tried and true and it works, but with a couple of tricks you can get a few more variations in tone and keep the high hat leakage to a minimum as well. Yes, it's possible that a single snare can work for an entire album and frequently does, but sometimes a different one will fit better for a particular key and/or arrangement.īy now most every engineer has at least tried the technique of using a Shure SM57 pointed towards the middle of the snare (see Figure 1). That's why most session drummers bring a variety of snares to choose from (between 5 and 10 depending upon the kind of session and who's paying the cartage) and will regularly try them all against a track just to see which one fits best before the final snare sound is dialed in. That's why the snare may be the most important drum in the drum set.īefore we get into microphone positioning, be aware that no one snare will fit on every song, no matter how great the snare sounds. Wimpy snare sound equals wimpy kit sound. On the other hand, a bad sounding snare gives us the impression that the entire kit doesn't sound that good. If the snare sounds good, it's easy for us to forgive other parts of the kit that might not be up to its standard. In fact, sometimes the snare sound alone accounts for how we feel about the total drum sound. While the kick drum might be the pulse of the song, the snare is the metronome and energy. Recording The Drums – The Song’s Heartbeat – Part 5: It’s All In the Mix.Recording The Drums – The Song’s Heartbeat – Part 4.Recording The Drums – The Song’s Heartbeat – Part 3.Recording The Drums – The Song’s Heartbeat – Part 2.Recording The Drums – The Song’s Heartbeat – Part 1.Let's look at miking the other pieces of the kit. It gets you in the ballpark immediately and lets you assess what you're dealing with before resorting to experimenting. But it's still possible to take those two excellent elements and still make the drums sound like trash cans, or as drummer extraordinaire Bobby Caldwell used to say, "moving furniture." That's why miking technique is so important. These two things can make most engineers look pretty brilliant without much trouble.
HEARTBEAT CYMBALS SERIES
As stated in Part 1 of this series a few months back, the real key to a great drum sound is a great drummer or a great sounding kit (preferably both). This month we'll cover the snare and toms. Last month we covered the different ways to mic a kick drum.
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