{"id":23510,"date":"2017-05-07T16:00:09","date_gmt":"2017-05-07T21:00:09","guid":{"rendered":"https:\/\/www.homebrewaudio.com\/?p=23510"},"modified":"2017-05-07T16:00:09","modified_gmt":"2017-05-07T21:00:09","slug":"recording-drums-the-snare-drum-part-1","status":"publish","type":"post","link":"http:\/\/www.homebrewaudio.co\/wp\/2017\/05\/07\/recording-drums-the-snare-drum-part-1\/","title":{"rendered":"Recording drums \u2014 The snare drum (Part 1)"},"content":{"rendered":"
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So far topics like Overhead tracks and the Mono Room were covered. Now the discussion moves to recording with the drum kit and close miking. The lesson starts with the snare drum.
\nAlready it has been shown how close miking enables one to grab the strikes of the drum on the drumhead with the help of the Overheads to get the other important sounds. Use the classical snare for a paradigm; an Sm57 (HTTP link) for the snare position at the top (refers to accompanying pictures). John Leckie, Bob Clearmountain and Tony Visconti have exemplified the approached meant here (links to audio clips).
\nIf one hears the recordings separately the mids predominate with sound (Screenshot). Here true brilliance and clarity are lacking; but on this track we need the attack here, which is the whole point. we have to add air, brilliance to it.
\nIt looks simple here but subtlety lies within. Where does one place the mike? This is important. Listen to the drummer on the track during the recording. Place the mike closer if the drummer plays softly. If though it is loud move the mike farther away to avoid overloading. You also can change the mike angle if necessary to achieve balancing, so that the mike for example focuses on where the drumsticks fall for precision. On the other hand if you aim the mike, angling it to focus on the drumhead and rim center, you put emphasis on thickness. If the drummer instead is striking the rim you can focus on that.
\nOne can add the Snare Bottom mike to the Snare Top mike if one needs to do so to enhance the sound of the snare drum (related audio clips provided).
\nOne can then get a thin, bright sound with a twang (audio clip). You can mix this track with the previous one for better gain, timbre and brilliance. But look out for phase variances! Phase shifts between the Snare Top and Snare Bottom will cause unpleasant sound effects (samples in audio clips). Get the two phases in sync and you get a much better sound.
\nThe right mix of Snare Top and Snare Bottom helps you to avoid compression (audio clip).<\/p>\n

Key Takeaways:<\/p>\n