Different kinds of snare drum sounds, from big and fat to thin and ringing and everything in between. When it comes to micing a snare drum, the SM57 has pretty much dominated for the best part of 50 years. Applying Moongel to a snare drum reduces ringing overtones. The most common method is to mic from the top; however some engineers will mic top and bottom for a balance between 'crack' and 'fizz'. The SM57's black swivel windscreen was never designed to be hit with drum sticks. Capturing the Snare Drum and isolating from the rest of the kit is a tricky endeavor that relies on the best quality microphone positioning and placement. A flat sounding Snare Drum that not tuned or miked properly will directly affect the rest of the band sound and recording making it dull and lifeless. Mic it right! In the following video, recording engineer and producer Ron Nevison (Bad Company, Led Zeppelin and The Who) describes why the SM57 has endured such a sustained success throughout music history. It can make or break the recording and set the whole feeling and be the voice for a track whatever the genre. In small clubs and 100,000 seat stadiums. November 25, 2020, Linda Hansen | Best Snare Mic. Mic Placement is 6-8 inches off the Snare head. This will give you a brighter open quality sound than the Dyanamic Mic will. The Snare Drum has the significant role of propelling your kit into the force of the music your playing. Distance will provide greater depth, but it's also worth considering the proximity effect as you move the microphone further away. Moving the Mic outside the Snare’s Rim will create a Dryer Sound with less Ring. Micing a snare drum requires balancing between tone, isolation, and the practicality of how drummers play. You can mic just from the top for a great result. Sweet spots are especially important on a Snare Drum. For this reason, the 57 is a go-to mic and has featured on countless records throughout music's … The SM57 adds just the right amount of low-end weight, while also adding presence and 'crack' to the drum. Rims and Hoops are made from a different material that will allow the drum to ring longer, produce more overtones, and yield greater snare sensitivity. The most important part of playing Blues is keeping time and the focal point of the time is the sequence Kick, Cymbal and the Snare, with all emphasis highlighted by the Snare Drum. The sound you capture can only ever be as good as the original sound source, so it's important to get this right. There are some options and decisions to make when it comes to recording snare, among them are mic selection, mic placement, preamp choice, processing EQ and compression, reverb and other recording tricks but the most important to playing Live or Recording is the Snare, Player, the Microphone and Placement. Some studio drummers use a different snare for every song, in order to change the overall voice of the kit, proves this and shows this theory in action. Keeping away from the High-Hat as much as possible. You can do it on DAW or mic pre where they are usually located. Most of the Snare’s sound comes from the top Mic which is typically a Dynamic type of Microphone. Top Microphone-Dynamic Cardioid Shure SM57-LC Cardioid Dynamic Microphone Mic-3 fingers off the rim aim at a 45-degree angle. A simple easy way to get a fine recording. The following guidelines will get you started: In order to capture the complete snare sound, place the mic a good 4 inches away from the snare to ensure you capture the whole drum sound. Shure SM57-LC Cardioid Dynamic Microphone The Music Industries favorite all-time workhorse Microphone that can do it all but then you already knew that. The player has to be comfortable with runs and working around the placement and mic without hitting anything. In his words "The SM57 was almost made for snare drums.". We are compensated for referring traffic and business to Amazon and other companies linked to on this site. Headroom -The Snare can make some big exploding noises that create a need for more Headroom which is a measure of the mic’s ability to accept the high sound pressure level (SPL) of a snare drum without distorting or clipping. Therefore, you may consider changing the drum heads first - particularly when recording. For more information on the SM57 - visit the product page here. Snare drums are easily the most recognizable voice in the drumkit. As a general rule of thumb, placing the mic above the snare will capture the 'crack', while placing beneath will give you more 'fizz'. The SM57 adds just the right amount of low-end weight, while also adding presence and 'crack' to the drum. Bottom Microphone-Dynamic Cardioid (Shure SM 57) Mic -3 fingers off the rim at a 45-degree angle. Some Drummers have signature snare sounds that identify them immediately, where others aim for less-distinct tones that blend into the music. The Bottom Snare Mic can be placed directly closely under the Snare Drum without touching the snares underneath. Starting out as a Drummer playing in and around Bucks County Pennsylvania Jim was published BMI in Nashville on Music Row at Trowbridge Publishing LLC after years of learning the use of Analog Multi-Tracking eventually to Digital World of recording. " 2 Overhead Mic–Rode NT5 Compact Cardioid Condenser Microphone, Single-Miked in an X/Y Configuration approx 6ft over the Snare Drum.

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