Tube-Tech Channel featuring compression and EQ. If what attack times do doesn’t yet make sense: practice! You want a little boom in your snare, and a little ringing – the point is that you want these characteristics to be “available” in the recorded snare, so that when you start mixing all those frequency pieces are present in the snare recording, which gives you many, many more options to shape it in the mix. You also have a lot of tone down there (90Hz – 150Hz) with which you can experiment a little bit. 3 – Best Preamps for Snare Drum You simply cannot change one sound without affecting the others, because the drums are one large instrument. If it sounds tubby, then pull down 400Hz and sweep the frequency-select knob up and down until you eliminate the offending frequency. Phone Hours | Bleed Problem? You can see the settings on the image below. So while cutting 350 can help tighten up the snare, it can also result in it lose a lot of fullness. It can sound bad really fast if you push it too hard. In addition to his time at the board, he's been a contributing writer/editor for recording magazines such as EQ, ProSound News, Audio Media and Pro Audio Review since the '90s. You can see the settings on the image below. Make sure the compressor fully releases the overheads as soon as the snare’s attack is finished. Blended softly with a top mic, though they can help your mix a lot. Need more bite? Have a “save it for later” approach when recording so you have it if you need it when mixing. The compression ratio can also be set to 4:1 depending on your flavor. As far as I'm concerned there is one good snare sound that the 1176 does and that's using the settings I've outlined above. Most any software or hardware EQ will do the trick when it comes to EQing the snare, but some E… For software EQ, there are classics such as the Softube A-Range EQ . The compressor settings for snare we discussed in the previous section are what I use for my first compression stage. The Pultec EQP-1A3 is one such unit. It’s perfectly fine to deaden certain annoying frequencies (snare drum frequencies listed below), control some of the ringing, etc., but also remember that the ring very much helps define the tone of the instrument, so if you remove it completely, then it becomes a dead sound without any character at all. You have a lot of choices with the snare. I got my snare eq to my liking around 2160 area. Just pull out that frequency until it solves the problem. Here’s the Tube-Tech Channel version of a similar approach but with an extreme boost and cut at 60Hz, combined with a boost at 1.5kHz. The point of these tips are to add a few ideas to your mixing toolkit. It’s always there by boosting at 2kHz–5kHz. Compression helps you find the perfect balance for a track that has good dynamic range with a nice, full body. First, however, I need to mention the importance of the recorded snare drum sound, so let’s briefly talke about recording a snare drum. Remember that after compression you may well need to EQ a little bass back into your sounds, as compression often affects the energy heavy lower frequencies. Pulling that frequency range back will soften the attack, boosting it can help bring it out, but be careful because too much of that range can make the actual snares sound very “plastic-y” and brittle rather than the softer snares that people tend to like (more on snares sound below). Trying to bring out the snares? Sweetwater Sound Use fast enough attack and release settings so that the snare track brings down the snare in the overheads. The low frequencies can help with the “bigness” of the snare in your drum mix. 2 – How to Mic a Snare Drum Ever since audio... Mastering for Vinyl: An Audio Engineers Guide, Choosing the Best Thunderbolt Audio Interface on Any Budget, How to Metal Scream Without Hurting Your Voice, 6 Tricks for Crafting an Awesome Snare Sound. Microphones on the bottom of a snare drum can sound very brittle and… well, bad, without EQing. , try a ratio of 28494:1 with an attack of -14.344 and a release at 88000034.4ms knocking off about 12.88444 db. You want to look at the gain reduction meter when compressing. So EQ the snare in the perspective of the whole kit, and you’ll find it much easier to get it right. Then compressing it with the Summit TLA-100A before the EQ really gives it a nice sound. Snare Attack. Waves' CLA-76 compressor/limiter plug-in is inspired by the legendary mid-'60s limiting amplifier, beloved... For many recording engineers back in the day, the original dbx 160 - with its punchy, clean sound with vanishingly low distortion -... Few plug-in EQs approach the popularity of Waves Renaissance Equalizer. Incorporating API's legendary circuitry, the API 550b 4-band equalizer exudes that royal API blood line in every ounce of its sonic character. If you have any more questions about drum recording or processing, call your Sweetwater Sales Engineer at (800) 222-4700. Brightening up the kick may make the snare sound dull. For the compression settings, I simply used a fast attack and release time with a small ratio of around 3:1. Snare body / boomy. Try narrow EQs and using compression before the EQ to see if that can help get some control over the lower frequencies before you start EQing in the signal chain. For flexibility, I will frequently reach for the 6-band Waves Renaissance EQ, or for some broad massaging there’s the less flexible but very sweet RS-127 in the Softube Abbey Road Studios Brilliance Pack. Changing the EQ on the hi-hat can alter how the snare sounds. If you EQ a snare drum too hard while recording then it’s a lot harder to get back what you cut. If you remove too much when recording, then you’re boxing yourself into a corner for the mix. This sound can be processed directly on a track or separately and then mixed in with the original snare sound. As the snare hits, there’s an initial peak in your waveform that slowly tapers off. The bottom line is: leave yourself enough tone, ring, and body when recording the snare, then make the final decisions with compression, gates and EQs in the mix. EQing a snare drum up in that range will give more crack, but again: be careful! EQing and compressing a snare is a big part of getting a good drum sound, so you want to practice the techniques we mention in this post. It’s perfectly OK to have some low-end that you’d normally think should only be for the kick drum in your snare sound. Start decreasing the threshold until you have some gain reduction. Listen to how the boost at 180Hz combines with the low cut at 100Hz and the dip at 680Hz. Choosing the right compression settings is often dictated by the style of music and the performance. Snare Compression: Three Different Settings. You can see the settings on the image below. As the snare hits, there’s an initial peak in your waveform that slowly tapers off. The second are the compression settings which I already mentioned in this tutorial: “Audio compression tips for mixing”. I’ve worked on Trident A-Range consoles hundreds of times, and they sound sweeter to my ear than just about any console I’ve ever worked on. You can see the settings on the face plate above. EQing a snare drum is easy. Too much compression may bring up the hats so care about this. Release from 50ms to 120ms. It’s always great if you can get exactly the snare sound you’re looking for when recording, The snare is probably the most important part of the drum kit, so get snare compression right and your tracks will soon start to sound radio-ready. Just be VERY careful to listen for increases in ring, lost of presence in the stick attack, and quick breathing of the compressor. With its broad curves and delightful transformers, you can really crank the high-frequency boost knob, as much as 10dB or more, without the top end getting harsh. Read: Best Mics for Drums After the overheads, then comes miking the kick drum. In general I agree that it's hard to give advice for EQ and compressor settings without hearing the source material, but I think in this case it's slightly different. To accent the attack of the snare, settings like this on the Tube-Tech CL1B will really make it pop. The more you practice the more you’ll get a feel for what sort of ratio you want based on … Set the ratio very high and lower the threshold to achieve about 12 or more dB of gain reduction, and sweep the attack and release knobs to find the times that lock in with the groove and sound the best to you. Again, don’t push it hard, but don’t always cut it, either. To get you started, set your compressor in this order: Again, compressor settings for a snare depend on what’s recorded and how you want it to sound. Here’s a combination of EQ and compression using the Summit Audio Grand Channel plug-in. DW Collector’s Series Exotic Snare Drum miked with a Shure SM57 into the Chandler TG2-500 preamp. If it sounds tubby, then pull down 400Hz and sweep the frequency-select knob up and down until you eliminate the offending frequency.
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