Middleman
Professional Amateur
I would suggest putting a parametric on the snare and running up 200Hz until the meat comes back into picture. Once you have it sounding the way you want it, then compress it. It will only get better.
SouthSIDE Glen
independentrecording.net
I agree with the consensus here that the description sounds more like a tuning issue than anything. If you have it tuned to the ring, you might try loosening it up just a tad as one mentioned, or maybe dampening it a little as other have suggested.
But more on the point of compression, first of all, yes indeed a compressor can change the sound balance of the instrument.
If the threshold is set above the level of the meat of the pre-compressed ringing and the ratio is set heavy enough to provide several dB of reduction, what can happen is that the dynamic range between the energetic attack and decay frequencies and the lesser sustained ringing is reduced; i.e. most of the non-ringing energy is dropped in amplitude while the amplitude of the ringing has not changed. Then when you apply the output/makeup gain to bring the overall post-compression levels back up, you're just bringingthe non-ringing back to where it was, but you are increasing the level of the ringing several dB above where it originally was. The end effect is a relative boost in the ringing.
Additionally, if much of the ringing is in the envelope's release, slower compression release times can cause the ringing to sustain longer and be more readily audible.
I'd recommend double-checking the tuning first and checking for ringing before compression. Damping is also an option, but like RAK says, if it doesn't sound like it needs damping pre-compression, you should usually be able to avoid it post compression.
I'd try Farview's troubleshooting recipe mentioned above second, with the descriptions I just gave in mind as you t'shoot the compression sound.
If all of that fails and you can't mic it any better to get rid of it, a last-ditch effort may be to look for the fundamental and harmonics of the ringing with an RTA, and then attacking them with a harmonic filter (or series of paraEQ notches if you don't have a paraEQ plug with a harmonic filter setting.)
YMMV, YADAYADAYADA
G.
But more on the point of compression, first of all, yes indeed a compressor can change the sound balance of the instrument.
If the threshold is set above the level of the meat of the pre-compressed ringing and the ratio is set heavy enough to provide several dB of reduction, what can happen is that the dynamic range between the energetic attack and decay frequencies and the lesser sustained ringing is reduced; i.e. most of the non-ringing energy is dropped in amplitude while the amplitude of the ringing has not changed. Then when you apply the output/makeup gain to bring the overall post-compression levels back up, you're just bringingthe non-ringing back to where it was, but you are increasing the level of the ringing several dB above where it originally was. The end effect is a relative boost in the ringing.
Additionally, if much of the ringing is in the envelope's release, slower compression release times can cause the ringing to sustain longer and be more readily audible.
I'd recommend double-checking the tuning first and checking for ringing before compression. Damping is also an option, but like RAK says, if it doesn't sound like it needs damping pre-compression, you should usually be able to avoid it post compression.
I'd try Farview's troubleshooting recipe mentioned above second, with the descriptions I just gave in mind as you t'shoot the compression sound.
If all of that fails and you can't mic it any better to get rid of it, a last-ditch effort may be to look for the fundamental and harmonics of the ringing with an RTA, and then attacking them with a harmonic filter (or series of paraEQ notches if you don't have a paraEQ plug with a harmonic filter setting.)
YMMV, YADAYADAYADA
G.
I
Ironklad Audio
New member
get drumagog!
M
Mane1234
New member
First of all I'd start out with getting the drums professionally tuned. I don't know if you're a drummer or not but even some of the best drummers I've worked with can't tune a kit to save their soul. It's not that hard to get a good snare sound if it sounds good in the room. Use a top and bottom mic and don't forget to reverse the phase on the bottom one. See if you can't have someone move it around a bit while you're in the control room listening. Keep in mind you have to constantly check the phase of your drum mics or it will sound bad. Work on finding the right position for your Overheads and then finally set up a room mic and bring that into your mix. If at all posible try to avoid EQ and compression during tracking. Unless your drummer is all over the place volume wise then save the compression for your mix down. That's my 2 cents anyways. Good luck. 
E
elementary
New member
Are you micing the drum too near the rim? most of the high frequency ringing comes from the first few inches of snare in from the rim so if you aim the mic dead centre you should avoid some of that.
L
littledog
New member
I'm still having trouble understanding why, if the snare sounds great in the room, you don't just get the snare sound mostly from your overhead mics? If you are using two overheads, make sure they are equidistant from the center of the snare, so the snare won't sound phasey.
Mic placment (of the overhead) is, of course important. You may want to look up "Recorderman's 2 drumstick method" if you want to experiment with another approach to overhead placement that often yields a killer snare sound.
Then, make sure the close snare mic isn't too close to the skin. And just use it to enhance the basic sound you are getting from the overheads.
Mic placment (of the overhead) is, of course important. You may want to look up "Recorderman's 2 drumstick method" if you want to experiment with another approach to overhead placement that often yields a killer snare sound.
Then, make sure the close snare mic isn't too close to the skin. And just use it to enhance the basic sound you are getting from the overheads.
peopleperson
I'm so sorry.
Dunno if it's been mentioned yet, but I recently recorded a couple of songs for a band with a drummer with a ridiculously hard hitting left hand. He decided to use a kit that was in the studio because it sounded great. The snare on this kit is near perfect in my ears. Well, due to the fact that he hit the thing way too hard, all the beauty of the way that snare sounded went away and became the 'ping' you speak of. In other words, if the drummer hits too hard, it can ruin a perfectly great sounding snare.
RideTheCrash
Member
Are you sure the snare track is in phase with any sort of of overheads you're using? That's what my snare sounded like back before I figured out how to set up my OH's in phase and then be able to nudge around tracks ITB if necessary.
timboZ
New member
Try a different mic. Or put a new head on the snare.
amra
Well-known member
And if that doesn't work, put it in a different place on the snare, pointingat a different angle.timboZ said: