Snare recording question

  • Thread starter Thread starter mikbau
  • Start date Start date
M

mikbau

New member
Hello all

Complete newbie here...wasn't sure if this or the newbie forum would be best.

I've been playing percussion behind a few songwriters for a while- mostly on snare, and predominantly with brushes. Occasionally I'll get a guitar track, and I'd like to be able to record my snare part along with it - so I can hear it, and so can the songwriter.

My current set up is Pro Tools, MBox Mini, and a SM57. The problem I'm having is on a lot of the songs, I play a combination of sweeping and beats with the brushes - if I get the levels where the sweeps sound good, the beats blow them out - and if I get it where the beats are good, you can't hear the sweeps. I've been told that using a condenser mic will help.

I'm wondering if for my purposes, if just using an overhead or slightly ahead position with the condenser will work, helping to keep the levels more consistent.

Any help would be greatly appreciated
Michael
 
You need to get the levels good enough for the beats and then sweep louder. One thing drummers need to always be aware of in a recording situation is their dynamics. You need to learn to control your dynamics yourself, without compressors, before you try to start using the outboard gear that would be right for your problem.
 
Thanks - actually my playing is really dynamic in terms of volume up and down..and even live I sweep with a pretty soft touch - sweeping loudly isn't something I'm accustomed to.

But, beyond that, I guess I'm asking the best mic/mics and positions for this style -I"m hoping there is more to the solution than strapping an SM57 to the rim and playing louder on the sweeps. Again the recording aspect is all new to me.

FYI- with the tracks I've tried, I've not used any additional effects - compressors, etc - to help. It's all been straight in
 
Try a ribbon mic that can handle loud sources well. Like a Beyer. That should capture the detail of the sweeps and handle the dynamics of the beats. But I still recommend fixing it at the source before you go spending money.

If anything, try double micing the snare. One mic to handle/capture the beats. Another mic to get the sweeps. Bottom mic it for the beats, and top mic it for the sweeps. Mic choice will be almost everything there.
 
I realize this is going to sound like a completely stupid question...so forgive me, as I've had very little time in the studio - regarding fixing it at the source... if you're working with a player who is really dynamic in terms of volume...is the first step really to try to get their playing to me more even (less dynamic) for the recording? I realize that may play in to it some, but it seems like some players have "their" style - and if that's the sound the artist or engineer is after, asking to change that seems...I don't know ... odd (again, caveat is I'm completely new to this)
 
One thing you could try is automating the sections. That way you can set sections with sweeps to the optimal level and sections with hits to the optimal level.
 
The golden rule, at least for me personally, is trash in, trash out.

In a nutshell im saying you need to learn to work around the limitations of your set up. Recording is HARD work, and VERY repetitive. You should probably just sit down behind your kit and practice the part youre talking about over and over with the 57 on the snare. Keep trying until you get it right. You want the beats and the sweeps to both be at a comfortable volume and that should be controlled by you.
 
Okay - yeah - I get that - the only thing is, there's a difference between comfortable and even...there are a couple songs I play with one particular person where the sweeps are reasonable level, but there are a couple of really loud beats for emphasis - and it wouldn't sound right were they closer in volume.

Thanks everyone for the input
 
Of course, there is a trick you can use with outboard gear. Gate a mic so that it only captures the beats, and the other mic to cut the signal once the beats come in (or you can cut sections out in your daw)! ;)

But hey, thats too easy.
 
Well, I'd prefer to do it correctly, and consistency is always better. I just wanted to make sure that the gear I had wasn't going to make it even harder (i.e. hey dummy, there's no way an SM57 is going to work right for what you want to do, you should use a ribbon or condenser instead)
 
mikbau said:
Well, I'd prefer to do it correctly, and consistency is always better. I just wanted to make sure that the gear I had wasn't going to make it even harder (i.e. hey dummy, there's no way an SM57 is going to work right for what you want to do, you should use a ribbon or condenser instead)
Click to expand...

There's no right or wrong way to do anything in recording. If you get the result you're after, then it works.
 
Couldn't you just overdub your hits? As in, recording the song on a level that works well for your sweeps, and, when you play hits, play soft, or don't play them. Then, record a second track withy the mic set up to pick up your hits. This time, play only your hits and leave out the sweeps. Mix the two tracks together and viola.
 
In general a good recording depends on ..

1. Well setup kit (tuning)
2. Good controlled performance
3. Well sited mic. Place it where it sounds good to your ears in the room so it hears what you hear .. a couple off feet away or more is fine (although you may need a confessor mic for this
4. Compression during recording
 
tailored suit said:
although you may need a confessor mic for this
Click to expand...

A what mic? Is that some sort of Catholic thing?

Seriously though, a mic a couple of feet from the snare is no longer a snare mic, it's an area mic. And compression doesn't have to be done during recording. There are different advantages to doing it during or after recording.
 
"There's no right or wrong way to do anything in recording. If you get the result you're after, then it works."

so ture. even if it takes ripping a ceiling speaker out of a ceiling tile, putting an attenuator on it and mounting it to a guitar stand and use it for your kick mic that makes a better recording than the $400 mic that was paid for. looks hideous, but works quite well.
 
Last edited:
You must log in or register to reply here.
Back
Top