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Typical areas to get boosted on a snare are around 200 Hz for a fatter low-end punch and 10 kHz to 14 kHz for a crisper top end. “Don't just EQ for the sake of it, though - if it sounds good as it is then it sounds good!” Some snares and mics accentuate the hard and scratchy qualities of the snare wires around 2.5 kHz to 4 kHz, so some fishing could be done there as well.
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Usually you can high-pass the track to a point that's just below the “body” of the snare, say around 160-240 Hz, and fish for unwanted ringing in the 250-400 Hz range. Start by removing the frequencies you don't want in your sound. Before you start, check the polarity of your top and bottom mics - if the polarity is not correct, the sound will be weak, weird and thin no matter what you do. There is no “cookbook” or an ultimate trick for a great snare sound, as all EQ moves are relative, depending on the raw snare sound you have to begin with, but there are a few key things worth keeping in mind every time.Ī good place to start is to route all your snare tracks to a single bus and process them as a whole, as opposed to EQing them separately, which can lead to phase problems. EFFECTIVE TONE SHAPING WITH TACTICAL EQ MOVES Combine this with a clean gate and you will achieve very impressive results. There is also an advanced technique for smart and very clean cymbal bleed reduction using a multiband expander - made popular by the up-and-coming mixer Adam “Nolly” Getgood - where the expander controls only the high frequencies of the snare track (triggered via a side-chain band pass filter at around 200-300 Hz), effectively ducking all of the bleed between the hits while keeping the sustain of the drum totally clean and natural.
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New technique from the rising studio-star Adam “Nolly” Getgood: The core principles of gating apply here as well. Sometimes expanders are a better solution for the task, as they are more transparent and control the bleed in a lot less aggressive fashion. If you don't have a trigger pad, there are easy workarounds to that - basically every DAW (Digital Audio Workstation) has the capability to detect transients from a track and convert them to MIDI notes that can be fed into the gate. A nice idea is to shift the trigger track a couple of milliseconds ahead of the snare hit, so that all of the transient is let through cleanly. If you have a drum trigger, you can use it to feed the side chain input of the gate and get very clean results with minimal fuss, as the trigger track will contain virtually no other sounds other than the drum it is attached to. Usually a side-chain filter will help greatly in separating the snare transients from other drums. The more specific you can be in letting the gate know what exactly to trigger from, the cleaner the results will be. One of the most obvious solutions to this problem would be gating the snare. In the real world, you won't always have the perfect situation and chances are that often you will have to deal with a considerable amount of snare bleed that will become more apparent during compression. There are steps you can take to minimize cymbal bleed in the recording stage, such as understanding microphone pickup patterns and placing the microphones in a particular way to get less direct cymbal bleed or using a microphone with a hypercardioid pickup pattern. LEARN TO CONTROL CYMBAL BLEEDĮvery one of us has had to deal with one of the most irritating aspects of mixing a snare drum - cymbal bleed. Great drum recordings basically mix themselves, although there are things you can do to further enhance all of the great qualities you want in a snare drum sound, and steps you can take to get rid of the stuff that's unnecessary. Let's face it - the importance of a well recorded drums played in a nice room by a good drummer cannot be stressed enough.
JST GAIN REDUCTION PRESETS HOW TO
Here are just a few suggestions on how to achieve that ultimate snare sound you’ve been chasing all your life.
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Great rock/metal mixers like Chris Lord-Alge, Jack Joseph Puig, Andy Wallace, Joey Sturgis, Colin Richardson and many others have often left the world scratching their heads on how to achieve an equally impressive snare sound. The snare drum is a very prominent element in almost any modern mix and it is probably going to be heard more times than any other percussive instrument in a song, so it has to sound punchy and driving, yet not overpowering or distracting. Mixing snare drums has always been one of the more mysterious parts of achieving a modern, polished sounding drum mix.