Here is what I know and use most often.Īs you mentioned, you know the room, kit, etc, matters. Though used a lot, I am not for midi triggers I like it natural. There are lots of valid approaches to get that big snare sound. What else? Any positive help appreciated.Ī little bit of this, a little bit of that YES, I know that the kit, room, gear, tuning and most importantly performer are key. I use Wavesparagraphic eq's to pull the lows and cymbal harshness out and slightly boost the snare freq's. Sometimes I'll use a Neumann TLM 103 on the shell or phase aligned with the 57 on top (depends on the drummer)įor over heads I'm using 2 MK012's, card caps, set up in spaced pair or "recoerder man" setup. The 57 goes into a Great River MP2NV pre then into an EL8x distressor then to 2 Delta 1010's and Nuendo. Do pro's typicaly employ such devices?ĭW Craviotto 14"x5.5" Snare w/ ambassador top headġ971 Ludwig !4"x^.6" Snare w/ ambassador top head ((both great sounding drums when played right))
I just built a device to help shield the hats from the snare mic, I hope it helps.
How do they get that seperation? I'm able to get a pretty nice snare sounds but the rest of the kit is definitly up in the mix as well. The snare was also very clear, and natural sounding. I was listing to a tune the other day and the snare was as loud as the vocals but the rest of the kit was barely audiable. Just wondering if any of you guys have any insite on how the pros can get a snare drum so loud and natural in the mix.
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