compasspnt wrote on Tue, 09 February 2010 07:27 |
The classic snare pencil condenser microphone would be the KM-84, but that's not exactly budget. Far less costly, you might give the NT-55 a try. |
compasspnt wrote on Tue, 09 February 2010 08:25 |
If you want information regarding "bottom" snare mics, it should come from someone else, because I do not like them. The best snare mic is one backed away from the snare...the farther back you get, the better the snare can sound. But of course, then the more the other drums will blend into that one mic. Many, including me, like to use one (or maybe two) mics on *the drum kit*...this includes the snare of course. But the drummer will have to be good enough to balance the kit. I was referring to using the pencil condenser as a (fairly at least) close snare mic on the top side, in the oft-used individual drum mic'ing technique. |
Audiowonderland wrote on Tue, 09 February 2010 09:40 | ||
Fair enough. I am using 4 mics for the entire kit and don't necessarily want to add more. I am currently using an sm57 an inch or so above the rim aimed across the batter head. It sounds good, not great, and rejects the hats really well. (They are very low, no more than 4-5" above the rim of the snare) Sounds like you are suggesting that I move that mic away from the drum a bit to capture more of the "drum" instead of just the batter head. Do you use any type of augmentation/replacement/enhancement at the mix stage? Just trying to understand what makes up the final sound. I have listened to a few of the Widespread Panic albums and like the results I hear on those.(Angels On High in particular) My guess is you don't going with a minimal mic setup.... |
compasspnt wrote on Tue, 09 February 2010 11:08 | ||||
On that Panic album, I basically used two microphones for the whole kit, one in the bass drum (47fet) and one over the rest of the instrument (251). There was also a C12 on the floor toms, just when need for clarity, and an SM7 near the snare used mostly for snare reverb send, but occasionally used if more bite or immediacy needed on snare. Here is the session report, with photos: http://recforums.prosoundweb.com/index.php/mv/msg/17672/0/0/ 6490/ |
Audiowonderland wrote on Tue, 09 February 2010 13:10 |
...it would seem you tend to not necessarily put mics right on top of the sources. The drums and horns in particular take advantage of the space they are being played in. I really like that approach. Is that just where things were sounding good that day or is that a preference from all of your experience? |
Audiowonderland wrote on Mon, 08 February 2010 20:29 |
What would be a good choice in a condenser mic to use on a snare drum? I am looking for more bite/crack from the snare without having to do major EQ moves at mix time. I am using a 4 mic setup with 2 OH's in a modified Recorderman type of setup plus kick/snare mics. |
compasspnt wrote on Tue, 09 February 2010 11:08 | ||||
On that Panic album, I basically used two microphones for the whole kit, one in the bass drum (47fet) and one over the rest of the instrument (251). There was also a C12 on the floor toms, just when need for clarity, and an SM7 near the snare used mostly for snare reverb send, but occasionally used if more bite or immediacy needed on snare. Here is the session report, with photos: http://recforums.prosoundweb.com/index.php/mv/msg/17672/0/0/ 6490/ |
Geoff Emerick de Fake wrote on Tue, 09 February 2010 22:51 |
Audio Technica PRO37; my secret weapon... |
hargerst wrote on Mon, 15 February 2010 00:32 |
I think Bill's on a pretty tight budget and is looking for a low cost alternative to his SM57 for snare. |
MrJoshua wrote on Mon, 15 February 2010 11:16 | ||
If that's the case, and he's looking for more snap, try moving the mic to the shell instead of the top head. About an inch back from the shell of the drum, midway down can give a good mix of top-head attack and bottom-head snare snap. You have to be careful with the placement, though, as it's easy to get a lot of kick drum bleed with this placement (or at least it has been for me). |
Audiowonderland wrote on Mon, 15 February 2010 14:13 | ||||
Interesting idea. I have a couple of Sennheiser mics (609/906) that are super cardoid that may work. Just an inc or so from the shell eh? Never tried that before. |
MrJoshua wrote on Fri, 26 February 2010 07:41 |
True - it certainly isn't something that works every time. But what is? |
hargerst wrote on Fri, 26 February 2010 14:02 |
So much of the snare "sound" is really dependent on what the song needs. We have about 12 or more different snares available to help get us close to the "right sound" before we even start to put up mics. |
hargerst wrote on Mon, 15 February 2010 01:32 |
I think Bill's on a pretty tight budget and is looking for a low cost alternative to his SM57 for snare. |
compasspnt wrote on Tue, 09 February 2010 06:25 |
If you want information regarding "bottom" snare mics, it should come from someone else, because I do not like them. The best snare mic is one backed away from the snare...the farther back you get, the better the snare can sound. But of course, then the more the other drums will blend into that one mic. Many, including me, like to use one (or maybe two) mics on *the drum kit*...this includes the snare of course. But the drummer will have to be good enough to balance the kit. I was referring to using the pencil condenser as a (fairly at least) close snare mic on the top side, in the oft-used individual drum mic'ing technique. |
MrJoshua wrote on Mon, 15 February 2010 09:16 | ||
If that's the case, and he's looking for more snap, try moving the mic to the shell instead of the top head. About an inch back from the shell of the drum, midway down can give a good mix of top-head attack and bottom-head snare snap. You have to be careful with the placement, though, as it's easy to get a lot of kick drum bleed with this placement (or at least it has been for me). |
compasspnt wrote on Thu, 04 March 2010 21:38 |
Wow, I just used what was my favourite microphone ever on snare today/tonight. Unfortunately, I can't say at this time what it is, for a couple of reasons. But I am really excited, and will divulge the "secret" sometime pretty soon. |
Fibes wrote on Mon, 08 March 2010 15:10 |
Sometimes it's what the mic doesn't hear that makes it work out best. |
Fibes wrote on Mon, 08 March 2010 15:10 |
The E22s is something I'm enjoying putting through the paces. |
wwittman wrote on Sun, 28 March 2010 02:28 | ||
FWIW I never think that |
wwittman wrote on Tue, 06 April 2010 16:13 |
fair enough, put it THAT way and I'm with you I guess I was heading off the internets idea that sometimes an actually 'bad sounding' mic is a good thing has anyone tried the Joe Meek jm27 on snare? |