Snare Drum Recording Secrets
An SM57 on a snare drum.
The snare drum is pivotal in a mix, serving as a cornerstone of rhythmic foundation and dynamic energy. In modern music, the snare drum is indispensable, often acting as the heartbeat of a song, dictating its tempo and driving its progression. Its sharp, crisp sound cuts through a mix, providing a counterpoint to the thud of the kick drum and helping to define the groove. The snare contributes significantly to a track's rhythm and feel; its placement and pattern can evoke a broad range of emotions, from the energetic snap in an upbeat pop song to the laid-back rattle in a jazzy number. It's versatility and pronounced sound make it a key element in shaping a song's character and ensuring the cohesiveness of the entire mix.
Snare Drum Position and Modifications
The positioning of the snare drum is pivotal in determining the overall sound quality and timbre captured during recording. Ideally, the height and angle of the snare should be comfortable for the drummer and optimal for the desired sound. The drum's tilt and height can impact the stick's strike angle, thus influencing the resultant tone. Moreover, the snare's relation to other drum components, like the hi-hat and toms, can affect how microphones pick it up and its susceptibility to sound bleed.
Drum tuning plays a significant role in the recording process. The tension of the snare's top and bottom heads can drastically change the drum's sound, influencing its pitch, sustain, and overall tone. A well-tuned snare can produce a clear, resonant sound, while a poorly-tuned one can yield an undesirable ring or flat sound.
Lightly tap the heads near the rim at each lug location with a stick or a drum key, ensuring the head makes the same pitch at all lug locations. If they are out of tune, you'll have several overtone pitches to deal with in the mix
Don't forget to pay attention to snare wire tension! Minor adjustments can add or remove a lot of life and sizzle from a snare. (I like to keep my snare wires a little looser - it adds almost a built-in reverb to the snare and a bit of attack when nearby toms are hit.)
Dampenings, such as moon gels, tape, or specialized drum rings, can control unwanted overtones or prolonged resonances. Modifications like changing the snare wires or using different drumheads can further shape the drum's sound. These adjustments ensure the snare complements the mix and resonates well within the intended musical context.
Microphones
Choosing a microphone is one of the most critical decisions when recording a snare drum. Engineers must consider several factors when choosing which mic to put on the instrument. The rest of the article describes the different paraments to consider when making microphone choices, but here are some general guidelines.
Choose a cardioid polar pattern: Cardioid polar patterns have an excellent sound pickup right in the front of the mic and reject most noise from the back. This polar pattern allows you to position your microphone to pick up the snare in front of it, and angling the mics' back position towards an instrument you don't want to record (such as a hi-hat) can help isolate the snare in the recording.
Dynamic and Condensers are okay, but Ribbons are not so much: we typically use dynamic and condenser microphones when recording snare drums. The reason is that these microphones can handle a lot more sound pressure level ( SPL ) than other microphones, such as two microphones and ribbon microphones. Depending on the individual manufacturer, Dynamics typically have an SPL max of around 150 dB SPL, condenser mics max of approximately 130 dB SPL, and Ribbon mics are about 110-115 dB SPL. Snare drums (depending on numerous factors) can top out between 130-140db SPL. So, depending on the type of snare, diameter, and player, this will influence your mic choice. You can look up the microphone spec sheet and see the maximum SPL before Total Harmonic Distortion (THD) to see if your microphone can handle a snare drum.
Avoid tiny diaphragm or specialty mics: Avoid mics like lavalieres, electret mics, or anything with a mic capsule less than your pinky nail. These typically are not big enough to pick up the low-frequency spectrum of your snare drum.
Drum Diameter
The diameter and depth of a snare drum influence its tonal characteristics, which in turn can guide your microphone selection to capture the desired sound best.
Diameter:
Tonal Influence: The diameter of the snare drum primarily affects its pitch and overtones. Larger-diameter snares tend to produce a deeper, more resonant tone, while smaller-diameter snares lean towards a higher, tighter sound.
Microphone Choice Implications:
You might opt for a microphone with a broader frequency response for a larger snare with a deeper tone, especially one that captures the low-mid frequencies well. Large-diaphragm cardioid mics work best, capturing lower tones since the mic capsule has more surface area.
For a smaller snare, a mic that excels in capturing the mid to high frequencies would be ideal, ensuring that the tighter drum snap or crack is well-represented. Small diaphragm cardioid mics, such as the AKG 451, work well since the smaller capsules pick up higher frequencies better.
Depth:
Tonal Influence: The depth of the snare drum affects its body, sustain, and sensitivity. Deeper snare drums tend to offer more body and a longer sustain. They might also provide a more pronounced "booming" or "fat" quality. Shallower snares often produce a quicker, more focused sound with less sustain and more immediate response.
Microphone Choice Implications:
For deeper snares, you'd likely benefit from a microphone capable of capturing the depth and resonance of the drum, which means a good response in the low-mid frequencies.
For shallower snares, a microphone that captures transients well and provides clarity in the mid to high frequencies can be advantageous.
An AKG C414 is a good choice for a snare drum mic. This placement allows for maximum hi-hat rejection.
Understanding the tonal qualities you want to emphasize (or de-emphasize) in your recording will guide your microphone selection. If you aim to capture the entire character of a deep, wide snare, a microphone with a full-frequency response like the AKG C414 might be suitable. On the other hand, if you're recording a piccolo snare (which is both narrow in diameter and shallow in depth), a microphone that focuses on the mid and high frequencies, like the Shure SM57, would likely be a fitting choice. Lastly, it's also essential to consider the genre and context. A snare sound appropriate for a jazz trio might differ vastly from one tailored for a rock anthem, influencing the best microphone choice.
Mic Placement
Microphone placement around a snare drum is crucial in determining the character and quality of the sound captured. A common approach is to position a microphone above the snare, angled towards the drum's center but a few inches away from the drumhead. This placement captures the attack of the stick hitting the skin and the general tone of the drum. Positioning the microphone closer to the rim rather than the center will capture more of the drum's harmonics and overtones, producing a thinner and ringy sound. Conversely, aiming the microphone directly at the center emphasizes the fundamental frequency, yielding a thicker, punchier tone. The microphone's angle also plays a role; a steeper angle captures more of the direct hit, while a shallower angle can produce a broader, more ambient sound.
Angles are key
The angle at which a microphone is positioned relative to a snare drum can profoundly impact the sound captured during recording. A centimeter of distance and angle change by one degree can have significantly different sonic qualities. This influence arises due to a combination of the microphone's pickup pattern and the varied tonal elements of the drum. Here's a breakdown of how the angle can influence the recording:
Attack and Stick Sound: Positioning the microphone directly above and pointing it straight down towards the center of the snare will prominently capture the stick's attack on the drumhead. This results in a sound with pronounced "snap" or "crack," which emphasizes the transient response of the snare hit. The drummer might find this to impede their drumming ability or style, so an alternate way to use this angle is to face the mic towards the center (See pictures)
Body and Tone: Angling the microphone slightly towards the edge of the drum, away from the exact center, can capture more of the snare's body and resonance. Changing the angle can provide a fuller, rounder sound compared to the direct center placement.
Overtones and Harmonics: The snare drum can produce a variety of overtones, some of which might be deemed undesirable in specific recording contexts. Positioning the microphone closer to the rim can amplify these overtones. While sometimes these overtones are viewed as unwanted ringing, they can add character and liveliness to the snare sound in certain musical contexts.
Shell Resonance and Bottom Snare Wires: If a microphone is angled more towards the snare's shell than its top head, it may pick up more of the shell's resonance and, if positioned underneath, the buzz of the snare wires.
Another microphone can be placed beneath the snare, facing upwards towards the snare wires to capture the unique high-frequency nuances of the snare. This dual-mic approach can provide the snare's fuller, more nuanced sound.
Close miking is placing the microphone near the sound source, in this case, the snare drum. The benefits of close miking include capturing a more direct, isolated, and detailed sound of the snare, which can be beneficial in dense mixes where clarity is paramount. This approach also minimizes bleeding from other instruments, ensuring a cleaner signal. However, the drawbacks include a potential lack of ambient character and the risk of capturing mechanical noises, such as the squeaking of pedals or hardware. Close miking might also accentuate the proximity effect in specific microphones, boosting the bass frequencies and altering the perceived tone.
Distant miking, on the other hand, places the microphone farther from the snare drum, and by farther, I mean between 2-12". This method captures more of the room's natural ambiance and the drum's interaction, often resulting in a more organic, spacious sound. It can provide a sense of depth and dimension to the recording. However, the drawbacks include a higher potential for sound bleed from other instruments and a less pronounced attack or clarity from the snare. The balance between close and distant miking often depends on the desired sound for the track, the recording environment, and the mix's overall context.
Multiple Microphones
Micing the under of the snare allows you to capture the snap of the snare while also capturing the tone of the top skin.
The decision to use a single mic or multiple mics when recording a snare drum hinges on the desired sound depth and the recording's final context. A single microphone, typically placed above the snare, can capture a straightforward, unambiguous representation of the drum. This method is more straightforward and often sufficient for certain musical genres or minimalist recording setups. However, employing multiple microphones can provide a richer, more nuanced capture of the snare's full sonic spectrum. By incorporating a bottom mic in addition to the top one, an engineer can capture the unique buzz and rattle produced by the snare wires. This bottom mic adds depth and detail to the sound, allowing for greater flexibility during the mixing process. An engineer can thoroughly blend the two signals to represent the snare's character.
Taping two microphones together is an acceptable form of micing a snare drum.
However, using multiple microphones introduces the potential challenge of phase issues. When two microphones capture the same sound source from different positions, the sound waves they record can interfere with each other, either constructively or destructively. This destructive interference can lead to phase cancellations, where specific frequencies diminish or disappear entirely, resulting in a hollow or thin sound. Monitoring the phase coherence when setting up the mics is essential to avoid phase issues. One method is the "3:1 rule," which suggests that the distance between microphones should be at least three times the distance from each microphone to the sound source. But this is difficult to do on a small instrument like a snare drum. Often, we put two microphones on the top by taping them together (see photo to the left). This method gets the mic capsules as close together as possible and limits phase issues between both mics. Additionally, in a DAW or mixing console, one can check the phase alignment of the recorded tracks and adjust, or even invert, the phase of one channel if necessary to ensure optimal phase coherence. Proper microphone positioning and continuous monitoring prevent and address phase-related challenges.
Stop the bleeding from the hi-hat and other instruments.
Angling the mic with the back of the cardioid pattern away from the hi-hat.
Bleed, or the unintentional capture of sound from instruments other than the target source is a common challenge in multi-instrument recording environments like drum kits. While sometimes perceived as an issue, it can offer unique advantages when creatively leveraged. Various techniques and equipment can be employed to manage or minimize bleed.
One fundamental technique is strategic microphone placement and selection. Cardioid microphones, due to their directional pickup patterns, are particularly beneficial in such scenarios. They primarily capture sound directly in front, thus rejecting much of the off-axis noise from other instruments. Hyper-cardioid is not particularly helpful in this situation due to the bulb of the rear pickup that can increase the pickup of the hi-hat. When positioning the mic over the snare, for example, angling the mic so that the null point (the area of least sensitivity) faces the most potent source of unwanted noise, such as the hi-hat. High-pass filtering can also reduce bleed, especially from low-frequency sources like kick drums. Utilizing gobos or portable baffles can further isolate the drum kit, reducing outgoing and incoming bleed.
Another approach is the use of drum shields or screens. These clear acrylic panels encircle the drum set, reflecting the sound towards the drums and away from sensitive microphones. While effective at reducing bleed, they can slightly alter the drum's sound by reflecting high frequencies, so it's crucial to account for this during the mixing stage.
Interestingly, bleeding isn't always a nemesis; it can sometimes be a boon. In certain scenarios, the natural bleed of instruments can create a cohesive, live, and organic feel to the recording. For instance, a slight bleed from the snare into the overhead cymbal mics can add depth and space to the overall drum sound, rendering a more realistic stereo image. Furthermore, when recording in a room with great acoustics, allowing some controlled bleed can capture the ambiance and warmth of the room, giving the mix a richer, more nuanced character. While having the tools and techniques to minimize bleed is essential, it's equally important to recognize when and how drum bleed enhances the sound.
Achieving the Best Snare Drum Recording Levels
Ensuring the proper levels when recording your snare drum is crucial to capturing its characteristic sound and preserving its dynamic range. Audio VU meters typically showcase two distinct levels: average and peak levels. The peak level represents the transient – that initial, sharp strike of the snare or the ADSR envelope's Attack. Given its fleeting nature, the peak can sometimes be challenging to gauge for volume adjustment. Your VU meter will often display this transient, with the level lingering at the maximum VU volume observed. Monitoring peak levels is essential; surpassing the upper limit (0dBFS in digital platforms) can result in clipping, which can lead to harsh distortion and even potential harm to your recording equipment. Remember, unlike its analog counterpart, digital clipping tends to be particularly abrasive and is generally best avoided.
On the other hand, the average level offers a closer reflection of the audio's perceived volume. Our auditory senses are more attuned to these average levels (or the core sound) than fleeting transients.
Unlike the rapid-response peak meters, VU meters are designed to be slower, not picking up swift transients. Their readings present a more even representation of volume levels, mirroring our auditory perception of loudness.
In short, while peak meters safeguard against digital clipping by indicating the audio's highest volume, VU meters give a more authentic representation of how loud a sound feels. It's vital to juggle both types of metering judiciously to get a recording that's dynamic, clean, and free from unwanted distortions.
Aim for an average level of about -18dBFS for optimal results on your digital meter, which typically aligns with the "0" mark on traditional analog VU meters. Most digital workstations (DAWs) feature a VU meter with Red, Yellow, and Green zones. Ideally, you'd want the average level to hover at the Green's upper limit, with the peaks brushing the Yellow. Hitting the Red is a sign to dial down your pre-amp volume. This approach ensures a good balance, capturing a strong signal that stands out from background noise while leaving sufficient headroom for louder, more forceful snare hits without inducing clipping or distortion.
Given the variable dynamics of the snare drum, which can range from soft taps to forceful strikes, it's pivotal to keep tabs on those peaks. Harsh digital clipping can introduce unwelcome distortion to your tracks. A safer strategy is to record at slightly subdued levels and then amplify as required during post-production rather than trying to remedy already clipped audio. But always remember, these are just guiding principles. Your recording levels might differ based on the musical genre, the specific tone you're chasing, and the mix's broader context. Let your ears be the judge, with meters serving as supplementary visual tools rather than the sole determinants of your recording's quality.
Famous Snare Drum microphones
Shure SM57:
Why: Regarded as the industry standard for snare drum miking, the Shure SM57 is robust, affordable, and delivers a clear representation of the snare with a pronounced midrange, making the snare cut through in a mix.
AKG C414:
Why: While more frequently associated with vocals and overhead drum miking, the AKG C414 has been employed for snare drum duties due to its detailed transient response and versatility, courtesy of its multiple polar patterns.
Sennheiser MD 441:
Why: The MD 441 is known for its wide frequency response and accuracy. Its super-cardioid pattern offers excellent rejection of off-axis sounds, making it an ideal choice for minimizing hi-hat bleed into the snare mic.
Audix i5:
Why: Designed to capture the nuance and clarity of instruments, the Audix i5's natural sound and ability to handle high SPLs make it an excellent choice for snare drums.
Beyerdynamic M 201 TG:
Why: This dynamic microphone offers a clear and transparent sound. Its hyper-cardioid pattern provides even better off-axis rejection than super-cardioid mics, ideal for situations with a lot of bleeding from surrounding instruments.
Conclusion:
The snare drum is undeniably the heartbeat of many musical compositions, providing a sonic foundation that dictates rhythm, tempo, and mood. Achieving its optimal recorded sound hinges on various elements, from the drum's positioning and tuning to the intricate considerations surrounding microphone selection and placement. Recording environments further add layers of complexity, with bleed from other instruments requiring strategic management to either minimize interference or leverage it for a richer mix. Sound levels also play an instrumental role, demanding a balance between capturing the drum's dynamic range and avoiding undesirable clipping. Pursuing the perfect snare sound is an art as much as a science. Equipped with the proper knowledge and tools and led by an attentive ear, artists and technicians alike can ensure that the snare drum's pulse reverberates with clarity, precision, and character in any mix.
