The Most Bang for Your Drum: How to Mic A Snare
When it comes to recording, drums are tricky little devils. Before you lay down your beats, there are a wealth of details to attend to—you must account for everything from the specific sound of your snare to the quality of your mic. But no worries, harnessing an awesome sound from your drums isn’t a lost cause.
There’s a method to this mic’ing madness.
When you’re setting up your snare, the goal isn’t just to score a loud, punchy sound—you have to find a balance. An explosion of beats doesn’t give your track the rich complexity it deserves. Likewise, you don’t want your snare to fall flat. So how do you hit a high note? Practice, my friend, and do it before you hit “record.” In fact, you should try to work out all of the kinks before you hit the mixing board; that way your headaches will be substantially reduced. Don’t rely on the mixing process to allow the time for sound correction. By finding your perfect set-up before you record, you’re more likely to achieve the perfect sound.
Just ask Jim Moreland, a drummer and recording artist with more than 25 years of experience in the music industry. Jim also owns an Orange County, CA-based studio Live Oak Recording, and he’s here to share his most valuable snare secrets with our Sonic Weekly audience.
Step One: Get To Know Your Snare
The sound of a snare drum can vary significantly from drum to drum, so it’s imperative that you become intimately familiar with your drum’s specific sound. Be conscious of the quality of the heads, the snare itself, and any wear and tear that affects the overall resonance. The drum’s material also has a large impact. In the wood department, maple is by far your best recording choice—producing a big, classic-sounding beat. When it comes to metal, brass is your go-to. It’s the most commonly recorded metal drum, but bear in mind that these puppies tend to have a bit more over-ring. But that’s nothing you can’t overcome.
If you hear a tinny “ping” when you hit your snare, you may need to mute it. Metal drums are especially plagued by this problem. To achieve this, place a strip of duct-tape directly on the head. You can also use Moon Gel, a nifty little product favored by many professionals. Jim Moreland describes his technique, “I usually put the Moon Gel right where the drum head and the rim of the snare drum are. That will mute it enough to give it a little ring. Just a little bit of a ring helps the drum sound fuller.” A snare can easily get lost in the post-compression stage, so don’t go overboard with the muffling process. Remember, balance is key.
Step Two: Tuning Your Snare
Tuning the drum is also a tricky process because the end result is rather subjective. As you’re finding the perfect pitch, remember that the snare is always tuned a little higher than the rest of the drums. Trust your ears from there, and let your song be your guiding force.
To implement the tuning process, use a drum or torque key. Begin by finger tightening all the tension screws on both the top and the bottom of the drum. Next, use the tuning key to tighten each screw. You should always criss-cross from one screw to another on the opposite side of the drum. Tune each head in a uniform manner until they feel nice and firm, but not spongy.
You’re ultimate goal—to create the same pitch all around each side of the drum. To get the right sound, the top head will likely need to be tuned higher than the bottom. Many of us are after a lower, deeper drum sound. Jim’s got the perfect tip to make this happen. “If you want a lower sound on your snare, start loosening up the bottom head a little bit—you’ll get more meat.” Don’t fret too much about over or under tuning—just keep your ears tuned-in, and they’ll certainly catch the difference.
Step Three: One Mic or Two?
There are two distinct ways to mic a snare drum. The first involves placing a single microphone at the top of the drum, and the second uses another mic at the bottom. There is a common misconception that two mics are better than one. Trust us, this is not always the case. If you’re a jazz-style drummer that utilizes tapping and brushes, double-mic it. Otherwise, simplify the process and stick to a single microphone.
Why not use a second mic? Modern ways of playing don’t get any real benefit from a double mic set-up. These days, the snare is used primarily as a back beat, and there is a tendency for the drum to be hit a little harder than it needs to be. This actually muffles the final sound. Jim sums it up perfectly, “In my 15 years of experience, I’ve never once used the recording from the bottom microphone.” When you compare the same recordings with or without a second mic, you will find that microphone number two rarely adds anything to the final mix.
Step Four: Choosing the Perfect Mic
Here’s an interesting statistic: “60% of the sound of a snare drum that you hear on a recording comes from the drum, and the other 40% is the overhead microphone you are using to pick up the cymbals.” This is where that top, reverberating sound really comes from. The best mics for your cymbals are either tubes or condensers—they pick-up quick sharp, articulate sounds. These suckers are crucial because dynamic microphones used for the snares don’t normally pick up sharp sounds very well. Dynamic mics are the best choice for your snare. They handle larger sound pressure levels and are less prone to getting damaged during the recording process. What’s more, they’re also relatively inexpensive. Dynamic mics are ideal for snare recording as they pick-up lower frequency sounds far more accurately than the higher variety. The result is a rich, deeply intense snare sound.
Step Five: The Mic’s Perfect Placement
First, place your mic, and its mic stand, underneath the high-hat, making sure it’s directly behind the microphone. This drastically reduces sound leakage. The pick-up range for most dynamic mics is shaped like an inverted heart. This means that it picks up more of the sound pointed directly at the mic, rather than from the sides.
If you hear the high-hat bleeding through, wrap a thick piece of Auralex sound proofing foam around the mic base. Position the Auralex about an inch away from the pick-up, and the problem should be rectified. For another inexpensive solution, create a cardboard barrier between the mic and the high-hat. The results won’t be quite as impressive, but it’ll still do the trick.
The microphone itself should sit about one inch above (and to the side of) the rim of the drum, creating enough distance to prevent impact with the drummer. Many musicians point the top mic directly at the middle of the drum; this is far from optimal. When you record a snare, you’re generally trying to capture the backbeat. You’re not recording the sound of the drum as much as the sound of the stick hitting the drum. Now here’s a tip: The absolute best place to point the mic is directly at the wear pattern on the drum. This is normally a smidge off-center and naturally places the mic at an angle of approximately 45 degrees. Why off-center? Jim explains, “I have never in my life come across a drummer who hits the snare in the center. I’ve been a drummer for over 25 years and I have never hit it dead center.” Follow this handy rule of thumb, and you’ll eliminate most of the headaches associated with mic placement.
Step Six: Final Nuggets of Wisdom
There are no hard or fast rules when it comes to mic’ing your snare drum. Use these tricks of the trade in conjunction with your own trusty intuition and hearing, and you’ll no doubt find the right blend of snare-magic. The music you play will also help determine what works best for you. If you’re a country music drummer, you’ll likely want a little less “ring” from the drum. With hardcore rock anthems, however, you’ll probably want to compress the hell out of the drum for the entire mix. Whatever your sound, a perfectly mic’d snare helps it all come together. By finding the perfect tone for your drums, you’ll at the very least score a delicious, infectious background. Add to that, the right balance of boom, and dude, you’ve got the beat and the makings of a killer tune.
Author's biography:
Tina M. Courtney, aka PoetKitty, is a full-time writer who’s written for dozens of online and offline publications. This 31-year-old Gemini is a regular in the LA nightlife scene, with a special flair for dance floors and testing menus. She needs DJ throw-downs and life-affirming live music events in equal doses. When she’s not dining, dancing, and/or writing, you’ll find her throwing popcorn, working with a shaman in the Amazon, trying to get on a jury, or jumping out of an airplane. Her first novel, “Precious Things”, will be published this winter.
