But I’ll give you a few guidelines that will help you achieve your desired goal. If you recorded the bottom snare head separately then you can high pass this a lot higher at around 250 Hz. Also be sure that any two mics on one drum, like snare top and bottom, add together with the best phase response, usually resulting in more powerful low frequencies. Also add some air to your snare to make it shine by making a boost at 10kHz. Above: Snare drum EQ with a low pass at 180 Hz, slight boost to the fundamental at 220 Hz, hefty cut to overtones/noise at 700 Hz and a slight boost at 7400 Hz for an extra cut. Ratio: 10:1; Attack: 1ms; Release: 200ms This will make it a little bit brighter, more airy sound of the snares come through more. Crush this range too much, though, and your snare will start to lose some life and sound two-dimensional in the mix They explained why they used it: "Whenever you get really close to a drum head you get all sorts of strange frequencies you don't hear from a distance, so it sounds really odd. I once tried using a Stellar CM4 tube mic in fig-8 about 10 inches under the snare and it sounded pretty great. 200 to 400 Hz - Body/Bottom: The central fundamental of most snares tends to live somewhere in this range; 400 to 800 Hz - Ring: This is the range that tends to give that hollow "ring" to a snare tone that's often undesirable. Allerdings ist es auch sehr einfach diesen Bereich zu … To help the snare cut through a mix then use an eq to cut other sounds where the snare hits. Since the top snare contains more mud at the low frequencies we may use the bottom snare’s track to boost the low end and get away with some more fatness… 100Hz to 200Hzcan be fine! But today compression is where you can get creative. Modifying the length of the attack and release to get different sonic results is my favorite trick. How To EQ Snare Top and Bottom. In this video, I reveal all the secrets you need to eq snare drum top and bottom on every mix and any type of genre. Sie erzeugen den scheppernden Klang, der die Snare zu dem macht, was sie ist: Das treibende Element des Schlagzeugs. You’ll get a short stutter leading into the main snare that livens it up. When it comes to subtractive vs additive EQ, think of it this way: cut out the bad and enhance the good. So EQ the snare in the perspective of the whole kit, and you’ll find it much easier to get it right. To emphasize the phatness and punch of the snare drum a boost around 195Hz-250Hz will do the trick. You will still want to use the top mic as your main snare drum sound but you can mix in a variable amount of the bottom mic to your personal taste. One mic I've never liked on snare bottom is the SM57. Compression was originally used to contain or restrict volume. High Pass Filter at around 100Hz. Even top and bottom snare mics together aren't enough for some people, though. The plastic, brittle sound of a bottom snare EQ tends to sit between 1kHz and can sweep up as high as 3kHz. First try a wide Q and pull that back that range. Snare. When I interviewed the Feeling recently, they had also set up a large-diaphragm condenser at the side of the snare drum. Boost around 5Khzfor brightness. You can also use the bottom snare mic as a reverb send; as mentioned earlier, the bottom mic will typically have less hi-hat bleed, allowing you to get a big reverby sound on the snare without an undesired big reverby hat. For the project I’m using as an example for this guide I have 2 different snare drums, the Top mic snare and the Bottom mic snare.How you EQ the snare will depend on how the snare was recorded or if you’re using samples. Band 1: 50Hz high pass; Band 2: +6dB at 200Hz; Band 3: +15dB at 5kHz; Start here for compression on the bottom snare drum mic. My favorite snare bottom is the Sennheiser MD441. When you're struggling to get a powerful snare and the usual tools (EQ, compression, transients shaping) aren’t doing the trick, try the following technique. Overheads/Cymbal EQ Tips . Bottom snare mics often sound surprisingly plastic. I usually place them a few inches under the snare pointing at the wire strands. The SM7B is a close second and the Audix i5 is third. Finding Nasty Frequencies. Start here for eq on a bottom snare drum mic. Eine Anhebung in diesem Bereich wirkt immer sehr präsent und holt die Snare Drum weiter nach vorne im Mix. Compression. I've gotten ok results with an AKG C414. Auch hier bietet sich zur Bearbeitung ein parametrischer Equalizer mit einer Filtergüte Q von 1,5 bis 3 an. In fig-8 about 10 inches under the snare drum a boost at 10kHz will the. 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