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Miking the snare drum: Technique one


Audio Recording Techniques

with Bobby Owsinski

Video: Miking the snare drum: Technique one

Miking the snare drum: Technique one provides you with in-depth training on Audio + Music. Taught by Bobby Owsinski as part of the Audio Recording Techniques
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  1. 5m 28s
    1. Welcome
      2m 11s
    2. What you should know before watching this course
      1m 22s
    3. Using the exercise files
      1m 29s
    4. Listening to this course
  2. 6m 39s
    1. Setting up your monitors
      4m 17s
    2. Using a basic listening technique
      2m 22s
  3. 25m 29s
    1. Exploring different microphone types
      5m 16s
    2. Microphone directional response basics
      2m 43s
    3. Hearing different directional patterns
      4m 58s
    4. Exploring how the proximity effect works
      3m 55s
    5. Explaining microphone controls
      1m 49s
    6. Reviewing microphone accessories
      3m 3s
    7. Exploring direct boxes
      1m 9s
    8. Exploring amplifier emulators
      2m 36s
  4. 24m 32s
    1. Explaining the microphone preamplifier
      3m 59s
    2. Choosing a preamp
      1m 35s
    3. Setting up the mic preamp
      1m 39s
    4. Setting the record level
      2m 29s
    5. Using proper gain staging
      1m 46s
    6. Knowing what to do if distortion occurs
      2m 0s
    7. Using the compressor during recording
      2m 58s
    8. Using the equalizer (EQ) during recording
      2m 24s
    9. Using the high-pass filter during recording
      1m 4s
    10. Exploring the principles of EQ
    11. Avoiding latency
      3m 51s
  5. 15m 40s
    1. Finding the best place in the room to record
      2m 44s
    2. Choosing the right mic
      2m 24s
    3. The secret to mic placement
      2m 12s
    4. Understanding phase cancellation, the sound destroyer
      2m 29s
    5. Checking polarity
      3m 9s
    6. Checking the phase by listening
      2m 42s
  6. 54m 29s
    1. Finding the right placement in the room for the drums
      1m 48s
    2. The keys to a great drum sound
      2m 2s
    3. Tuning the drums
      2m 19s
    4. Tuning tips and tricks
      2m 26s
    5. Miking the bass drum without a front head
      2m 15s
    6. Miking the bass drum with front head port
      1m 5s
    7. Miking the bass drum with a front head
      1m 12s
    8. Using a subkick microphone
      1m 31s
    9. Miking the snare drum: Technique one
      3m 2s
    10. Miking the snare drum: Technique two
    11. Adding a bottom snare mic
      1m 45s
    12. Miking the hi-hat
      2m 14s
    13. Miking the toms
      2m 24s
    14. Miking the cymbals
      3m 14s
    15. Miking the overall kit
      1m 25s
    16. Using room mics
      2m 2s
    17. Getting the drum sound
      2m 47s
    18. Getting the correct drum mix balance
      2m 50s
    19. Checking the drum phase
      2m 18s
    20. Panning the drums
      2m 25s
    21. Tweaking the drum sound with EQ
      3m 10s
    22. Using the one-mic drum recording technique
      2m 37s
    23. Using the two-mic drum recording technique
      1m 5s
    24. Using the three-mic drum recording technique
      1m 45s
    25. Using the four-mic drum recording technique
      1m 26s
    26. Tips for drummers to use before recording
      1m 15s
    27. Tracking a solo drum part
      1m 10s
  7. 27m 31s
    1. Finding the right placement in the room for the guitar
      1m 24s
    2. Miking the amplifier: Technique one
      1m 58s
    3. Miking the amplifier: Technique two
      1m 30s
    4. Miking the amplifier: Technique three
      1m 54s
    5. Using the Marshall cabinet miking trick
      1m 30s
    6. Recording the electric guitar direct
      6m 51s
    7. Prepping for recording acoustic guitar
    8. Recording the acoustic guitar with one mic
      2m 46s
    9. Recording the acoustic guitar with two mics
      1m 46s
    10. Recording the acoustic guitar with three mics
      1m 19s
    11. Exploring stereo acoustic guitar miking techniques
      1m 31s
    12. Recording the acoustic guitar direct
      1m 14s
    13. Using a limiter when recording acoustic guitar
      1m 39s
    14. Tracking the guitar part
      1m 11s
  8. 14m 0s
    1. Finding the right placement in the room for the bass
    2. Recording the bass using a direct box
      1m 44s
    3. Miking the bass amplifier
      2m 13s
    4. Using a limiter when recording the bass guitar
      3m 8s
    5. Miking an acoustic bass: Technique one
      3m 4s
    6. Miking an acoustic bass: Technique two
      1m 43s
    7. Tracking the bass part
      1m 11s
  9. 20m 47s
    1. Finding the right placement in the room for vocals
    2. Recording a scratch vocal
      1m 24s
    3. Exploring vocal mic placement
      3m 2s
    4. Using a limiter on vocals
      2m 7s
    5. Recording in the control room
      1m 35s
    6. Setting up the vocal headphone mix
      2m 26s
    7. Doubling the vocal
      2m 52s
    8. Getting the best from a singer
      1m 16s
    9. Exploring background vocal mic placement
      2m 53s
    10. Layering background vocals
      1m 5s
    11. Recording the lead vocal part
      1m 14s
  10. 10m 49s
    1. Recording a solo grand piano with one mic
      2m 14s
    2. Recording a solo grand piano in stereo
      1m 8s
    3. Close miking a grand piano with one mic
      3m 10s
    4. Close miking a grand piano with two mics: Method one
      1m 39s
    5. Close miking a grand piano with two mics: Method two
      1m 25s
    6. Recording the piano part
      1m 13s
  11. 13m 57s
    1. Finding the right placement in the room for horns
      1m 18s
    2. Recording a solo sax: Technique one
      2m 40s
    3. Recording a solo sax: Technique two
      2m 30s
    4. Recording a solo brass instrument
      3m 20s
    5. Recording a horn section: Technique one
      2m 27s
    6. Recording a horn section: Technique two
    7. Recording the horn section part
      1m 12s
  12. 7m 30s
    1. The key to miking any acoustic instrument
      1m 3s
    2. Recording an acoustic string instrument
      2m 25s
    3. Recording a dobro
      1m 36s
    4. Recording the dobro part
      1m 13s
    5. Recording the string section
      1m 13s
  13. 2m 36s
    1. Recording drum percussion
      1m 19s
    2. Recording hand percussion
      1m 17s
  14. 5m 23s
    1. Recording electric keyboards
      1m 58s
    2. Recording acoustic instruments with a pickup
      2m 11s
    3. Recording the synth part
      1m 14s
  15. 12m 4s
    1. Understanding the idea behind stereo recording
      1m 14s
    2. Using the X/Y configuration
      3m 21s
    3. Using the ORTF configuration
      2m 27s
    4. Using the spaced pair configuration
      3m 16s
    5. Using a stereo mic
      1m 46s
  16. 20m 26s
    1. Setting up for a tracking session
      4m 17s
    2. Setting up a talkback mic
      1m 27s
    3. Using sound leakage to your advantage
      1m 36s
    4. Setting up the headphone mix
      2m 31s
    5. Setting up a click track
      2m 11s
    6. Setting up for overdubs
      2m 17s
    7. Recording the rhythm section in the studio
      6m 7s
  17. 48m 47s
    1. The keys to a great rough mix
      4m 55s
    2. Setting up the effects
      3m 47s
    3. The rough mix of Simply Falling
      35m 35s
    4. The final mix of Simply Falling
      4m 30s
  18. 1m 2s
    1. Goodbye
      1m 2s

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Watch the Online Video Course Audio Recording Techniques
Video Duration: 3m 2s5h 17m Beginner Oct 24, 2012

Viewers: in countries Watching now:

View Course Description

Discover the industry secrets to recording crisp, rich instrument tracks and vocals in any type of recording environment. Join renowned audio engineer Bobby Owsinski as he walks through the process of miking and tracking a complete song by Underground Sun recording artist Iyeoka and A-list session musicians in a top-of-the-line studio—in a way that is applicable to any recording space and musical genre. Learn how to select the correct microphone and polar pattern for each instrument, with hundreds of revealing listening examples for drums, acoustic and electric guitar, piano, keyboards, and more. These professional techniques offer critical insights for those just getting started in the recording process, and a trustworthy reference guide for more seasoned engineers. Bobby also demonstrates how to monitor and sculpt EQ settings, why and when to process your input signal, and how to choose the right outboard gear for the track. This course employs 360-degree, 3D visualizations that provide an unprecedented perspective of the equipment, players, and microphone placements discussed. Plus, with the raw audio files provided, you can critically listen to every recorded example at home with your DAW of choice at full 24-bit resolution.

Topics include:
  • Optimizing your listening environment
  • Listening to how different microphone types affect recording
  • Choosing the right microphone for the right recording application
  • Positioning microphones for a wide variety of recording scenarios
  • Utilizing proper gain staging, preamps, and direct boxes
  • Avoiding phase cancellation
  • Using a compressor, equalizer, and high-pass filter during recording
  • Setting up a headphone mix
  • Adding the right amount of compression or equalization
  • Capturing great sounds from drums, guitars, basses, keyboards, pianos, strings, and vocals
  • Creating a great drum set sound
  • Getting the best out of any singer
  • Dealing with microphone leakage
  • Utilizing a variety of stereo miking techniques
  • Setting up and producing a recording session
  • Creating a rough mix in any digital audio workstation (DAW)
Audio + Music
Bobby Owsinski

Miking the snare drum: Technique one

There must be a dozen ways to mic the snare drum, and every one of them will capture the sound just fine if the snare drum sounds good in the first place. Let's look at what has become the standard way that the snare drum is miked these days. The thing about the snare is that not only you're trying to capture the sound, but you're trying to get the best isolation from the other drums as well, which can alter your approach a bit by changing the mic position. The other thing is that you want to make sure that the mic is out of the way of the drummer, so he doesn't hit it. Not only does that sound pretty bad, but it is not very good for the mic either.

Always ask if the drummer thinks if it will be in the way, and be prepared to move it to where he thinks it won't be hit. (music playing) Since the mic is placed so closely to an extremely loud instrument like the snare, especially with a heavy hitter. It has to be able to handle a lot of level without distorting. That's one of the reasons why the Shure SM57 has been such a go to mic for so many engineers. There are plenty of other engineers who love small diaphragm condenser mics though, so don't be afraid to try one if you have it.

But be sure to use a 10 or 20 dB pad so it won't overload. Place the mic stand somewhere between the rack tom and hi-hat, so it's out of the way of the drummer. Then position the mic, so it's about one inch or about two of your fingers above the rim. Point the mic towards the center of the drum head, make sure that the mic stand isn't touching any drum hardware to prevent the mic from picking up any unwanted vibrations. (music playing) Sometimes pointing the mic across the top of the drum towards the far end of the rim, can provide just the right sound for the track. (music playing) If you place the mic up higher, say about 6 inches or about the size of your hand, it's a bit easier to aim at different spots on the drum.

But you'll also get a bit more leakage. Try aiming at more towards the rim for a different sound. (music playing) In the end what you're trying to do is to place the mic where it has the best combination of body and stick sound. Sometimes the snare has too much ring. The best way to get rid of it is to add a piece of tape or moon gel or even your wallet. Sometimes what sounds bad in the tracking room, actually sounds good under the microphone. So make sure you listen before you pass judgment.

(music playing) To sum things up, not only are we trying to capture a good snare sound, but maintain some isolation from the other drums and cymbals and keep the drummer from hitting it as well. A standard way to do that is to place it about one inch above the rim, pointed towards the center of the drum. (music playing) If the mic you use has an internal pad, make sure you use it, because the hot levels that the mic will capture might overload the preamp without it.

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