Snare Drum with Lee Fields

Snare Drum with Lee Fields

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Snare Drum with Lee Fields

301 Audio Mixing

Description

Lee Fields gives a detailed approach to achieving a distinct snare drum sound. The focus is on using a combination of EQ, dynamic EQ, compression, and specialized effects to sculpt the snare sound. This technique emphasizes creating a blend that enhances the snare’s snap and attack.

Key Points:

Both top and bottom snare mics are crucial for capturing the full character of the snare drum.
The top mic is first adjusted for optimal sound using EQ, dynamic EQ, and compression.
High-pass filtering and mid-range scooping are used on the top mic to clean up the sound.
The bottom mic is primarily used to add top-end and 'jamboree' elements to the snare sound.
EQ on the bottom mic involves cutting low-end and mid frequencies. This leaves primarily the sizzle.
Carefully adjust the compression on the bottom mic to shape the sound and pick up ghost notes. Make sure it isn't triggered by the kick drum.
Both mics are then blended together. Attention is given to balancing the levels for the desired snare sound.
Reverb, both gated and long, is added to both mics to create a cohesive sound field and add dimension to the snare.

Lee Fields gives a detailed approach to achieving a distinct snare drum sound. The focus is on using a combination of EQ, dynamic EQ, compression, and specialized effects to sculpt the snare sound. This technique emphasizes creating a blend that enhances the snare’s snap and attack.

Key Points:

Both top and bottom snare mics are crucial for capturing the full character of the snare drum.
The top mic is first adjusted for optimal sound using EQ, dynamic EQ, and compression.
High-pass filtering and mid-range scooping are used on the top mic to clean up the sound.
The bottom mic is primarily used to add top-end and 'jamboree' elements to the snare sound.
EQ on the bottom mic involves cutting low-end and mid frequencies. This leaves primarily the sizzle.
Carefully adjust the compression on the bottom mic to shape the sound and pick up ghost notes. Make sure it isn't triggered by the kick drum.
Both mics are then blended together. Attention is given to balancing the levels for the desired snare sound.
Reverb, both gated and long, is added to both mics to create a cohesive sound field and add dimension to the snare.