The bottom line is: leave yourself enough tone, ring, and body when recording the snare, then make the final decisions with compression, gates and EQs in the mix. Need more thump? You have a lot of choices with the snare. Pro Tip: Boosts are easier to hear than cuts, so if you’re looking for a specific offending frequency, try a narrow peak boost and then sweep the frequency up and down until you find the range that’s hurting your ear. If you continue to use this site we assume you're happy with it. snare compression settings. Incorporating API's legendary circuitry, the API 550b 4-band equalizer exudes that royal API blood line in every ounce of its sonic character. Snare ring usually lingers between as low as 500Hz and as high as 900Hz (start cutting with your snare EQ around 650Hz to locate the frequency of the ringing You want a fairly narrow Q width on that band, but not too much). (also see hard vs soft limiter settings). A safe ratio is 4:1, you are getting aggressive around 7:1, and you start to get into limiter territory around 12:1 (some say 10:1). Blended softly with a top mic, though they can help your mix a lot. You’re trying to add punch to your snare that’s why you need to use slow attack so you can let the attack of the snare drum through. Adding compression to the snare drum is crucial if you want a tight, punchy sound. Image Credits: www.themusicespionage.co.uk Snare Drum Eq Settings. The threshold setting is almost entirely dependent on the input level of the signal, so there is no magic setting for that. Here’s another EQ approach with the Trident A-Range plug-in from Softube, a sweet classic EQ with 4-bands and selectable frequencies. Everything you love about Sweetwater in the palm of your hand. Slow attack, 10ms to 30ms. This sound can be processed directly on a track or separately and then mixed in with the original snare sound. Basically, this is the first time my snare drum interacts with any form of compression. As the snare hits, there’s an initial peak in your waveform that slowly tapers off. Can you guys give me some compression settings on snare to make it really tight and crack hard. To accent the attack of the snare, settings like this on the Tube-Tech CL1B will really make it pop. Try a transient designer. Don’t go crazy because you normally don’t want to blend the bottom snare mic very high. A really fast attack will ensure the first stick attack is compressed, whereas a slow attack will “let the stick through” and then compress the body and tone of the snare drum more. Using a dynamic EQ or sidechain compression to drop the synths and bass in level whenever the snare is played will clear the runway and prevent any major conflicts. This is the real “CRACK!” part of the attack sound. :), Fix Boomy / Boxy Snare EQ & Snare Compression Settings. The plastic, brittle sound of a bottom snare EQ tends to sit between 1kHz and can sweep up as high as 3kHz. Here’s the same snare sound with a smooth but extreme top boost (+10) using the Abbey Road RS127 EQ from the Softube Abbey Road Brilliance Pack. Need more thump? It’s always there by boosting at 2kHz–5kHz. Now adjust the attack and release times. Here’s a combination of EQ and compression using the Summit Audio Grand Channel plug-in. No compression is better than over compression. As you start to compress a snare drum you’ll also subtly lose some of the low frequencies (so try that rather than cutting with an EQ to see if it helps). Copy and paste the initial hit of your snare three or four times over, allowing the last hit to decay in full, then consolidate the entire clip. However, be careful because the low-end of this range is also where you’ll get body to your snare sound… you don’t want it to be too hollow sounding or thin, so don’t cut too much and do so with a narrow Q value. Here are some samples to show you how you can craft a great snare sound from your snare source, whether it’s a sample or live. His studio work on Gold and Platinum-selling records with iconic Christian artists such as Amy Grant, Michael W. Smith, DC Talk, Russ Taff, Twila Paris, Kathy Troccoli, and countless others gives him a unique perspective on the artistry and technology of recording. For snare drums, you can get a lot of gain reduction before it starts sounding bad, 10-15db. Snare drum. Related Article: Fix a bad snare drum sound. You can make a snare drum really pop in the track by compressing it substantially (5dB–10dB) but leaving the attack long enough that the initial transient still comes through. A safe ratio is 4:1, you are getting aggressive around 7:1, and you start to get into limiter territory around 12:1 (some say 10:1). Summit Grand Channel featuring compression and EQ. For example, you might apply some light compression to the kick and snare. The k… Here’s the Tube-Tech Channel version of a similar approach but with an extreme boost and cut at 60Hz, combined with a boost at 1.5kHz. This is not recommended for plug-ins, because they don’t distort gracefully. The key is you need to know how each sounds. but what if it doesn’t quite work in the finished track with all the overdubbed guitars and extra keyboard passes? Changing the EQ on the hi-hat can alter how the snare sounds. He also produced the world-renowned 3D Audio CDs, a series which allows listeners to compare mics, preamps, analog-to-digital converters, DAWs, and summing, giving them the ability to hear the differences in their own spaces. Again, compressor settings for a snare depend on what’s recorded and how you want it to sound. That initial peak energy is your transient. The second are the compression settings which I already mentioned in this tutorial: “Audio compression tips for mixing”. You can see the settings on the image below. As the snare hits, there’s an initial peak in your waveform that slowly tapers off. A good way to find optimal settings for your snare compression is to exaggerate the compression so that you can hear it very well. From the tweakiest techniques to the biggest ideas, our experts work hard to constantly supply inSync with a steady stream of helpful, in-depth demos, reviews, how-tos, news, and interviews. The snare drum can sit nicely in your mix, or it can be a total nightmare. Reach up to 6kHz–8kHz. Depending on what the song is, you might need a tiny bit of compression, or a ton of it. For more tips on getting a great snare sound, check out these other articles by Lynn Fuston. Ever since audio... Mastering for Vinyl: An Audio Engineers Guide, Choosing the Best Thunderbolt Audio Interface on Any Budget, How to Metal Scream Without Hurting Your Voice, 6 Tricks for Crafting an Awesome Snare Sound. Start here for eq on a bottom snare drum mic. Have a “save it for later” approach when recording so you have it if you need it when mixing. 3 – Best Preamps for Snare Drum 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. On hardware compressors, you can also push the signal into mild distortion to add some crunch on the snare. Start by applying a layer of compression on the individual drum tracks in your mix. 1 – Best Mics for Recording Snare Drums Those two settings will change the “vibe” of the sound, can cause or prevent clicking sounds, and cause the compressor to pump or breathe. If you remove too much when recording, then you’re boxing yourself into a corner for the mix. Start decreasing the threshold until you have some gain reduction. 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. Right? Just be VERY careful to listen for increases in ring, lost of presence in the stick attack, and quick breathing of the compressor. Compression helps you find the perfect balance for a track that has good dynamic range with a nice, full body. That’s why I say start with a ratio in mind. Use fast enough attack and release settings so that the snare track brings down the snare in the overheads. Listen to how the low boosts at 150Hz and 250Hz really bring out the meat of the drum. Most any software or hardware EQ will do the trick when it comes to EQing the snare, but some EQs are really special. I initially discovered this outcome using the compressor on the British Calrec console, but it works almost as well on an SSL. Attack: 20ms Release: 40ms Threshold: -12dB Compression ratio: 5:1. Bleed Problem? Being music makers ourselves, we love geeking out on all things gear. Set the ratio as your gut tells you you’re going to want to start. Next try pulling out some of the low end by turning up the ATTEN (attenuate) knob, which offers the same frequencies as the BOOST knob but with different curves, so instead of canceling each other out, they make some really cool-sounding curves. You want to look at the gain reduction meter when compressing. Here are some pointers about how to get the necessary impact or snap in your snare. You can see the settings on the image below. In general I agree that it's hard to give advice for EQ and compressor settings without hearing the source material, but I think in this case it's slightly different. Mixing drums isn’t easy. Left-leaning political and social articles to help you understand American politics, appreciate music, and laugh at being human. Today I will be sharing with you a snare eq guide to help you get a phat and punchy snare using an equalizer.But before you start adding EQ on your drums, check if there’s any phase cancellation and tune your drums. Then apply a layer of compression across the drum group as a whole. The stick of the attack is around where our ears are most sensitive 2-2.5kHz. Need more bite? Ratio from 4:1 to 8:1. (And don’t forget to listen for phase issues and flip the phase on the bottom mic if you hear any phase problems.) Snare body / beef. Get Directions | Pulling that frequency range back will soften the attack, boosting it can help bring it out, but be careful because too much of that range can make the actual snares sound very “plastic-y” and brittle rather than the softer snares that people tend to like (more on snares sound below). This chokes the snare and really makes it bite in the track. 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