And I have a couple of Rode mics now, and an 414 that made a huge difference sonically, I think. So I bought the UA 6176 and the HHB Radius 10, and I think that made a huge difference. Sometimes I was just running directly into the computer. I didn't have any real preamps - I was running through a Mackie board. So I knew right away that when I was done with that record, if I could get some money I would buy some better preamps. I think one of the reasons I used so much reverb and delay and stuff like that on the first record was because you can kind of hide a bad-sounding mic with reverb. Was this an aesthetic decision, or just the outcome of different gear? There's a big sonic difference between Oh, Inverted World and Chutes Too Narrow. We sat down with James after he had returned from tour only to find that his house and home studio had been broken into. They also spent some time at Avast! Recording Co. For their second release, Chutes Too Narrow, the band, led by James Mercer, returned to the basement with more experience and some better gear. A band with great songs captures those songs using the gear they can afford and manipulates the recording process to turn technical limitations to their advantage. It's in all the mics whether you like it or not.The Shins debut album, Oh, Inverted World, is a testament to the power of home recording. And in the case of drums, don't try to all the sound of that close mike.
Don't make the mistake of making a bunch of holes with eq in them. The overheads have to be right to get the sound you're looking for. You'll be tempted to grab an eq and try to tweak out some stuff that you might really need later on. Do that with each part of the kit.ĭo all this with at least some elements of the mix in there. Use this to your advantage and get even more out of the snare. By the time you get them that loud you'll probably need to compress them for when the crashes come. See how much of a snare sound you can get with only the overheads. Try bringing up the overheads only (into the mix), and try to get a balanced sound starting there. It can be really important to a well-blended drum sound. You don't want to pull out too much of the 900-1k range. Usually the overheads shouldn't need much in terms of EQ. It lets the snare spread out and live without having to get all of a sound from a single, close-mic'd (un-natural) source.
Best way to tame a snappy snare crack#
The music you mentioned depends a whole lot on the crack that comes from the overheads for the snare sound. If it's already been recorded then this won't help much, but maybe next time. If there is a phase problem, then instinct might be making you try to get it louder and clearer and by the time you do that, you have a spike sitting on top of your mix. all having to do with the overheads.įirst thought would be phase with the overheads.
I'm gonna get me a TD4 to have more transient and sustain tools, cause this is becoming an area I'm dealing more and more with to get where I want to go. Blend this in with the original snare and things start to sound better. Longer release gives you mostly snap, shorter you get a lot of body. I then put a compressor on it with an attack time around 5-10ms and compress the sh*t out of it. Release is around 100-150ms, depending on the tempo of the song to get most of the hi-hat bleed out. 5ms, which shaves of the initial transient. What did (some of the) trick for me on my latest project: mult the snare and on the multed signal I first put a waves expander with an attack of about. For a snappy compressor, I'm mostly looking in the 2-6ms attack time, which means that these 'initial' transients arent dealt with.
With digital recording, at least to me there seem to be very sharp transients, in <0.5ms of the attack. When you think of all the instruments that are gonna be in the mix, and the compression+limiting on the master, it will tame everything out in the end anways. Go with the approach of a not so fast attack and then a quick release or a release in tempo. You want that transient to cut through the mix so you hear the snare. But in some respects you WANT that spike.
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