Snare processing. From delicate brushwork to bombastic rim-shots, the snare drum’s wide dynamic range fills out the frequency spectrum between the cymbals and the bass drum.
It’s important for the recording as a whole that you snare the perfect snare sound because it greatly influences the overall sound. Simply changing out the snare drum on a tune or processing it just a bit can have a dramatic effect. The best way to capture a killer snare sound on a recording is to start with a well-tuned snare drum, a good player, and a decent room in which to record. Microphone and preamp selection and mike placement come next. Once you get the best sound possible to tape or hard disc, you can shape and manipulate it as desired with a variety of processing techniques. Since it all starts with the instrument, let’s do a quick review of the snare drum itself. Different woods offer different characteristics, from the warm, open sound of maple to the punchy, sharp attack of birch. Fig. 1. Tips & Techniques:Drums - Mixing tips by James Meeker. Random tips... not always useful but nice to know. 1.)
Snares love plate 'verb 2.) Multiple 'verbs on snare often works 3.) 4.) 5.) 6.) 7.) 8.) 9.) Mixing Multitracked Drums. Technique : Recording / Mixing With drum machines and samplers becoming increasingly prominent in music production, mixing real drums is becoming something of a lost art.
Paul White explains the basics of this important mixing skill, and shares some secrets on how to get the best drum sound. In the world of synths and samplers, we take acoustic separation for granted, but when it comes to mixing acoustic drums, things are very different because of the usual way in which a drum kit is miked up.
Normally pop productions use close mics for each drum, a pair of overheads to capture the overall kit sound and room ambience in stereo, and often a separate hi-hat mic. The first thing you notice when you play back recordings of real drum kits is that each mic will have picked up more than just the sound of a single drum or cymbal. Kicking Off Let's concentrate on the kick drum first. Snare Separation Isolating The Toms Hi-hat And Overheads. En studio avec George Massenburg : prise de son de la batterie. George Massenburg est, à n’en pas douter, l’un des plus grands ingénieurs du son de tous les temps.
Pourquoi ? Parce que dans les plus de 200 disques auxquels il a participé comme mixeur, ingé son ou producteur, on compte des musiciens aussi prestigieux que Roy Orbison, Randy Newman, Aaron Neville, Billy Joel, Frank Sinatra, Toto, ou Earth, Wind & Fire, sans parler de la fine fleur de la Country Music (Linda Ronstadt, Emmylou Harris, Dolly Parton…). Mais ce n’est pas la seule raison.
Kick & Snare Recording Techniques. We pass on the hard-won wisdom of fifty top producers in the essential Sound On Sound guide to recording kick and snare drums, the backbone of modern music.
Mike Senior When it comes to describing in interview how they record drums, top producers seem to spend more time discussing techniques for snare drum and bass drum than anything else. The reason I know this is that I've recently been combing SOS's interview archive and Howard Massey's book of interviews Behind The Glass, looking for nuggets of wisdom on this very subject. In the process, I've compared the snare- and kick-recording tricks of fifty high-profile producers, who are collectively responsible for hundreds of millions of record sales. My aim in this article is to distil that information for you, to help you on the way to your perfect drum sound.
I'll be dropping a lot of producers' names in this article, some of which you may not initially be familiar with, even though you've probably heard a lot of their records! Formation Audio SAE. Mixage batterie. Salut à tous.. bon voila je suis du site en gros ce que je demande : voici une façon de mix de batteuse.. donc j’espere que cela pour en aider certains et que d’autre me dirons ce qu’il en pensent : :) Comment Mixer une BATTERIE Bon bah commençons par ce qu’on risque de rencontrer le plus souvent, une batterie acoustique rock...
De toute facon les samples des batteries électroniques sont souvent déja vite fait mixé... D’ou l’intérêt de la batterie elec d’ailleurs, ca fait du boulot en moins ! J’ai justement déjà posté l’essentiel sur l’autre topic. 1°/ Kick Noise Gate (éliminez tous les bruits parasites, en premier de la chaîne et SURTOUT avant la compress, car il s’agit d’éliminez la reprise des autres éléments. L’EQ, sculpter le Kick, en lui rajoutant des fréquence grave ou non, en lui rajoutant ou non des harmoniques. Le plus difficile sera de faire que la grosse caisse et la basse n’empiète pas sur leur plate bande respective. Compression. Batterie Rock - Mixage EQ & Compression.