Does Joey ever use a bottom snare mic?

[Backe]

I'm wondering, 'cause I've never seen him using one.

 

[DevonSteelman]

To make samples? Nope. To track drums for a song? I'm not sure, but it's doubtful considering he uses the same setup for both. If I remember correctly, he said he doesn't ever use one because he gets enough of the snare's through the overheads and room mic alone.

 

[Backe]

well, replacing the bottom snare mic is close to impossible so that seems like an unneeded effort. but his snare tones are so full, and ever since I started using a bottom mic I know my snare tones have improved alot so I was just figuring how he gets around that. I know it's mostly Slate though, haha.

 

[Trevoire520]

I'm sure I remember seeing an old post on the Sneap forum saying he records a bottom snare mic and always puts it 6dB louder than the top mic. Infact I also remember a post where he talked about his processing for snare top and bottom mic's. So yeah I'm pretty sure he does, or at least he did...

 

[jeffreyfeast]

I agree. I've also read the same thread for the processing on the bottom snare Mic.

 

[JeffTD]

Nope. Nothing I've edited has had any kind of bottom snare mic.

 

[DevonSteelman]

This is the post everyone is talking about.. However, it's from 2007. I highly doubt Joey's snare processing is even remotely close to this anymore.. Except for maybe removing ring lol! And as Jeff has confirmed, there's never been a bottom mic involved when he's edited drums for him. :Spin:

every snare i record goes through the same thing, because im cool like that

SSL E-Channel
TOP SNARE
threshold : -20 db
attack (leave fast attack off)
release : .100
ratio : 3 or 4

+9db at 8 no bell
+9db at 200 no bell

use expander to cut a little ambience if you need to, gate if its a live kit

BOTTOM SNARE
turn this one up 6 decibels LOUDER than the top snare
threshold: 0
attack (fast attack on!)
release: .100
ratio: 8:1

+3 at 8 no bell (bell if you want a rock sound)
+6 at 200 no bell

then just use Q1 mono on each track to cut the particular head's "ring tone", a Q of 50 or 100 will do it, -18db of cut wherever the ring is (there might be many, find the one that sticks out in the track while its left flat eq, find it, and cut it)

i usually use RVERB for drum verb, but i've been toying with plate 140 from UAD to save my cpu's ass

the RVERB gives the snare body in the mix, because it produces a wide tail

the UAD can do the same, and it will be wider, but you'll need to know how to compress the reverb so it doesnt stick out like a sore thumb

this is just what i do to my actual snare tracks, much of the snare sound comes from the room mic's, and the agressive compression applied to them

 

[JeffTD]

And as Jeff has confirmed, there's never been a bottom mic involved when he's edited drums for him. :Spin:

What? Who said I edit drums for him? I just lick them and then send them back.

 

[joeymusicguy]

haha

i dont use a snare bottom anymore, because honestly just dont need it most of the time.

 

[OneDaySky]

What? Who said I edit drums for him? I just lick them and then send them back.

Haha. Love the analogy Jeff

 

[GearMan2point0]

But sometimes it is nice to have the bottom snare......I use it, I replace the top snare and keep the bottom and it blends nicely in almost all instances with compression and eq.

 

[Backe]

thanks for the input guys! the whole reason I'm asking is 'cause I'm recording a band in a couple of weeks and when it comes to drums I'm limited to only 8 inputs and I was wondering if one could drop the bottom mic on the snare and get away with it (since I haven't done that in like a year), and I'm really into full sounding overhead material, so I need slots for lots of SM81's! mohaha

 

[ahjteam]

thanks for the input guys! the whole reason I'm asking is 'cause I'm recording a band in a couple of weeks and when it comes to drums I'm limited to only 8 inputs and I was wondering if one could drop the bottom mic on the snare and get away with it (since I haven't done that in like a year), and I'm really into full sounding overhead material, so I need slots for lots of SM81's! mohaha

1 kick, 2 snare, 3-5(6?) toms, 6-7 overheads, 1 spare

 

[jimwilbourne]

Use the extra pre for a room mic.
Totally worth it.

 

[OneDaySky]

Use the extra pre for a room mic.
Totally worth it.

Hells Bells What you using for a ambient room mic?

 

[JeffTD]

If you're running out of inputs when tracking but still want room mics you can always record with direct mics, do a rough level/pan mix of the raw drum tracks, and then blare them through the monitors and record room mics that way. Not 100% the same but if you crush them with an 1176 style comp anyways you'd hardly notice the difference. That's how Slate recorded some of his room samples, anyways.

 

[OneDaySky]

If you're running out of inputs when tracking but still want room mics you can always record with direct mics, do a rough level/pan mix of the raw drum tracks, and then blare them through the monitors and record room mics that way. Not 100% the same but if you crush them with an 1176 style comp anyways you'd hardly notice the difference. That's how Slate recorded some of his room samples, anyways.

WOW, thats a pretty interesting trick that

 

[jimwilbourne]

Hells Bells What you using for a ambient room mic?

I'm currently rockin a Neumann TLM 49 for the room mic.

However, I'd like to point out that jeff's trick can work well for the same application. Especially if your drum tracing room doesnt work well with your room mic. You basically need to test your space and see what works.

 

[Trevoire520]

Yeah that's something I've thought about doing, means you can be running your final drum sound (with samples blended in etc) through the room, plus you don't have to deal with the horrible cymbal wash that can really fuck up your rooms.

 

[Backe]

If you're running out of inputs when tracking but still want room mics you can always record with direct mics, do a rough level/pan mix of the raw drum tracks, and then blare them through the monitors and record room mics that way. Not 100% the same but if you crush them with an 1176 style comp anyways you'd hardly notice the difference. That's how Slate recorded some of his room samples, anyways.

I think the drums can do without the sound of my bedroom lol!

on a previous project where I ran out of mics, not inputs, I sent all the shells pre-fader and just a tad of the OH's into an FX channel within cubase, used a room reverb at 100% mix and smashed it to shit with Stillwell Audio's "The Rocket" compressor, worked wonders! I did try a Rode NT1-A at a fair distance but the room just sounded like shit no matter where I put it. I kinda regret not recording that mic though, cause I've had great results sending the ambient mics themselves through room verb plugins.