OH/snare problem
- Thread starter Leon--
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Jrich4967
Member
well, if you are sample replacing the snare and dont want the original snare bleeding through the OHs, you sidechain it to a gate or compressor, so that when the sample hits, it will take out the OHs snare. Or, this might be easier, if the snare and the OH's snare are in phase, invert the phase on the snare track, and to my understanding, it should atleast make the snare sound way weaker, letting a sample easily cut through.
Also, more experienced AEs chime in and correct me if I'm wrong. I'm still learning too
Also, more experienced AEs chime in and correct me if I'm wrong. I'm still learning too
It starts at the source with how you place the microphones and the room. As far as EQ tips, most snares have a fundamental around 200Hz. Some are 150, 170, 200, 210, 220, etc. You can highpass the overheads to help, which most people do anyway as they have unnecessary low-end in them. I have only ever gone as high as like 600-650Hz with a HP on OH's, typically it's more like 400 or so. If that isn't enough try cutting out around the 200Hz area as well to help get rid of some of the snare fundamental in there. If it's still a problem, sidechain a compressor like Jrich said to the OH bus and get it so that it ducks out the snare hits. If all of that doesn't work you're fucked. 
Trevoire520
Member
My argument would be to record a nice sounding snare in the first place so you don't have to kill it in the overheads later 
If you have to do it then sidechain a limiter to kick in every time the snare hits, and high pass the overheads at around 500hz.
Overall though I've never really understood this mentality. I've never had a snare sound so god awful that I sat thinking "I need to get rid of that snare in the overheads" To me overheads are half the drum sound!
If you have to do it then sidechain a limiter to kick in every time the snare hits, and high pass the overheads at around 500hz.
Overall though I've never really understood this mentality. I've never had a snare sound so god awful that I sat thinking "I need to get rid of that snare in the overheads" To me overheads are half the drum sound!
or you reverse the phase of the mainsnare track so it kills the bleed automatically
or you highpass the whole OH Tracks around 2000Hz. Tom mud dissappears and the bad cymbal frequencies wont eat into your vocals
or you highpass the whole OH Tracks around 2000Hz. Tom mud dissappears and the bad cymbal frequencies wont eat into your vocals
gabriel g.
Member
Clark Kent
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- Jan 23, 2011
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I'm with Trevoire520 on this one. Overheads are the most important mics for a snare. That's why you should record in a proper room. If you are only using close mics for your snare, don't expect good results.
If you are using a sample that sounds weird with the OH snare sound, simply side-chain it. But try some IR reverbs to mask it a bit.
Ask any three-named pro engineer and they'll most likely say they use snare close mics merely as a flavor to add frequencies that they think were lacking in the OH tracks.
If you are using a sample that sounds weird with the OH snare sound, simply side-chain it. But try some IR reverbs to mask it a bit.
Ask any three-named pro engineer and they'll most likely say they use snare close mics merely as a flavor to add frequencies that they think were lacking in the OH tracks.
jackbraglia
Member
phasing it out wouldn't work because those mics wouldn't be in phase with each other to begin with. good idea though.
but regarding the OP, I'd just work with what you got. the best you can do is notch out the snare a bit, just sweep the spectrum until you find where its loudest and then cut in that area
jackbraglia
Member
Sloan
Sounds like shit!
I have actually side-chained hi hats in the overheads before to reduce their volume when played hard during certain parts of songs, it was super shitty to do, but it worked.
Genius Gone Insane
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I'm guessing you did some heavy editing and your triggered snare doesn't match the natural snare coming through the OHs. If that's the case then, yes you are pretty much screwed on getting a good OH sound. The sidechaining may help but I think in the end you will have to high pass the OHs higher than normal, maybe above 1200. You'll lose a lot of your OH sound but at least your snare will come through a little more clearly. 2 cents.
Right, but I know for me, most of the time, the balance between the cymbals and the snare and toms is way off. I almost always end up with cymbals overpowering the snare, not leaving much room for to work with the close mics to add to the overhead sound. It's usually the other way around - having to work in the overheads to supplement the close mics, instead of working in the close mics to supplement the overheads. Ugh...
I know I could move the overheads higher to get more of the whole kit sound, but it starts to lack definition and smears the stereo image a little. Probably mostly comes from the drummer's performance, too. Easier on the cymbals and beat the living hell out of the snare.
