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Sixteen Samples Of Mics On Snare

Member for

13 years 11 months
Well now...
This is one I've been meaning to get to for quite some time.
I've put it off long enough, so here goes.

The gear:

Again, the mixer: [="http://www.zzounds.com/item--YAM01V96V2"]Yamaha 01V96v2[/]="http://www.zzounds…"]Yamaha 01V96v2[/]
Snare: [url=link removed Omar Hakim Signature 13x5"
Recorder: Tascam CDRW2000
The DAW (for normalizing): Sony Soundforge 7

All mics recorded at same basic angle - roughly 2-3 inches from top head, off to left side and aimed at the center.
75Hz HPF on mic channels. No other EQ. No Compression, gating, etc...

The mics:

1) Neumann KM84 (Switched to -10)
2) Audio Technica 4050 (Cardioid, -10, Flat)
3) Shure Beta98
4) AKG C480B with CK61/ULS (Cardioid) capsule (-10, Flat)
5) AKG D125 (Because it was in my way)
6) Shure SM77
7) AKG C535EB (0dB, Flat)
8 ) EV 468
9) Sennheiser e609 'Silver'
10) Sennheiser 409 (The real thing)
11) Shure SM57
12) Shure Beta57
13) Beyer M88
14) Sennheiser MD421 (M)
15) Audix D2 (For DaveDog)
16) Sennheiser MD441 (M, Flat)

[[url=http://[/URL]="http://www.soundcli…"]Click here to access the trax.[/]="http://www.soundcli…"]Click here to access the trax.[/]

Enjoy!

Comments

Member for

21 years

Member Thu, 05/22/2008 - 18:04
I really like the sound of the AKG C535EB. It has a certain crispness to it but at the same time, a nice full low end.

Does anyone else think that the Senn 441 sounds like its the open fill from "Superstition"? It has a very nice analog sound. It doesn't have a crisp high end sound but its interesting.


Thanks again!

Member for

19 years 9 months

Davedog Tue, 01/22/2008 - 13:58
This is now a sticky. We can all thank Ben for his efforts. Even though some might say its a skewed example of the mics' abilities, I feel as though it is a very good look into each ones tonal sweep.

You may continue to replay to this as there are no further needs of bumps.

Enjoy.

Member for

10 years 9 months

steinmanisk Wed, 12/15/2010 - 15:15
Thank you for the good work! I personally liked 441, 421 and 535 the best, as I was imagining the sound in a modern rock/metal context, where a lot of definition and clarity is needed. They kinda jumped out of the bunch.

I myself record snare drums with a MD441. It's a really great sound, but can get a little bass-heavy, which typically is not such a big deal in the studio. My only concern about this mic is that it is a pain in the *ss to position in front of a really intense drummer, as the microphone shell is not too durable against drumstick hits.. It's a shame Sennheiser didn't make the shells tougher..

Member for

21 years

Member Mon, 11/08/2010 - 04:35
SM57 - what a charm, too bad I couldn't have bought stock in Shure when they first released the SM57! What a mic. Nice presence and balanced freqs.

AKG 535 - pretty impressive, very bright, maybe too much so, but of course it's sold as a stage vocal mic, nice addition to the lineup!

Beyer M88 / Senn 409 / Beta57 - good balance and presence.

D2 - I can hear some of the appeal, but that mid freq belly makes it sound overfed or something! Might be good for some projects though

Senn 441 - decent freq balance for mid to lows but missing presence

MD421 - a bit disappointing, something about the freq balance just doesn't sit well with me

Ev 468 - Kinda scary. strange freq peak.

e609 - pretty bad! Sounds like it has a built in Q right around its high freq slope off. Yikes. It's marketed for guitar cabs and brass... but I can't see how its sound would do any instrument justice... unless there's an instrument or room that naturally has a nasty notch right around that mic's Q peak!

Bent - thanks again for this! Useful and good fun too.

Member for

21 years

Member Thu, 01/31/2008 - 20:28
- All the snares sound reasonably good.. although I hate to say it but the good ol' Shure SM57 has that something extra; it jumped out at me right away.. a bit more bright and clarity and true to the sound of the snare.
- The 4050 was a cut above as well..

- The Senns didn't sound as good as I thought they would.
Again - great stuff!

Member for

19 years 9 months

Davedog Sun, 01/20/2008 - 10:50
I would also say that the snare is a tad 'dark' but for this purpose suits just fine. A good test as there are a lot of dark sounding snares with the advent of the two-ply heads and the sometimes mad desire to get that calf-head sound. An under-snare mic will brighten this snares sound out a lot while retaining the 'thump' that this particular drum exhibits. Notice there is no 'ring' whatsoever.

Great job Ben.

So lets point out some of the aspects of the mics. Of course it goes without saying that each one would require a little tweek in placement and a touch up here and there on EQ to be perfect......and none would be the same.

I came up with three categories. These pertain to the mics themselves and nothing more.

I've got.....Natural, Accented, and Bens' bored and found yet another mic in the drawer.

Natural :

AT 4050. I would use this on a jazz player with no problem
C535EB. THIS is the perfect example of why we experiment. A predominately stage vocal mic that kicks serious ass on the snare.
SM77. I have always loved these . Most TV studios used them throughout the years.
Beta98. Almost as much as I like SM81's.....not quite...
KM84. Study this sound a bit before you dismiss it. It is very rich in tone and at first listen sounds a bit wonky. To me it sounds exactly like the drum and where its being struck.
C480. Another favorite. Its family includes the C451, and C460. All are great mics.


Accented: These all have an extended thud factor and would be great on many other sources as well. Guitar cabinets, kick drum percussion etc.

MD441. Love this mic.
Audix D2. See what I mean.........WHUMP galore!
MD421. No explanation needed. You can see why Remy has several.
SM57. Ditto.
Beta57. The SM with some upper mids.
MD409. While not a choice for snare per se, can you hear the mids just aching to get out? This is a guiat amp mic that cannot be beat.
E609. This is what they replaced the 409 with. A bit more highs but lacking in the guitar range. Still a good mic.

Ben's bored and found another mic in the drawer.

Well you get the picture.


Great job Hombre.

Member for

13 years 11 months

bent Sun, 01/20/2008 - 11:42
Gracias Señor!

Alrighty then...

My favorites of the bunch are the KM84, D2, and SM57.
The D125 was literally in my way when I grabbed the 535, so into the mix it went.

There were a few other mics that I wanted to slap up, but I felt 16 was ample - I feel I've captured a 50/50 mix of standard and atypical mics here.

The snare's top head is a Remo Coated Ambassador, and it did sound a bit dark in the room (4 wood panel walls, industrial carpet on the floor).

As I said earlier, there is nothing in the signal chain to color the sound, short of the 01V's pres (with 75Hz rolloff) and the CDRW2K's inputs - perhaps I should have run optical from the board to the CDR, but I chose the analog path instead...

I positioned the mics in such a manner to pick up a little room / a little strainer - my reasoning being that I feel this gives a better representation of the mics' frequency responses, which is ultimately the purpose behind the post.

I originally intended to follow this up with mics on toms, but after listening to this one I think that we can all hear the details of the mics (most of these would work on other percussion instruments in the same manner) and can correlate that to the response they would give, so it might be a moot point.

I'd much rather move on to either different mics / positioning on Overheads, or guitar - anyone object?

Anyway, I'm glad you guys enjoyed these. Sorry it took so long since the last post [[url=http://[/URL]="http://recording.or…"](Twelve Mics On Kik), [/]="http://recording.or…"](Twelve Mics On Kik), [/]and I'll try to get to the next round as soon as I am able!

-Ben

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