Archive for June, 2010
Recording Drums: Part Three (Snare Drum)
by Tim Smith on Jun.20, 2010, under Studio Recording Tips
When I started this Drum Recording article, I had intended to wrap it up with three installments. Only now I can see it will take much more to cover such an intricate and sometimes difficult instrument to capture!
Moving on to yet another “signature sound”, the Snare Drum, which in my own opinion can make or break the songs overall sonic character if it just doesn’t sound right. As mentioned in the past, good sounds start at their source, there is definitely no exception for the Snare. With that being said, please note that there are tons of great sounding snare drums and most of the drums tone comes from the materials in which it was made. For example, the type of wood or metal all the way down to the thickness and size. Finding a great sounding Snare Drum can be somewhat of a task but it really just boils down to research and nothing else.
Let’s assume you have a decent, lively, full bodied Snare Drum with the most ideal head for the tone. My first tip on this subject would be to pay close attention to sound you are going for and match a drum to that (you will get there much faster). For example, if you are looking for a “pingy” like sound, then start with a snare drum that has that characteristic, it’s that simple. Just like all other acoustic instruments, the room in which this sound is to be recorded in makes up quite a bit of the final sound. If it doesn’t sound like what you are going for in the room then you are not there yet.
Most “Session Drummers” know this more than anybody, that’s why they show up at the Recording Studio with four (4) Snare Drums, and occasionally an over abundance of cymbals. Always keep in mind that just because it sounded great at the venue or rehearsal space does not mean it will sound great in every room thereafter. This is the best starting point tip I can give you.
Once you have the perfect equation of “Drum + Room”, we can move onto other important details. Microphone choice and placement is the next big deal with achieving a great sound. Because there are so many excellent microphones available on the market I will default to my personal favorites and use them for my discussion. I prefer the Shure Beta 57A as a Snare Top Mic and a Shure SM57 for a Snare Bottom Mic. For some of you that are just dabbling in the Recording Arts, you may not be familiar with the bottom mic technique. I have found it necessary to utilize both top and bottom placement to reach my desired result, some engineers chose to option out of using the underside microphone and rely primarily on the top and sometimes use bleed from their Overheads to balance it out.
I like to use the Shure Beta 57A for the top mainly because of its “Hyper Cardioid” pick up pattern, it tends to pick up a bit less of the Hi-Hats. There was a time when I would use the SM57 on top but found I was always removing something weird in the mid range, as strange as this may sound I have come to believe the Beta 57A by default has less of whatever that was and therefore just seems to fit better in the mix. Regardless, these are just my starting point microphones of choice and could change if I were in a different room or was recording a different Snare Drum.
As far as my bottom mic, it really doesn’t matter to me. I almost always use it in the mix but only to a small degree, sometimes only 6-10 db. I will say this; I am not a big fan of condensers for the underside technique, mostly because I feel that they gather too many other unwanted sounds (Kick, Floor Tom, etc.).
The next Big Deal when going for a great Snare Drum Sound is Microphone Placement. As with most all drum mic’s, you must always be sure your gear is safe from flying sticks!
Top mic placement will usually be as far from the Hi Hats as I possibly can get without putting my intended Snare sound at the risk of not being captured properly. The idea at this point is to start using your ears, and listening to different areas of the drum. I generally find my Snare Microphones home approximately about three (3) inches off of the head just barely hanging over the rim or hoop, pointing toward the center of the Snare Drum. The bottom side will always be at a ninety degree angle to its counterpart above and about two (2) inches away from the “hazy” (bottom Snare Drum Head). I honestly do not spend very much time adjusting this mic; it’s going to get what I am looking for regardless.
From this point on, your decisions should be primarily influenced by your ears. If you are not getting the sound you were hoping for, perhaps you should look elsewhere. Most “bad sounding” recorded Snare Drums can be accounted for with poor tuning, a less than desirable room sound, the microphone(s) or even the Pre-Amp(s).
One should also note that “your one snare drum may not work for every song”.
Our next Drum Recording installment we will discuss “Toms & Floor Toms”. Until then, let’s make some great music!
Chief Recording/Mixing Engineer
Does Your Recording Software Really Make A Difference?
by Tim Smith on Jun.16, 2010, under Studio Recording Tips
When it comes to quality recordings, I will be the first one to tell you that it has absolutely nothing to do with the software you are using. With tape machines being somewhat a thing of the past and studios now working primarily in the digital domain, I think it’s safe to say “digital is digital”. With the exception of a few that may not offer 32 bit float or perhaps a 64 bit capability, they are all the same in terms of “capturing audio and storing it”.
So where does the quality difference come from if it’s not within our choice of software? Surprisingly there are so many other factors of importance that we can lean on for “quality” before we even begin discussing software. Many of these, I might add, are severely overlooked.
Let’s start at the top of the list, with the musical performer. I can tell you first hand, a good player versus a poor player can make or break a recording even before it’s time for mix down. Odd, I know, but yes this is probably the most important element needed for a great recording. Believe it or not, there is a major difference between a gig at your local venue and placing yourself under the microscope of the recording studio. Not only will you find the need to set your gear up differently but you will also find the demand to perform your instrument in sometimes unique way to get a completely different point across!
Keep in mind that a great performer will not get you far without top notch sounding gear. This is not at all limited to a well set up instrument, tuning, cables, peddles, heads or strings. It’s important to be sure your amps create little to no hum or buzz. Your players and your instruments are the root of where the quality really starts. Without these two elements, your recordings will greatly suffer. Please note that “software” still has not been brought into the equation.
In the recording studio, engineers pay very close attention to something we call “gain structure” (…the keeping of optimum strength between devices or throughout a signals path). I mention this term because in many ways it can be used to describe exactly where quality lives.
At this point, we have a few different aspects that enter the picture to make or break the outcome of a recording. In my personal opinion the next important detail would be the room acoustics. As the old saying goes, “if you want it to sound like a basement, then record it in one!” Believe it or not, over 50% of your recorded sound (aside from line instruments) is greatly influenced by the “characteristics” of the room. I should also point out that there are absolutely no exceptions for your monitoring environment either.
Let’s recap; Quality now equals Performer, Musician and Room. What else could possibly come before Software? How about Microphone choice, Microphone Placement and let’s not forget about Cables. Much like “HD TV”, cable quality is beyond valuable when it comes to a clean and detailed recording.
I never said it was easy to make great sounding recordings, I just said the software has nothing to do with it. In fact, at this point we are only about half way through our signal path before reaching any “capturing medium” such as “Pro Tools”, “Nuendo” or “Cubass”. What other obstacles could “color or degrade the sound”? Depending on the instrument or voice being recorded, the audio will most like travel next to a “Pre- Amp” designed to bring our microphone signal up to a line level and in some cases even supply power. This alone can make a major difference in the end result. After a Pre Amp, we might pump the sound through a compressor or limiter; once again quality can be lost due to low budget gear or in many cases lack of “operating knowledge”.
Before we go any farther, I’d like to share a personal endeavor for further supporting these ideas. When I was about seventeen years old my friends and I recorded an album with our analogue four track cassette recorder. The music consisted of live drums, guitars, bass, key boards, percussion and vocals. I realize you are most likely scratching your head wondering how we managed to fit all of that on four tracks! Well, I will leave you to research that on your own but I’ll give you a hint, it’s called “bouncing”. Anyhow, we entered a contest (The Independent Music World series: Disc Makers) which was broken up into regions, ours being the Mid West. Well over a 1000 acts entered music with only three to be chosen for a number of different awards. To make a long story short, are “four track recorded song” ranked at number nine (9)! The material submitted was judged primarily on recording quality. The medium in which the music was recorded hardly played a role.
Are we there yet? Just about, only a few more major details which greatly dictate our final quality. Before we reach our software the audio will need to be converted to an acceptable (or perhaps the highest) sample rate and bit depth available. This conversion takes place in the “A/D Converters”, or with smaller setups a “Soundcard”. Poor converters will detrimentally degrade the signal, just as great converters can exceptionally capture the truth with pristine sparkle. As every element discussed thus far, all are equally vital to the art of successful recording. Along side of this process, your system will also need to depend on top of the line clocks for proper synchronization.
What else could make such a difference in quality before software choice? It’s hard to not notice all of which we have listed without once mentioning Pro Tools, Nuendo or Cubass. Perhaps you are familiar with the phrase “it’s the driver not the car”. A talented, intuitive recording engineer can get you the desired sound with technique and knowledge. The great ones can get you this result with anything from a four track to the latest and greatest of D.A.W. Software based systems as well as the elite state of the art consoles like Neve or SSL.
The truth of the matter is, the quality of your recordings does not revolve around any of the above mentioned programs. All of these are simply a matter of taste, some have more options than others and some do not have much of a difference at all.
“…for years I used an ACE Hardware Lawnmower to cut my lawn, recently I upgraded to a powerful Troy Built Mower with lots of sweet bells and whistles. Does it do a better job? Not really, in fact I think it’s worse.”
