LOW Snare Drum Tuning for RECORDING

[kingkongnuclear]

Hey guys..

i have a problem..
my band has recorded 2 albums together...and now in the process of writing the 3rd one..
we're experimenting with different snare tuning to really have our own signature sound..so far we've been playing with a slightly tighter tuning...we're using a maple sonor, and our snare is 14x5.5, we play mostly rock.

what we researched around, specially when switchfoot came, the drummer tuned his snare extremely low, to the point unbearable to the drummer's ear..but when mic'ed with some gate or comp. i dunno it sounded really awesome..it doesn't seem to work with high pitched snares though..some other drummer frens we have also agreed in this technique...

anyone has any experience in this matter?

[Ian Ballard]

Well, if you worked with Steve Albini, he would require you have a "tom-tuned" snare. Listen to "In Utero" by Nirvana or his work with the Pixies. The snare has a "boong" to it, not a "pop".

Dale Crover of the Melvins (one of my rock heroes) always tuned really low.

It's kind of a staple for "Stoner Rock" bands and anything that's dredgy and "D-tune"-based.

I've done some projects where I tune my snare lower than I prefer. Even Tony Williams used a lower tuning (compared to most Jazzers) in his latter years. You can get a real meaty sound and sometimes it works better with some styles of music.

I use a 6.5" x 14" Ludwig hammered-bronze Supraphonic.... probably one of the most wide-tuning-friendly snares I've ever used. I think your Sonor should be OK. Besides, if the producer is using Pro Tools, he can make your snare sound like anything.

[SpankYDubbS]

I use a 6.5" x 14" Ludwig hammered-bronze Supraphonic.... probably one of the most wide-tuning-friendly snares I've ever used. I think your Sonor should be OK. Besides, if the producer is using Pro Tools, he can make your snare sound like anything.

Pro Tools will make any drum sound good no matter what tuning abilities you have. Make sure your producer gets Pro Tools!

[Ian Ballard]

Pro Tools will make any drum sound good no matter what tuning abilities you have. Make sure your producer gets Pro Tools!

But I don't think it should be a crutch. The best drum sound I ever got was from analog tape and a basic digital mixer with Samplatude and some plug-ins.

Good mics, good room and a well-tuned drum... coupled with a good player and you don't need any program, really.

[Mediocrefunkybeat]

Pro Tools will make any drum sound good no matter what tuning abilities you have. Make sure your producer gets Pro Tools!

Definitely shouldn't be a crutch. And this is coming from a guy who is currently training in Pro Tools. The best input signal possible is the most effective way of getting the desired sound.

[Ian Ballard]

Definitely shouldn't be a crutch. And this is coming from a guy who is currently training in Pro Tools. The best input signal possible is the most effective way of getting the desired sound.

An example of "hey look at this new toy called Pro Tools" mentality is "Nevermind" by Nirvana. Terribly stale, sample-ridden drum sound. Evidently, the drum sound was recorded badly and Pro Tools came to "the rescue". However, nobody in that band, especially Dave, liked the end result.

Of course now, there are plug-ins that can make your 22" muffled bass sound like a Bonham drum... or your cheap steel Tama snare sound like a Supraphonic. But you have to sit and tweak for an hour to do it. Just start with a good sound and Pro-Tools will only be useful for edits and "mistakes" on tape.

[kingkongnuclear]

how about for live situations then? any of you guys have any experience?

[diosdude]

I think you should go for that Metallica "St. Anger" snare drum sound. By far, the most talked-about snare drum sound to come out in the last decade.

Okay, maybe not....

[Mediocrefunkybeat]

An example of "hey look at this new toy called Pro Tools" mentality is "Nevermind" by Nirvana. Terribly stale, sample-ridden drum sound. Evidently, the drum sound was recorded badly and Pro Tools came to "the rescue". However, nobody in that band, especially Dave, liked the end result.

Of course now, there are plug-ins that can make your 22" muffled bass sound like a Bonham drum... or your cheap steel Tama snare sound like a Supraphonic. But you have to sit and tweak for an hour to do it. Just start with a good sound and Pro-Tools will only be useful for edits and "mistakes" on tape.

I haven't listened to that album in years. Bearing in mind it was released in 1991, I'd like to see how much editing went into it. I do much prefer Bleach and In Utero, with that said.

[jonharter]

An example of "hey look at this new toy called Pro Tools" mentality is "Nevermind" by Nirvana. Terribly stale, sample-ridden drum sound. Evidently, the drum sound was recorded badly and Pro Tools came to "the rescue". However, nobody in that band, especially Dave, liked the end result.

Of course now, there are plug-ins that can make your 22" muffled bass sound like a Bonham drum... or your cheap steel Tama snare sound like a Supraphonic. But you have to sit and tweak for an hour to do it. Just start with a good sound and Pro-Tools will only be useful for edits and "mistakes" on tape.

I highly doubt that Butch Vig or Andy Wallace were using protools on Nevermind.

[joeneau]

I think you should go for that Metallica "St. Anger" snare drum sound. By far, the most talked-about snare drum sound to come out in the last decade.

Okay, maybe not....

'PANG PANG PANG PANG'

[keep it simple]

we're experimenting with different snare tuning to really have our own signature soundThen keep on experimenting. Doing something the same as, or similar to others, will never give you a "signature" sound.

[kevthedrummer]

I highly doubt that Butch Vig or Andy Wallace were using protools on Nevermind.

I remember looking into this on live nirvana, and they did not use Butch Vigs mixes, it was the record company intruding and basically digitized and commercialized the sound. They replaced many snare hits with samples etc...

Oh and I can confirm that loosening the top head really does make for better recording, particularly in the rock arena. But it becomes very difficult to keep the head at an even tuning, and I have to tweak it between takes

[druid]

I really....really....really......doubt pro-tools are the reason for the drum sound on Nevermind....those sounds are the result of Dave G slamming those drums....not to mention that was released in 1991....I am not sure how much Pro tools were even being used then.

[brentcn]

I really....really....really......doubt pro-tools are the reason for the drum sound on Nevermind....those sounds are the result of Dave G slamming those drums....not to mention that was released in 1991....I am not sure how much Pro tools were even being used then.

In 91 everyone was using ADATs or 2 inch 24 tracks, if they could afford them.

But recording analog doesn't mean you can't sweeten your snare sound with samples; Bob Clearmountain and Mutt Lang did it all the time, and very, very well. A friend of mine actually owns a CD of drum samples made by Bob Clearmountain.

A common trick used to "deepen" a snare track was pitching it down an octave (after gating and compressing), usually with an Eventide 910. The pitched down track was then mixed in with the original snare track. Back in Black is no doubt the best example of this parallel processing technique.

But more modern recordings are probably using a sample-enhancement technique, or maybe a replacement altogether with a sample.

My own experience is this: if you're really slugging the snare, back the mic off an inch or two. But if you doing lighter, funkier stuff, then move the mic a bit closer. I use an SM57 exclusively for snare, but I always end up boosting the highs around 5 kHz or so, and sometimes boosting the lows around 200 Hz, for more punch.