Hey guys,I'm a little bit new here so I'm not exactly sure where to post this but I was having some questions on kit compression and gate settings, specifically the snare. I have an 01v96i which I know is pretty small scale but it works for what I need it for. The snare is a deeper snare and I'm using 2 Shure beta 98h/c for the top and the bottom. I have the phase on the bottom reversed. Each mic is about and inch away from their respective head.The biggest problem I'm having is that when the kit player plays a rimshot I get a nice loud crack, which is awesome. However when he plays just a regular note I can't hear it so I have to turn it up and then when there's a rimshot it sounds like a gunshot. Any way to help fix this?To be honest I will take any advice I can get but I'm really curious on numbers. I've already read a lot of articles about how to do it but would some of you guys be willing to give away actual numbers and settings that work for you? That would be great so I could try a variety. Also an explanation behind those numbers would be awesome. However I will take any advice I can get. I'm open to learning!!! Thanks!!!
mic on a boom just off the back edge of the snare rim with the mic located at an angle and about 2-3 inches above the snare using an SM-57, Heil PR-22. Don't mic the bottom of the snare
Compression, gating, and numbers are not the right places to start. I'll bet you this is what's happening: The rimshot is picked up almost all by the top mic. A full hit is picked up more equally by both mics, leading to interaction between the mics. Contrary to the popular canard, simply reversing the polarity on the bottom mic isn't a guaranteed fix for this. The result is a very complex comb filter. Try the polarity on the bottom mic both ways.Mute the bottom mic. How does the snare drum sound now? Sometimes one mic on top is all you need. Does the full hit volume compete better with the rimshot now? If it doesn't, move the top mic away from the point on the rim where the rimshot occurs.If the sound of the top mic alone isn't giving you enough of that sizzle, bring the bottom back in. Usually it doesn't need to be as loud as the top. Since you're only looking for high end out of this mic, you can high-pass the crap out of it, at least 4-500 Hz or even higher. Turn the high pass up until you feel like the bottom mic is no longer messing with the "body" of the top mic, continuing to flip the polarity back and forth.I don't believe in "magic numbers." Learn how to f :)k around with it until it sounds right and you'll never need to remember any numbers.
Before you go crazy with gates and compressors, let's back up just a bit. I didn't recognize the mic you're using as one I would use for a snare so I did a little research. Shure doesn't recommend the 98H/C for use with drums, they recommend this nice little clip on mic for just what I've used it for once or twice in the past. They recommend it for BRASS instruments, hence the clip on and flex feature. Please run a test with a mic on a boom just off the back edge of the snare rim with the mic located at an angle and about 2-3 inches above the snare using an SM-57, Heil PR-22. Don't mic the bottom of the snare, and see if that doesn't cure your problem. Keep in mind the mic you use will have to have good rear rejection characteristics or an excess of cymbals may bleed into the mic. Let us know how you make out.
Shure does recommend the Beta 98H/C for drums see the below quote from Shures web site.The BETAŽ98H/C and the wireless version WB98H/C are premium cardioid condenser instrument microphones that clamp onto the bell of wind instruments or onto the rim of percussion instruments. The integrated gooseneck and ratcheting swivel joint allows the mic to be easily positioned and secured, and an isolation shock-mount reduces the transmission of instrument 'key noise' and other mechanical noise. A gooseneck angle brace is included to provide better retention of the microphone placement during more active performances.
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