Not enough snare in OH

[joel hamilton]

Joel, I have a related question for you (and others):


I know this is just mic placement, but is there a specific name for this method?

Yes, it is called "recording" and it is what we do, as well as we can, every day...


Seriously though,

I dont think it needs a special name per se, because it is just such a basic part of recording things.

If you get it to work really well, name it aftr yourself!

[logancircle]

Indirect proximity mic'ing
or
Aiming at the Enemy
or
mic'ing

I'm kinda liking that last one.

[PeterSawatzky]

Whenever i use something like a mono OH, I just try to record the snare with it, because i KNOW there will be plenty of cymbals.... if the toms are not loud enough at that point, hit them harder or accept the limitations of the chosen aesthetic.

Gave that a try today, and it really worked! A lot closer to the sound in my head. Thanks.

[akg414]

I agree with the response. Increase "minimal" to more mics. Try the Glyn johns method (lot's of details on this site). I did and got FANTASTIC results from 4 mics.

http://www.bradjacob.com/music/chaos.mp3

This mix here uses a Top, Side, Front, Kick. the snare comes from the top mic looking striahgt down at the snare (adjust to taste). read up on this method - and you'll never go back!

Hope this helps

[pantone247]

if yr on a computer you could copy your overhead track, put a gate on it and try and get it too open on the snare hits...

I like throwing something like this thru a stereo delay, you have your mono overhead, with the snare getting feed in stereo thru the delay, it doesn't even have to sound great, just have a *bang* to it that' sounds "bigger" then the rest of the kit

I'd recomend going for a 57 and mixing it in as you go too (try some delaty on that too!!!) you'd be surprised how it can sound OTT on it's own but once you start over dubbing you'll be glad you have it

[floid]

Sometimes it helps to reassess your basic assumptions: what if, instead of an overhead, you used a front of kit position? I LOVE this for a single mic solution on demos, usu w/ my Shinybox - slightly to the snare side, pointed at the snare. Height plays a big part in the kick/snare/cymbal balance doing it this way. Toms may suffer a little, if so you can experiment w/ a second mic near the floor tom, equidistant w/ the front mic from beater and snare (one of 'em's gonna need a polarity flip).
Or, i've heard people brag about the ass mic (although i haven't played around w/ that one enough yet).