Go-to Snare techniques

emohbe

New member
Hey everyone. I was wondering if any of you can share some go-to's you do when it comes down to mixing your snares. As in you use compressors with high attack etc... Im just looking for info on things to keep in mind when mixing my beats.

Thanks

-Macks Lennon
 
Depends on what kind of snare you are going for. For a punchy one maybe add an EQ and boost around the high mids, then add some compression to taste, and finish with a reverb. Also try layering snares and claps if that's what your going for. sometimes a nice snapy clap that hits a tiny bit before a compressed snare works.
 
I think there is a common misconception (not saying you, just in general for whoever else reads this) that if you don't "process" your drums you are not a "real" beatmaker/producer. This is totally untrue. If the sample is already dope, then you may not have to do anything. Don't feel as though you have to "mix" a snare with any processing.

Now to actually answer your question, mixing decisions are based on how to "fix or fit" elements. When dealing with "fixing" a snare, think in terms of what's wrong, to figure out what to do. Examples as follows:

Problem: Sounds too bright.
Solution: LP Filter

Problem: Too round.
Solution: Increase attack.

Problem: Sounds dull.
Solution: Layering.

Problem: Sounds too clean.
Solution: Parallel distortion

These are just a few examples. Solutions can vary depending on how you like to approach specific problems or what's best for the beat. There are no "one-size-fits-all" processing presets for any element.

I would like to hear what others do to "fix" snare problems. Let's see 'em. Hope this helps.
 
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All those things Uncle Dutch mentioned are things an engineer might try (along with parallel, or "New York" compression) when recording real/acoustic drums (as well as gating, if the drum has a funky "after-taste" sound to it); they also work fine with samples or drum machine sounds. I was kind of blown-away the first time I processed a drum machine snare with compression; I figured it would be overkill or destructive, the drum sample itself surely having been compressed already. But when you play in a sound with a pad, you are adding some (admittedly a tiny bit) of that human element that is both gratifying, as well as inconsistency-inducing. So compressing a live input sample can have the same effect it has on an acoustic drum-- awesome, if not overused.

GJ
 
Awesome responses.. Cant thank you enough as I will definitely being using all of your advice on my next productions.
 
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