How to Create Huge Snare Drum Sound Using 2 Drums | Reverb Experimental Recording Techniques — Transcript

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1. 0:00dear
2. 0:00[Music]
3. 0:09[Music]
4. 0:11welcome to experimental recording
5. 0:14techniques we're here a tracks tracks
6. 0:15recording I'm Noam Wallenberg today we
7. 0:18are going to try to build the biggest
8. 0:20snare drum that we possibly can and
9. 0:23we're gonna do that by creating
10. 0:25physically the biggest snare drum that
11. 0:27we possibly can so we're gonna take a
12. 0:29snare drum we are going to dampen it and
13. 0:34we're gonna stick a Tom on top of it and
14. 0:37hopefully the thing is gonna function
15. 0:39like one big snare drum we're gonna make
16. 0:42it all over so that we can access all
17. 0:44the different aspects of that instrument
18. 0:47and we're gonna try to fit it into a pop
19. 0:49track alright so here we have our basic
20. 0:51setup we have a 414 underneath the snare
21. 0:55we have a 414 on the top of the snare
22. 0:57the two are at the same angle but
23. 0:59opposite so that they're gonna lock in
24. 1:02to face up top we have a single mono
25. 1:05overhead that is a Bill Bradley mic it's
26. 1:09kind of a recreation of a knowing menu
27. 1:1147 and on the side here we have an AEA
28. 1:14and 22 and that's gonna pick up just the
29. 1:17whole picture of the entire snare drum
30. 1:19and we're gonna screw it up with a bunch
31. 1:20of a bunch of distortion compression we
32. 1:24also out in the room have a pair of a
33. 1:26ea8 40's those are also going to be
34. 1:28smashed up with some compression so this
35. 1:31is the sound of the basic snare drum we
36. 1:34have a big fat snare drum this is just
37. 1:37like a essentially a weight that you're
38. 1:40putting on on the snare drum it lowers
39. 1:41the pitch and it kind of deadens the
40. 1:43whole thing it's similar to the trick
41. 1:45where people would flip a drum head
42. 1:47upside down and stick it on top of their
43. 1:49snare so with the big fat snare drum
44. 1:52[Music]
45. 1:53gets a little lower gets a little splat
46. 1:56e're now we have a Gretsch Tom that
47. 2:01we're gonna put on top of this so we're
48. 2:05just gonna place it on the snare drum
49. 2:07and here's just the Gretsch tom with
50. 2:09with the snare
51. 2:11it sounds a little crazy and on top of
52. 2:14that we're putting a snare weight right
53. 2:18this is basically just a wallet you know
54. 2:21it's the same as putting a wallet on
55. 2:22your snare that's gonna dead in this Tom
56. 2:24so that's the sound that we end up with
57. 2:29right so each of those elements alone
58. 2:31don't sound nearly as big as them put
59. 2:33together each of these mics are gonna
60. 2:36capture a different aspect of it and
61. 2:37then we're gonna put them all together
62. 2:38and fit him into the track we have our
63. 2:40drummer packy lund home he's smashing on
64. 2:43a snare drum indefinitely so we're gonna
65. 2:47see what each of these mics sound like
66. 2:48so we start out with our 4:14 that's on
67. 2:52top it sounds pretty much like a Tom
68. 2:56honestly we we the deadening is
69. 2:59shortening it obviously and we're adding
70. 3:01a little bit of high end and a little
71. 3:03bit of low end with our Neve preamp EQ
72. 3:06but past that it's pretty much just a
73. 3:09Tom sound on the bottom we have another
74. 3:11414 and that is gonna sound pretty much
75. 3:14[Music]
76. 3:16like a low tuned snare we are gonna flip
77. 3:22the face on the the bottom mic we're not
78. 3:26necessarily sure if that's gonna work
79. 3:28you got to try out both right it's not
80. 3:30quite as simple as flipping the snare on
81. 3:32the top and bottom likes of a regular
82. 3:34snare drum because the distance is
83. 3:36considerably longer so because it has to
84. 3:38travel that distance by the time it gets
85. 3:40to the to the bottom of the snare drum
86. 3:43the phase might be over such that
87. 3:47flipping it is gonna knock it further
88. 3:49out of phase right you're not
89. 3:50necessarily looking for them to be
90. 3:52perfectly time aligned you're just
91. 3:54looking for them to be adding to each
92. 3:56other with phase rather than subtracting
93. 3:58from each other so there's the two of
94. 4:04them together let's look at our side
95. 4:08Mike
96. 4:13the signal chain on it we are going
97. 4:16through a Chandler Ltd 1 preamp and
98. 4:21we're adding it's got an EQ as well so
99. 4:22we're adding a little bit of high end on
100. 4:24that we are then going from there into a
101. 4:26second print that's a Telefunken v76
102. 4:29and that is distorting it right it's
103. 4:33adding a lot of crunch and then from
104. 4:35there we're going into a blackface 1176
105. 4:38with all buttons in right so obviously
106. 4:41we're doing a lot of distortion a lot of
107. 4:42compression these are the tools that
108. 4:44I've chosen to do it with today I've
109. 4:47done it with all types of tools so you
110. 4:49don't not everyone has all of these you
111. 4:51know thousands of dollars worth of fries
112. 4:54and compressors at home I've done this
113. 4:56with plugins I've done it with guitar
114. 4:59pedals you know using a guitar pedal for
115. 5:01the distortion rather than the pre so
116. 5:02you can really do it with anything it's
117. 5:05a really crunchy ugly sound we're gonna
118. 5:07put it in just a little bit and it's
119. 5:08gonna add a little bit of texture to
120. 5:10this snare we have our overheads sound
121. 5:17kind of capturing the whole the whole
122. 5:19thing right so it's capturing some of
123. 5:21the depth and if we add the direct mics
124. 5:24in without the overhead we're missing a
125. 5:27lot of the natural high-end with the
126. 5:29overhead we get more of the image of
127. 5:32what the actual drums supposed to sound
128. 5:33like finally we have our room mics now
129. 5:41this is where our size comes from right
130. 5:45the snare is only so long all the depth
131. 5:49is gonna come from these room mics we
132. 5:50are smashing them up with a Chandler TG
133. 5:54one it's a really aggressive compressor
134. 5:57we have it set to limit right now
135. 5:58equivalent to that would be the TG one
136. 6:02two three four I believe made by waves
137. 6:04there's also a few UAD versions of
138. 6:08something like this or if you don't have
139. 6:09that just anything that's a really dirty
140. 6:12sounding compressor would do a similar
141. 6:14thing we put all these sounds together
142. 6:16we have a really fat snare drum sound
143. 6:18kind of sounds like a Lin drum right and
144. 6:20it sounds like that because of the the
145. 6:22depth obviously but also because of how
146. 6:24cuts off really abruptly and it kind of
147. 6:26sounds like a gated that is partially
148. 6:29because of the fact that this tom is
149. 6:31gonna resonate for a finite amount of
150. 6:34time and as soon as it stops resonating
151. 6:36the snares are gonna stop residue so
152. 6:43when you just hit a snare that's the
153. 6:45only thing that's determining how long
154. 6:46the snares are gonna resonate for when
155. 6:48you have a Tom on top of it the Tom is
156. 6:51determining how long the snares are
157. 6:53gonna resonate for and they're gonna
158. 6:54resonate a little longer than normal and
159. 6:56they're gonna cut off in an abrupt
160. 6:57sounding way so it doesn't quite sound
161. 6:59natural but sounds reminiscent of like
162. 7:02babies on top of this we're gonna add
163. 7:04just a little bit of reverb just to give
164. 7:09it a little bit of space in the track
165. 7:10and then we're gonna check out how it
166. 7:12feels
167. 7:16[Music]
168. 7:28Eva
169. 7:29[Music]