As a result, it is definitely going to be in capturing a sound wavefront with the opposite polarity to both the snare … Using an SM57 on top and another on bottom works well, or you can mix a D220 on top and keep an SM57 on the bottom. Snare Drum Mic Recommendations. To capture the snares on the bottom of the snare drum, Jae selects the Shure SM 81 small diaphragm condenser. You can choose to either have only one microphone at the top or have two mics, one for the top and one for the bottom. The bottom snare drum mic will capture a lot of the wire sound of the snares and give you independant mix control of that sonic element. Therefore, it is crucial to get the mic in the right place. The Bottom Snare Mic can be placed directly closely under the Snare Drum without touching the snares underneath. Listen to your signal, then flip them out of phase and decipher which one sounds better. You can use any type of microphone to capture the sound of the snare, but a good bet is to use a small condenser to capture the high frequency rattles of the snare rattles. Bottom snare Typically this mic is always paired with a top snare microphone. With the mic placed above the snare and close to the center of the head, it produces a sound that is low, dark, and less snare … Shure SM81 condenser microphone on the snare bottom. For example, placing the mic away from the snare drum will reduce the low-end and allow for a more natural snare sound. Pointing the mic directly at the center of the snare will pick up more bass and deep thump, but you lost out on the natural sound of the snare. Adding a bottom mic can add extra brightness and snap to the Snare Drum without needing EQ to the mix. “I [have] a steep roll-off on the bottom here because I don’t want to pick up much of the low-end information. If you want the microphone to be out of sight, the 4099 Instrument Microphone has the same quality as the 2011C, but gives you a supercardioid pickup pattern which will … Again, Close enough to minimize bleed but not in danger of hitting the snares. I treat the bottom mic a bit differently in the mix, using extreme compressor and eq settings. The 2011C Twin Diaphragm Cardioid Microphone is a perfect choice to close mic a snare drum. However, if you next add a snare-bottom mic as well, that one is going to get a compression wave when the snare is hit because the bottom skin will move outward towards the mic. The common practice is to flip the two microphones out of phase due to their arrangement, but that’s really up to the engineer’s ear.

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