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There are lots of different ways to achieve similar sounds from any drum. Our preference tends to side with methods that offer the widest dynamic range, full presence of tone without choking (unless that’s part of the desired sound) and flexibility for easy adjustment. Today we’re going step-by-step through the process of modifying a common “passable” snare sound and setup to align with our methodology.
PATREON:
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PRODUCTION PARTNERS:
GIK Acoustics (sonic treatment): sladl.ink/GIK
AKG Audio (microphones): sladl.ink/AKG
Evans Drumheads: sladl.ink/Evan...
ProMark Drumsticks: sladl.ink/ProM...
Signal chain:
Mics - Focusrite Clarett 8Pre USB & OctoPre - MacPro w/Pro Tools 2022.5
Recorded at 48kHz / 24bit
Overheads: (Matched Pair in Glyn Johns - Cardioid) AKG C314 sladl.ink/C314...
Snare, Toms: AKG C518M sladl.ink/C518M
Kick Drum: AKG D12VR sladl.ink/AKGD...
No EQ or compression in use with drum demos unless otherwise noted
Acoustic Treatment:
GIK 242 Acoustic Panels: sladl.ink/GIK242
GIK 4A Alpha Pro Series Diffusor/Absorber: sladl.ink/GIK4...
GIK Evolution PolyFusor Combination Sound Diffuser/Absorber: sladl.ink/GIKE...
GIK Tri-Trap Corner Bass Trap: sladl.ink/GIKT...
Drums:
Pearl Masters Maple Custom Extra, Ludwig LM400 Supraphonic.
Cymbals:
22” Jesse Simpson clone of old Zildjian A, 15" Zildjian “Fat Hat” Prototype Hihats
Drumheads:
Snare: Evans G12 / Snare Side 300
Toms: N/A
Kick Drum: Evans UV EMAD / EQ3 Coated White Reso
Hosted by: Cody Rahn
Production & Consulting: Ben O'Brien Smith @ Cadence Independent Media
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Sounds Like a Drum is a CADENCE INDEPENDENT MEDIA production
For more information, visit www.cadenceindependent.com
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