In last month's issue (FOH, May 2011), I discussed using the Waves C4 multiband compressor as an insert on the snare drum top mic – in my case, an Earthworks DP25C. This column will tackle the snare bottom mic and the Waves C1 compressor/gate plugin.
Mic choice and placement are, of course, the first issues that any conscientious engineer should address. Beneath the snare, a microphone is exposed to high SPL levels, rapid air movement and high levels of sound from adjacent sources, most notably the kick drum.
Last year on the Carole King/James Taylor Troubadour Reunion Tour I began using an Audio Technica AE5100, a cardioid condenser mic that handles up to 158dB SPL with the pad switched in and the windscreen on. The mic has so far yielded great results.
Mic Positions
I point the mic up toward the snares and the center of the drum. I also slant the mic to avoid having the diaphragm bottom out from the high sound pressure level. Lastly, I make sure the rear of the angled body is pointing more or less toward the kick to maximize rejection. Remember that the top mic and the bottom mic are facing each other, so the bottom mic's polarity switch should be engaged.
I treat the audio output from the snare bottom mic as a sound effect. I snip it, compress it and massage it to derive maximum crack and distinctiveness from a full force hit on the drum. I am not interested in having the mic open when the drummer is playing with brushes or doing other quieter, more expressive moves that are best picked up by the top mic. It's the big backbeat hits that need to be placed and maintained right out front in the mix.
The Waves C4 is the exact tool I need to enhance and control the bottom mic to keep the snare properly forward in the mix. I use a very fast attack time on the compressor to grab the signal immediately. I set the release time just slow enough to recover on quarter note hits, but stay in compression for faster bursts. I let the drum signal sit in about 2 to 4 dB of compression at a low ratio and use the makeup gain to compensate toward unity.
Enough attack comes from the ungated top mic picking up the stick hitting the snare, so I set the attack time on the bottom mic gate so there is no audible click. The C1 gate opens very smoothly at about 2 ms. The plugin's performance is very impressive at that speed, and I hear exactly the envelope I am seeking when I set the hold at about ¼ second and the release at about half that time at 1/8 sec.
Sizzle and Synchronization
As I said, I am trying to shape the output of the snare bottom mic into a specific, although somewhat unnatural, sound. It's the sizzle and the sense of acceleration and movement that I am trying to add to the signal from the top mic. Having the bottom mic sound like a drum is not what's important in this case. What is important is having the gate threshold set so that the kick does not trigger the mic open, resulting in unwanted and out-of-time information being added to the kick mics.
One also wants to set the hold and release times so that the gate stays open just long enough to capture rapid hits, but only remains open on single hits long enough to capture the part of the signal envelope that adds articulation, speed and sparkle to the top mic.
Because the part of the signal I am using is already truncated and a bit unnatural, I leave the Look Ahead feature on the C1 off. I don't require the smoothing effect it imparts, and I want all the highs to come through a little edgy.
A Powerful Combo
With a C4 working on the top mic and the C1 employed on the bottom, I have been able to create the best snare sound yet since making the move to digital consoles. These two plugin units, in this combination, are very powerful tools. Can't wait to try the new C6 multiband compressor on vocals!
