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You can always eq a bit of mids/upper mids out of the snare mic as well.If you have any say over the drums maybe get a Controlled Sound (or equivalent) head in the future. No need for tape or wallets and crap in 2018.p.s. I think that drum clip sounds pretty good. I think in a mix that ring will be beneficial.

Are any of your pres or compressors (or possibly tape?) maxing out a bit? While I think it sounds cool it does seem like the ring is being exaggerated a bit.

Get a moon gel, or the toy equivalent, and cut of a small piece.Place it directly where the mic is pointed and adjust size and position of moon gel for desired effect.This is a case of something sounding drastically different mic'd than it does in the room, so really check your signal on monitors before you commit.

I have also found a tiny piece of moon gel (or rather, sticky grabby hand toy, fuck those moon gel prices) will do the trick. More moon gel, less prangee. A piece the size of a stamp or even smaller makes a considerable difference. If it's too much, use less.

I think it sounds great, and probably even better in the mix. Then again, I'm coming from a grindcore-intensive background.phpBB [media]You'd never hear a ballad snare through all that - distorted guitar and bass, and vocals cutting into that same midrange band.

This is a pretty complex discussion. The snare in the clip sound likes it's tuned up to "tabletop" tension. But it's also important to place your room mics on a spot where they get the thickest part of the snare sound. I also concur about using a piece of moon gel. It's a process, not unlike working out a guitar signal chain.

I think the snare on that recording sounds pretty good, but I am unafraid of snare ring. Ring like that often gets obscured when you add some guitar and vocals to the mix.The only change I would consider making would be tuning the snare down a bit, and then only if you and the drummer really want it to sound more thwack and less sprong. The moon gel suggestion would certainly make the drum ring shorter, but it may also change the overall sound more than you're looking for. I don't know.

Every drum is different of course but I've had good results by tuning my snare drum pretty low.The drum: early 70's Krupa COB Slingerland 8 lug snare drum with Zoomatic strainer.Snares: Puresound.Heads: Ambassador on the snare side and Emperor or Ambassador on the batter.When I first acquired the drum the strainer didn't work exactly as it should. There's a spring mod I read about and I took that route. It seems fine if a bit dodgy, but it just doesn't bother me personally. I don't know how much that affects the sound but I'm sure it does. This drum worked great with the Puresound snares which I like a lot. Most of the time I have an Emperor as the head but sometimes an Ambassador. With both single and double ply heads, it seems that the drum prefers a lower tuning. With the drum pitched up, it loses a lot of the snare tone and sound and starts to ping. I tried a ring (too damping) but didn't like that. I had a little success with the different gel and pad tweaks but ultimately just took 'em off. What really worked was just tuning it down some.The snare side head I pitch up evenly all around until it's tough to crank. The batter head, I drop it down pretty low; rebound is probably not as good but it really sounds great. No pinging, easy to get into tune, and an even, fat sound with a lot of snare sound in the tone.

the first time i went into a studio with my first band, the engineer was a typical classic rock guy who didn't know what the hell to make of us. he taped shit all over the drums and i think he even messed with the tuning without asking. of course we weren't all that great and the drum set was a mess, but we walked away not really feeling like the recording sounded like us. numerous experiences like that motivated me to learn to record. i was sure there was some deeply complicated secret to what separated jesus lizard records (and others) from, say, early sonic youth records. so i've always just wanted to record what was in front of me. if the snare rings for 30 seconds i figure thats what the drummer wants. but now i'm old and want the snare to sound like charlie watts.related, how do you convince a drummer that a snare sounds better when it goes thrack that when it goes prangeee?

i'm pretty happy with my drum recordings, but i'm always looking to improve. one thing that is starting to bug me is too much snare ring. this is largely because of the drummers and drums i'm recording, and because i have an aversion to taping shit to drums or otherwise fucking with a drummer's sound. here's a sample:https://soundcloud.com/user-39165224/chrondrumaacis the answer just o-rings and taping a roll of paper towels to the snare?i have a hunch there are answers in the tuning and mic'ing departments as well.i didn't see a thread specific to this, kerble as necessary.