5 Ways to Mic a Snare Drum

After lead vocals, drums are the most important element in any recording, and it’s essential to make thoughtful choices regarding both microphones and mic placement. There is no one-size-fits-all approach to recording percussion. Numerous variables—such as the player, the environment, and the instrument—must be considered during the tracking process. A solid understanding of how different microphones capture sound in specific placements is key.

This is a guest post by producer & multi-instrumentalist Katie Marie.

Before any recording session, it is imperative to make sure the sound is right at the source. The snare drum should be free of any unpleasant rattling or buzzing sounds and be in tune. The type of heads as well as their age will have a significant impact on the sound of the drum. Consideration should be given as to whether or not to use dampening tools, from a simple piece of Moongel to a tea towel placed over part or all of the drumhead. The types of sticks, mallets or brushes will also change how you track the instrument as well as the material the snare is made out of (birch wood or brass for example). All of these factors need to be taken into consideration before any mics are placed around the kit.

Miking Techniques

We talked about suitable microphones for recording a snare drum, now let’s dive deeper into different ways to capture that sound.

Many approaches exist for miking a snare drum and experimenting with different microphones and placements is highly recommended. While there are certain methods that are most commonly used, don’t let that limit your creativity. Feel free to explore different techniques and ideas in order to discover unique and interesting sounds.

Single Mic on the Top of the Snare

This is by far the most commonly used approach for both live and studio situations. The top of the drum is where you will find the main tone that defines that particular instrument, and this is generally a good starting point when capturing it’s sound.

Most engineers place the microphone at the rim of the drum pointing towards the center. There are two main things to consider with this technique, which are how heigh to place the microphone and at what angle. The sound will differ depending on these two choices and it is up to you to decide what works best.

When the mic is placed closer to the drum, you will have more attack and articulation with less overtones. Close miking is generally better if you are contending with a small or undesirable sounding room, as you ideally want more of the instrument and less of the room.

Mic on the Top and Bottom

While it is absolutely not necessary to add a second mic to the underside of the snare drum, it can make a significant difference in the overall sound. I almost always use this microphone configuration when recording. Many people use the bottom mic to capture the sound of the snare wires, which add bite and clarity to the tone. Personally, I find that the underside mic adds depth and dimension to the snare drum, a quality that can only be achieved by using a second microphone. The bottom mic for me is one of those things that I notice more when it isn’t there, which is also my approach when mixing. I don’t necessarily want to audibly hear the bottom mic, but I do want it to blend in a way that adds sonic depth to the drum.

When placing two mics on top and bottom of the snare, line the capsules up with each other as best you can. This will help eliminate any phase issues you might encounter.

Mic on the Side of the Drum

This is an interesting approach that gives you a good balance of both the top and bottom mic without having to worry about any phase issues that might occur. Miking the side of the snare drum can provide a full-bodied sound, and I find it works especially well with wooden shells. There have been times when I’ve encountered bleed from the high-hat but playing style and mic placement can help with this. Speaking of which, be sure to avoid placing the microphone next to the port, as you’ll end up with a rather unpleasant ‘woof-ing’ sound of the air leaving the drum.

Mono Overhead & Kick Drum

You’d be amazed at the results you can achieve with a single overhead mic placed above the snare drum, along with a kick drum mic to capture the lows. For smaller spaces, mono drums are often the way to go. While I love capturing the sound of drums in a beautiful-sounding space, it’s almost impossible to track a stereo image with a pair of overheads in a smaller room and you’ll likely battle with phase issues. A mono mic is more focused and direct, and when it comes time to mix, you’ll have more space to pan other instruments, like electric guitar parts.

Experimenting with the placement of the overhead mic is definitely worthwhile. Some successful placements I’ve used include positioning the microphone directly over the kit (about 4-6 feet above the kit, pointed at the center of the snare drum) or behind the drummer’s shoulder. Another option is to treat the overhead as more of a room mic and place it about 4 feet away from the front of the kit. Keep in mind that the height of the overhead/room mic also affects the sound. The lower the mic, the more lows you’ll capture, and the opposite is true when the mic is placed higher.

Pair of Top Mics (Dynamic & Condenser)

I have to admit, I’ve only been on a few sessions where the engineer opted to tape two mics together and use both on top of the snare drum. Typically, this setup consists of a dynamic mic (like an SM57) and a pencil condenser (such as a Beyer M201 or similar). The idea is to blend the mics to capture both the drum’s tone and the intricacies of the player’s style. Personally, I’ve found that I can achieve this with a single mic (an M201 does an amazing job), but I’d love to hear if you’ve experimented with this technique and, if so, whether you achieved good results.

Advice for Tracking in a Small Space
The key to getting a great drum sound in a small or undesirable sounding room is to be aware of the overall volume. Playing quieter will dramatically reduce those nasty sounding, early reflections and also help with phase. I find Promark Broomsticks really shine in these types of situations because they produce a mellow sound on the drums and softer tone of the cymbals. They do take a bit of getting used to, but they are a real game changer.

If you’d like more advice on how to get big drums sounds out of a small space, check out this video by AirGigs pro and Grammy award winning engineer Isha Erskine: