The Amazing Dave Grohl Snare Trick
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- Опубліковано 29 чер 2022
- Do this to clean up and add more power to your snare!
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As always Bobby, GREAT sounding samples! Thank you!
Thanks Nexis!
I do enjoy your channel Bobby, and I have learned from you, so thanks. Being a home recordist and drummer, I have taken it upon myself to record all my own drums with no samples. I know, the only thing that matters is what comes out of the speakers, but its a challenge and I have found a mic position outside the drum studio which makes for a huge "real" room, and I've been super happy w the result. In mixing, I simply roll off frequencies above 2K or so, then compress the room mic. I'm never really happy with the snare sound without the room ambience and tail the room adds. Its also amazing how much of the "shell" and fundamental you can Eq in with the room. I can't live without it anymore :)
Cool man! Do your thing. There is no wrong or right way!
Add attenuated attack to ambience sample to avoid convolution the tone of the transient. Wallace was adamant about his denial of sample usage. He called it driving ambience. The highly gated close mic owned the first 50 ms or so of the snare tone. The samples didn't blend until the tail. This is why he denied the assertion that he was replacing or combining a sample to increase attack. His samples were only for the tail, which he referred to as ambience. He also pitch tuned those ambience samples.
interesting!
Not entirely true….Andy’s Own words
But just to drive ambience? Then do you design the drum sound to fit into that ambience?
No, not exactly. I use the samples more to drive reverbs. If you killed the reverb, you’d still hear the sample. And the thing I like is that I can EQ them so that I can really tune the ambience and where it sits in the whole frequency response.
Again, more so than I can with the overheads because I usually EQ those so that the cymbals sound the way I want them to sound. Not always, but often, when the cymbals are sitting where I want them to sit, I’ll hear more ambience from that. I’d rather keep that down and be able to shade with a little more control using my ambient sample.
Killer video man. Loving the channel :)
Thanks Doc very helpful
Ur welcome $
Excellent thanks again Bob !
Thanks Roy
Bobby…. You are the GOAT man
Never did that. Let's try! As always, thank you, Bobby!
Thanks Jav!
Great stuff, Bobby!
Thanks for watching man!
There’s an older process that does this, a side chain trigger into a noise gate. It would be interesting to compare both techniques and what about comparing them to the album recording?
I've used the side chain method on my room mics, but its fairly difficult to sculpt out the hi hat and cymbals at the tail end of the snare. If too tightly gated, any ghost notes are lost and if too loose, then there is the inevitable cymbal swish sound at the tail end of the snare. I don't side chain anymore, just Eq the highs out, and then compress (like mangle it). Getting that natural ambience without needing reverb sounds like nothing else.
The real Dave Grohl snare sound is the snare being freaking detuned by the end of the song LOL.
Great vid just the same :P
Hahaha!
Interesting, I was under the impression he used a close snare sample to trigger a reverb so it was clean, but the dry sample wasn't in the mix just the reverb. Always great to learn a different technique!
The room sample was audible in the mix as well as snare and kick samples. Many of his big mixes were enhanced with the same drum samples….which always sound fantastic!!
You're such a good person, your videos are informative, I'd buy you a beer if I could
Hahaha! Thanks Bill!
You could also make samples during tracking and then load those into sampler, time align them with room mics for phase and/or slow the attack and slide them for best timing of onset bloom. I've also noticed that some trigger plugins have sloppy round Robin sets and hits will never sound the same twice at the same spot in the song...
A trick for blending a sample to add attack is to use Sound Radix Pi to rotate the phase of the sample to the hit its matching in order to phase lock each hit and preserve bottom end consistency.
Good stuff!
Bobby, what do you think about letting the drummer hit the snare and kick a few times after the song in the session, so u have isolated “samples” of the real kick and snare and just trigger those to a room reverb?
It’s a great idea.
0:24 there was a producer from Brazil, the late Carlos Miranda, who really, reallyyyy worked hard on snare drum sounds. Kind of a signature approach.
Give me some songs he worked on so I can check him out. Thanks
My understanding of Andy’s technique was that he heavily gated the snare just letting through its character and then he used a sample snare only to trigger the reverb. Same with the kick. The snare sample is actually pretty nasty, from one of those 80s drum machines, but it works. He uses this technique and the same snare and kick samples in every album he produces. If you listen closely to his mixes/masters, like Blink 182, Rage Against The Machine, Puddle of Mudd, among many others, and compare the snare and kick, they pretty much sound almost the same, except the character going through the original gated snare. There was no drum replacement whatsoever, just to make it clear.
agreed on the samples. They are the exact same on all those records. The room sound samples he used were not only to trigger rooms they are also audible on records…he has said this in interviews.
I’m trying to do this I’m new to drums and idk how this stuff works can anyone help
I laughed when you showed the DAT tapes. We do our first record on DAT. Drums on analog 16 track and synced then I believe. Didn’t we have to stripe SMPTE to the tape back then?
You probably did it on ADAT
A Littman stethoscope? Damn, you went all-in on that outfit. Think it might even be a Cardiology IV.
Haha! It’s my wife’s.
Back when we were recording on the cheap without all of the current technology, if there was too much cymbal in the room mics to crush them, we used to put together a close mic drum mix without the cymbals, play that into the room, record that to another track, then compress the snot out of that and mix it into the full drum mix. Lots of cool, dirty room vibe without they cymbals overpowering the drum mix.
Love that!
Great!
Thanks Rick
Wouldn't a drum replacer be an easier option?
You could do this even easier with Trigger.
Trigger is not accurate. I really like a lot of Slate plugins but Trigger is not sample accurate. Use with MUCH caution.
where do these guys fucking get the raw tracks from songs? does anyone have any idea?
What version of Cubans is this?
9.5
DMX triggered SNR Samp. that's an Andy thang.
Be cool to hear the drums in the context of a full mix. They sound too good not to mention.
Thanks!
Why not just do this with the kick snare ISO mics or a trigger from them?
Yes you could gate those and trigger from them!
@@BobbyHuff great stuff man love your channel
!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Needs more metronome :-)
And more cowbell!
Just because it pops into your head doesn't mean you're obligated to blurt it out
@@fclefjefff4041 You wouldn't be a cowbell hater, would you Jeff?😇
Me parece malo el método, aplícalo a death metal o grindcore a ver cómo te va pegando tanto tambor a mano
I thought Butch Vig mixed and produced the song, not Andy Wallace?
Andy remixed the album and that’s what the world heard.
Butch Recorded and produced and Did some Mixes but Andy's mixes were on the album on the double reissue of the album you can listen to Butch's mixes as well