Using the QSNARE
5
Microphone Placement and Tone Quality
When you mount the QSNARE to your drum, it will be easy to get a great sound
since the mic is positioned so close to the sound source. You can make slight
adjustments to the height and angle that will have an effect on the sound. The
changes in sound may be difficult to notice at first, especially in live sound applica-
tions, however the more you use your microphone and listen to the sound, the
more you will understand, and hear, the effect the microphone placement has on
the sound. As always, experimentation and experience are the best teachers.
Obviously, in live sound applications you can’t always hear the final results of the
sound you’re getting because most of the time your drum kit will be positioned
behind the PA speakers, so rely on a band mate or sound engineer to help you dial
up the sound. In recording applications, print some scratch tracks and check the
sound by listening back in your headphones and in the control room monitors.
By the way, the “Golden Rule” of getting a great sound miking any instrument, with any micro-
phone, is to start with a great sounding instrument. Be sure that you pay careful attention to
the tuning, and if necessary, the dampening of your drum. Miking your drum is similar to put-
ting the sound under a microscope. Any unwanted buzzes and rattles coming from your
instrument may be much more noticeable when you mic the drum.
You’ll get a great sound just by mounting the QSNARE to your drum however, there
are some basic principles and fundamentals that should be followed. (If not, at least
understood.)
•
The QSNARE has a cardioid pick up pattern, which means it picks up sound
directly in front of the microphone, and rejects the sound directly behind the
microphone. This means in order to get the best separation between the sound
you want to pick up in the mic (for example your snare), and the ambient
sound around it, let’s say your Hi-Hat, you can aim the mic so that it is facing
away from the Hi-Hat. As with any drum miking situation, you’ll have to make
some compromises with the ultimate position for sound and interface in your
playing style.
For more information on polar patterns, see the section Polar Pattern on page 6 of this
manual.
•
All microphones, especially uni-directional or cardioid microphones, exhibit a
phenomenon known as “proximity effect.” Very simply put, proximity effect is a
resulting change in the frequency response of a microphone based on the
position of the mic capsule relative to the sound source. Due to the result of
the proximity effect, slight adjustments of the microphone position and angle
can make a big difference in sound. Specifically, when you point a cardioid
mic directly at the sound source (on axis) you will get the best frequency
response, however when you start pointing the microphone slightly away (off
axis) you will notice the low frequency response dropping off and the micro-
phone will start to sound thinner. Knowing that the bass will decrease as you
change the mic angle can be a big help if you are getting a “boomy” sound
from your drum.
