Okay, so we've done the kick jumps, we'll move on to the snare drum, we've got two microphones on the snare drum, one on the top and one on the bottom, the snare drum because the actual way the drum is, you've got the snare on the bottom is quite difficult to capture just with one microphone on the top. Sometimes people just use one on the side. two microphones is a good way of doing it. The one thing that we'll have to watch those, the fact that the microphones one, if you've got one on the top and one on the bottom, they're going to both be listening to either side of the waveform. So to make sure that they're either in phase or that we correct the phase one of them so first of all, listen to the snare top. straightaway so it's not about sound actually, but as you can hear it's not really got the the crack of the snare.

So we'll listen to the snare bottom microphone. And you can already hear this a lot more rapidly sound of the snare, but too much rally sound so we can't get away with just that. So we're going to use a combination of the two. So we're going to do is scan listen to them both. And we're going to flick between, like the face. So that's out of phase on the bottom.

I suspect the type of microphones they use are actually already out of phase with each other. So they're actually in phase with each other without me change changing the phase. But we're always check and see what sounds better. Just going to quickly listen to get a quick sound on the snare top. I don't tend to EQ snap top microphones very much just because they pick up so much of the rest of the kit. So we're just gonna have a quick listen.

What probably will do is just take out a little bit of the the real low of it. I'm going to use the high pass filter I'm just gonna add a tiger top and once again sweeping the frequency to find the bit while once cousin boost and I've added a small bit of top and I've done on the shelving so I'm going to boost all the top for this case I've boosted at just over two and a half k. So you can see that's two and a half kind of just boosted a tiny bit there and it's switched to shelving. I've high pass filter that about 60 hertz just to get rid of any just quickly listen to the snare bottom. I call it Sandra she's quite good but I do want to do is tighten up so I'm going to insert the gate on it. So I'm just going to listen to the key.

This is the bell I'm interested in this is the real topic. This is what the key to open the close together. He's actually listening to is that high frequency. So I don't wanna listen down here because that's the wrong that's gonna start tearing up the bass drum. I'm going to just listen to the small bit here. Slow the release down so it's just gonna capture quickly.

I'm gonna try the punch setting which I haven't done before. I'm gonna put the other channel in So that's with the punch setting in. I don't particularly like it's, it's more punchy than I want. So I'm going to go back to the non punchy setting, which is a bit more sort of reasonable sounding, because he's doing a lot of kind of just doing rolls on the snare drum. It's, it's not really heavy hitting kind of rock thing. It's a lot more delicate.

So, yeah, I kind of quite happy with that. I'm not going to really reverb for that at the moment. I'm going to just quickly go through rest of the drum kit.