I recently talked how to EQ a live kick drum, so I thought I would also put together a cheat sheet for the second most important element of the drum kit live or otherwise, the snare. Just like with the kick, there are some curveballs to consider when EQing a live snare, so let’s get into specifics in this live snare EQ tutorial.
Live Snare EQ
The first thing to mention before we get into the cheat sheet and specific frequencies is that different rooms may/can present different problem frequencies, so whether you’re EQing the live snare after the fact or you’re doing it in the moment, that’s something to be aware of and as you look for uncharacteristic frequency spikes which may need some attenuation.
I also will mention dynamic EQ in a couple of spots; obviously this isn’t always an option in a live setting and is recommended for mixing a live performance in post for a release.
Now on to the live snare EQ cheat sheet.
Live Snare EQ Cheat Sheet
As always, I’m using my favorite EQ, FabFilter Pro-Q 3, but these moves can obviously be applied to any EQ. Remember that less is always more and if you have an issue which requires more than 1-2 or 3dB of adjustment at most, you might need to check your microphone placement.
Now let’s get into each recommended or mentioned move one by one to better convey what these moves are doing in this live snare EQ cheat sheet.
High Pass at 100Hz to Remove Low End Rumble
I find the low end can get out of control in a live setting moreso than the studio when you have so much more bleed and reflections.
It’s a good idea to high pass up to 100Hz to remove low end rumble, bleed, and other unwanted sound to keep your snare and live mix much cleaner.
Like every other piece in your kit and track in your set, you should high pass your snare.
This will help to smooth out unwanted snare boom, as well.
Boost or Cut at 200Hz for Thickness or Boom Control
Speaking of unwanted boom, cutting around 200Hz can bring a boomy snare back down to earth.
Conversely, boosting here (1-2dB) can help add a little warmth and thickness to a top heavy (and oftentimes cheaper) snare.
The point is, 200Hz is a major core frequency point for shaping the tone whichever way we want.
It’s important to remind you here that if you feel it could benefit from more or less body, check the microphone placement to ensure that it’s not too far or close to the snare’s surface (respectively).
Obviously this only applies to an actual live mix in the moment rather than after the fact, but it’s something to keep in mind in the future if you’re in that situation.
Cut At 450Hz for Boxiness
450Hz is boxy, and I recommend cutting here on a live snare EQ in roughly the same area as I do on a studio snare.
If you have access to dynamic EQ, most likely in post as I mentioned earlier, this is a more transparent way to clean up your snare as the EQ band only pulls as necessary and pulls MORE from this range when you get more buildups (see how to use dynamic EQ).
Regardless, this cut keeps your live snare cleaner and actually gives it some clarity by subtracting and taking the focus away from the frequencies which work against that clarity.
With that in mind, address and attenuate this area BEFORE you start boosting on the high end as it’s always better to cut the bad rather than boost everything else.
Adjust at 850 Hz for Roundness or Ringing
A lot of the character of the roundness of the live snare exists around 800-900Hz, and you can bring out more of that roundness with a small boost here.
Conversely, TOO MUCH frequency information here is what causes the annoying ringing which, at a responsible amount adds a little welcome sustain but at an excess makes the snare sound off.
This is an area which can be a problem live as that ringing can reflect and get out of hand, so you might cut more than you normally would here on a studio snare in order to get a more balanced tone.
As such, boost here if you want more roundness, or cut to smooth out that ringing.
Cut at 4k to Remove Buzz
Another annoying artifact on a live snare is the buzzing which manifests in the 3-5k region.
Once again, dynamic EQ is good for situational and proportional adjustments without completely dulling your snare.
Without dynamic EQ like if you’re working on a graphic EQ, pay close attention to the buzz as you A/B a cut around 4k.
We’re getting into the clarity and transients of the snare here, so only cut what you need, and again being conservative is key.
Boost at 6k to Help Live Snare Assert in Mix
On a live snare EQ, we get that transient “crack” of stick on skin around 5-7k.
Transients are important because they are that high frequency percussive sound which we hear first and draws our attention to that live snare.
Oftentimes it’s more impactful to give your live snare a tiny boost around 6k to help it better assert itself in the mix.
(Optional) Low Pass Around 15k
Lastly and as an optional final step, you can low pass at 15k, cutting everything ABOVE 15k and allowing everything to pass through beneath it untouched via a low pass filter.
While the palpable difference will at best be subtle or more likely nonexistent, this can help prioritize the highest frequencies for your cymbals, synths, vocal air, and other instruments which thrive on and benefit from that top end crispness.
Live Snare EQ Tips
- Live snare EQ requires special attention for bleed, reflections, added boominess, and other problem frequencies you wouldn’t encounter on a studio snare in a more controlled environment.
- High pass around 100Hz to attenuate boominess, clean up bleed, and remove unwanted noise.
- Boost at 200Hz to add body to a top heavy (and oftentimes cheaper) snare, or cut here for an excessively boomy snare. In either case, check your microphone placement to ensure it’s not too close or far from the snare itself.
- A small (ideally dynamic) cut at 450Hz controls boxy/unflattering frequencies which especially stack on a live snare.
- 800-900Hz can be cut or boosted to attenuate ringing or add roundness, respectively.
- In the case of live snare buzzing, try a small (ideally dynamic) cut around 4k to mitigate its effects or noticeability in the mix.
- Add a small boost at 7k to bring out more transient “crack” of stick on skin. Do this if you want the snare to be more present in the mix before you try raising the fader.
- A gentle 15k low pass filter is an optional final step to cut out space for instruments in more need of crispness without sacrificing anything or making any palpable changes to your snare.
