{"id":973,"date":"2014-09-23T11:45:06","date_gmt":"2014-09-23T15:45:06","guid":{"rendered":"https:\/\/blog.splice.com\/?p=973"},"modified":"2025-06-20T12:35:34","modified_gmt":"2025-06-20T16:35:34","slug":"pryda-snare","status":"publish","type":"post","link":"https:\/\/splice.com\/blog\/pryda-snare\/","title":{"rendered":"The Pryda Snare: History and Recreating it"},"content":{"rendered":"

We all know the sound: it\u2019s that ubiquitous crash at the end of a bar. It\u2019s that familiar reverb-washed sample that serves as the booming signal of the next section for a big EDM tune. It\u2019s the split-second breather from the forward momentum of the kick and bass. It\u2019s that super-compressed snare with a gated tail that is simply too large to overlook. In the production world, it\u2019s known as the Pryda Snare<\/strong>, and it\u2019s quite possibly the most common trope in big room music.<\/p>\n

The Pryda Snare gets its name from — you guessed it — Eric Prydz<\/strong>. In early 2009, the Swedish producer released \u201cMiami to Atlanta,\u201d a song that would go on to become one of his most iconic tracks to date. Aside from its typically smooth Pryda chord progression, the track is notable for one thing: it\u2019s creative use of the snare drum.<\/p>\n

The song starts out like most Pryda tracks, luring you with its understated melody, but when that minute mark hits, it quickly ramps up the energy thanks to this insanely catchy snare hit. Every few seconds, the swooshing sample clears out everything in its path, creating the rhythmic syncopation that has made the track so memorable.<\/p>\n