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Post by Johnkenn on Jun 1, 2024 8:28:21 GMT -6
IMO, every snare makes the verb sound slightly different. I like a longerish tail (2-3) but sometimes the tone isn’t right for the song. I should just pick one and then eq to taste. Maybe I just answered my own question…
But the EMT250 has been my go-to…but it can sound digital for sure. I struggle in this department. Any suggestions? Ooo maybe the Sonible Pure Verb would be a good try for this application.
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Post by Dan on Jun 1, 2024 9:08:52 GMT -6
PSP EMT 2445 if you like a washy, digital plate sound
Tai Chi for a darker, smoother sound
Tsar or Exponential Audio (rip) or Lexicon PCM native (rip) for a brighter more modern lexiconish sound. Sonsig Rev-A if you want it really hifi
SP2016 if the snare cannot take any chorusing without sounding weird
Midiverb II for very short reverbs. Megaverb can replace the special effect verbs but cannot do the super short decay times.
Oxford Reverb for a drier sound
bx_rooms if you want it to suck on purpose and sound like it’s being played inside a beer can.
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Post by thehightenor on Jun 1, 2024 10:23:12 GMT -6
IMO, every snare makes the verb sound slightly different. I like a longerish tail (2-3) but sometimes the tone isn’t right for the song. I should just pick one and then eq to taste. Maybe I just answered my own question… But the EMT250 has been my go-to…but it can sound digital for sure. I struggle in this department. Any suggestions? Ooo maybe the Sonible Pure Verb would be a good try for this application. If not the 250 then I mostly reach for the UAD Lex 224. |
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Post by jaba on Jun 1, 2024 10:23:18 GMT -6
I likely use PSP 2445 most.
Not a huge fan of obvious reverb on snare hits and find having a bit on overhead(s) can glue it nicely if that's what you're going for. To my ears it's often more natural if used sparingly.
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timix
Full Member
Posts: 33
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Post by timix on Jun 1, 2024 10:49:34 GMT -6
I like chambers and studio sims generally, I have the IK Sunset and Fame plugins which have lots of options, just tried UAD Capitol which is very nice. I also like Slate Verbsuite, it has plenty of options including the Sony DRE 2000 which is great on drums. Some people only put verb on the room mics, not on the close mics.
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Post by robschnapf on Jun 1, 2024 11:25:05 GMT -6
I modified a studio room in altiverb and it has been my default starting place for years.
Sometimes I will just add it to the overheads to simulate the sound of a nice room getting on them.
Creates a nice drum balance of space.
It’s not long prolly around 1.3
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Post by drumsound on Jun 1, 2024 12:06:46 GMT -6
I likely use PSP 2445 most. Not a huge fan of obvious reverb on snare hits and find having a bit on overhead(s) can glue it nicely if that's what you're going for. To my ears it's often more natural if used sparingly. I had a revelation about sending OH to reverb some time ago. If the room mics aren't doing 'enough' I'll try putting the OH to reverb and that does a lot to get me into the place I'm trying to be. If I'm going for more of the 'standard reverb on snare' I've like Capital and SP2016 a lot. I'll often set up a mult of the snare with a gate and use that to send to the reverb. I'm thinking about going back to using my TC M3000, in general. I want to change some of my cableing to facilitate that in an easier recall fashion... I've also 'expanded' on the Albini room mic thing in the last year or so. I'm not doing it in tracking like he did. I'm inserting EchoBoy JR on the room track itself and pushing the time back a bit. Sometimes I'll even use feedback to make it sound more like reverb and not a tame altered capture. |
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Post by Johnkenn on Jun 1, 2024 12:19:39 GMT -6
I likely use PSP 2445 most. Not a huge fan of obvious reverb on snare hits and find having a bit on overhead(s) can glue it nicely if that's what you're going for. To my ears it's often more natural if used sparingly. Heard but not heard. To me, it’s really about setting the “release” of the snare sound. |
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Post by Tbone81 on Jun 1, 2024 12:20:38 GMT -6
Sometimes the best snare reverb is sample replacing the snare with a wet snare sample, and blending that back in, in parallel, with the original (untainted) snare track.
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Post by Johnkenn on Jun 1, 2024 12:24:20 GMT -6
IMO, every snare makes the verb sound slightly different. I like a longerish tail (2-3) but sometimes the tone isn’t right for the song. I should just pick one and then eq to taste. Maybe I just answered my own question… But the EMT250 has been my go-to…but it can sound digital for sure. I struggle in this department. Any suggestions? Ooo maybe the Sonible Pure Verb would be a good try for this application. If not the 250 then I mostly reach for the UAD Lex 224. I’ve used the 224 before…that’s a good one be able to change the tones easily and lots of parameters to play with. Also kindve like using Valhalla Plate. I’d use like the default and then cycle through all the different colors eg - chrome, aluminum, copper et al. I think the bigger thing is knowing what I’m going for. Like sometimes I want less slick sounding than say a 224…wish the Blackbird Chamber one had more width. |
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Post by Johnkenn on Jun 1, 2024 12:26:17 GMT -6
Sometimes the best snare reverb is sample replacing the snare with a wet snare sample, and blending that back in, in parallel, with the original (untainted) snare track. I assume you mean getting the snare where you want it and then duplicating with the same exact effects except for the verb? That way phase and everything is the same. But how is that any different than just running it as an insert? Getting some of the harmonics of a driven verb or something? |
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Post by seawell on Jun 1, 2024 12:33:51 GMT -6
Johnkenn, if you have slate trigger, duplicate the snare track, insert trigger(use a stereo instance) and have it triggering a room snare sample(or blend of a couple). 5Z5 or 5AZ5 in the stock library are a couple of my favorites. Also, if you have one of the signature libraries(Blackbird, CLA, Bendeth, etc..) you can load up one of those snare presets and then just mute the close mic samples. The Blackbird library has their chamber included so that's awesome.
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Post by geoff738 on Jun 1, 2024 12:38:35 GMT -6
I just started using the Quantum 2772. Now I am still in the honeymoon phase, but sticking it on and pulling it down to where you can barely hear it gives a nice sense of air or space. I feel like I have to fight/fiddle with the 224 or even Sound City depending. In short I need to spend a whole lot of time with all of them. I have too many reverbs.
Cheers,
Geoff
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Post by Tbone81 on Jun 1, 2024 13:16:59 GMT -6
Sometimes the best snare reverb is sample replacing the snare with a wet snare sample, and blending that back in, in parallel, with the original (untainted) snare track. I assume you mean getting the snare where you want it and then duplicating with the same exact effects except for the verb? That way phase and everything is the same. But how is that any different than just running it as an insert? Getting some of the harmonics of a driven verb or something? No, I mean duplicate the track, and use something like Slate Trigger to completely replace it with a sample. But use a sample that is a snare room, or snare OH, or snare verb track. You could also use a normal snare sample and slap a verb on the insert, change the wet dry mix to 100%, and then blend that into your original snare track. |
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Post by Johnkenn on Jun 1, 2024 13:39:07 GMT -6
I assume you mean getting the snare where you want it and then duplicating with the same exact effects except for the verb? That way phase and everything is the same. But how is that any different than just running it as an insert? Getting some of the harmonics of a driven verb or something? No, I mean duplicate the track, and use something like Slate Trigger to completely replace it with a sample. But use a sample that is a snare room, or snare OH, or snare verb track. You could also use a normal snare sample and slap a verb on the insert, change the wet dry mix to 100%, and then blend that into your original snare track. My standard way is to send a pre-fader send to an aux with trigger on it. So I’ll put it on the top mic. Always stays in phase…then I’ll send to a verb aux from the Snarereplace track. Also do that because it allows me to have trigger in stereo. Now that I’m thinking about it, I need to listen more to the chamber samples for each snare. |
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Post by jaba on Jun 1, 2024 13:47:21 GMT -6
I likely use PSP 2445 most. Not a huge fan of obvious reverb on snare hits and find having a bit on overhead(s) can glue it nicely if that's what you're going for. To my ears it's often more natural if used sparingly. I had a revelation about sending OH to reverb some time ago. If the room mics aren't doing 'enough' I'll try putting the OH to reverb and that does a lot to get me into the place I'm trying to be. If I'm going for more of the 'standard reverb on snare' I've like Capital and SP2016 a lot. I'll often set up a mult of the snare with a gate and use that to send to the reverb. I'm thinking about going back to using my TC M3000, in general. I want to change some of my cableing to facilitate that in an easier recall fashion... I've also 'expanded' on the Albini room mic thing in the last year or so. I'm not doing it in tracking like he did. I'm inserting EchoBoy JR on the room track itself and pushing the time back a bit. Sometimes I'll even use feedback to make it sound more like reverb and not a tame altered capture. Delaying a room mic is a good choice too. I find playing around with things like that, OHs to reverb instead of close mics, or well-timed compression somewhere results in a more natural sense of space. Reverb on a close mic or dry source often sounds more like an effect (great if that's what you want) instead of an extension of an already somewhat roomy sound. |
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Post by drumsound on Jun 1, 2024 17:27:34 GMT -6
I had a revelation about sending OH to reverb some time ago. If the room mics aren't doing 'enough' I'll try putting the OH to reverb and that does a lot to get me into the place I'm trying to be. If I'm going for more of the 'standard reverb on snare' I've like Capital and SP2016 a lot. I'll often set up a mult of the snare with a gate and use that to send to the reverb. I'm thinking about going back to using my TC M3000, in general. I want to change some of my cableing to facilitate that in an easier recall fashion... I've also 'expanded' on the Albini room mic thing in the last year or so. I'm not doing it in tracking like he did. I'm inserting EchoBoy JR on the room track itself and pushing the time back a bit. Sometimes I'll even use feedback to make it sound more like reverb and not a tame altered capture. Delaying a room mic is a good choice too. I find playing around with things like that, OHs to reverb instead of close mics, or well-timed compression somewhere results in a more natural sense of space. Reverb on a close mic or dry source often sounds more like an effect (great if that's what you want) instead of an extension of an already somewhat roomy sound. That's a perfect way to describe it. I generally don't like 'effect reverb' but I do like some space. |
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Post by jaba on Jun 1, 2024 19:00:21 GMT -6
Delaying a room mic is a good choice too. I find playing around with things like that, OHs to reverb instead of close mics, or well-timed compression somewhere results in a more natural sense of space. Reverb on a close mic or dry source often sounds more like an effect (great if that's what you want) instead of an extension of an already somewhat roomy sound. That's a perfect way to describe it. I generally don't like 'effect reverb' but I do like some space. I mean, I could only assume, judging by your moniker... |
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Post by russellcreekps on Jun 1, 2024 19:32:43 GMT -6
Sometimes the best snare reverb is sample replacing the snare with a wet snare sample, and blending that back in, in parallel, with the original (untainted) snare track. My method on most occasions as well. |
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Post by bgrotto on Jun 1, 2024 20:28:39 GMT -6
@johnkenn, if you have slate trigger, duplicate the snare track, insert trigger(use a stereo instance) and have it triggering a room snare sample(or blend of a couple). 5Z5 or 5AZ5 in the stock library are a couple of my favorites. Also, if you have one of the signature libraries(Blackbird, CLA, Bendeth, etc..) you can load up one of those snare presets and then just mute the close mic samples. The Blackbird library has their chamber included so that's awesome. Yeah the Blackbird snare chambers are really nice. What's so strange, though, is how poorly-recorded the drums are otherwise. Lots of very questionable close mic sounds, OH and some room sounds that are kinda whack, and a surprising number of phase problems. |
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Post by srb on Jun 1, 2024 21:15:47 GMT -6
Another vote for the 2445.
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Post by seawell on Jun 1, 2024 22:10:24 GMT -6
@johnkenn, if you have slate trigger, duplicate the snare track, insert trigger(use a stereo instance) and have it triggering a room snare sample(or blend of a couple). 5Z5 or 5AZ5 in the stock library are a couple of my favorites. Also, if you have one of the signature libraries(Blackbird, CLA, Bendeth, etc..) you can load up one of those snare presets and then just mute the close mic samples. The Blackbird library has their chamber included so that's awesome. Yeah the Blackbird snare chambers are really nice. What's so strange, though, is how poorly-recorded the drums are otherwise. Lots of very questionable close mic sounds, OH and some room sounds that are kinda whack, and a surprising number of phase problems. Weird! I guess I never use the close samples so I haven't run into that. |
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Post by bgrotto on Jun 1, 2024 23:12:18 GMT -6
Yeah the Blackbird snare chambers are really nice. What's so strange, though, is how poorly-recorded the drums are otherwise. Lots of very questionable close mic sounds, OH and some room sounds that are kinda whack, and a surprising number of phase problems. Weird! I guess I never use the close samples so I haven't run into that. Oh man, it's kinda shocking in some cases. Like, I'm talking nearly full 180 degrees out of polarity. Having made some instruments myself for Trigger, I'm not sure it's entirely the blame of the folks at Blackbird, though. Trigger can do some weird stuff with the timing of multi-mic'd samples, in that it doesn't seem to necessarily identify and respect the latency between source and various mics. For example, it seems to try to 'align' snare close mics and OHs, which will of course sometimes lead to less-than-desirable results. Not sure if that's what happened with the Blackbird stuff per se, but obviously given the experience round those parts, I'm gonna give the benefit of the doubt to their engineer(s). |
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Post by doubledog on Jun 2, 2024 8:46:48 GMT -6
I honestly can't imagine only one snare reverb that I could use for everything (or maybe I misunderstood this thread)? That said, I do have a drum template that starts with the Lexicon MPX (I think the preset is "slammin drum room" or something like that) but to be honest I might only really use that Reverb < 25% of the time. Sometimes I use the PSP 2445, Morphverb, Lexicon LXP, a plate (little plate, super plate, EMT 140, etc.), UAD Lexicon 224 or 480, Nomad 80's spaces, Rverb, and a bunch more.... For me it really depends on the style of music and the song itself. I've got way too many reverb plugins, but then again it comes in handy with playing/mixing so many different styles of music.
btw: I did just add some ambience to a kick drum (but only in a couple spots for effect) using Trigger. The NRG room samples are pretty decent for adding that kind of effect.
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Post by robo on Jun 2, 2024 10:30:24 GMT -6
I also use different things all the time. Rooms, chambers, plates…I don’t see spring reverbs mentioned, by to my ear that’s a great splashy ambience for snares.
PSP Springbox is my go-to for those sounds. The Klanghelm, Fuse, and Overloud springs are also great, but Springbox seems to do the trick while calling less attention to itself.
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