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Post by thirdeye on Aug 1, 2024 11:39:25 GMT -6
Inspired by Johnkenn's thread, but I would also welcome some snare reverb tips, and reverb tips in general.
My only tip, and it might only work for me! I'll often dial in my reverbs in solo. Meaning if I'm working on snare, I'll solo the snare and the reverb return and set my reverb level and size like that. I can massage it more into the mix from there, but it's usually a good starting point to add depth, but not be super obvious. I've noticed if I dial in reverbs with all the "faders up", I tend to add too much.
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Post by bossanova on Aug 1, 2024 12:29:27 GMT -6
The last time this came up, a lot of people recommended the PSP 2445. I ended up buying it and I think it sounds nice for that purpose. Similar to what you said above, I will usually mute and unmute the snare reverb in the mix a few times to see if it's at that spot where it's adding to the vibe and cohesion without being too extreme.
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Post by phdamage on Aug 1, 2024 12:35:45 GMT -6
I usually have 3 or 4 on my snare, admittedly. biggest players are altiverb (center field at electrical audio IR i got a while back) and UAD Ocean Way. sometimes T-verb, sometimes a gated verb from valhalla vintage verb if i really wanna add some obvious ambience
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Post by thehightenor on Aug 1, 2024 13:34:13 GMT -6
Use an extra pair of OH's set them further back as ambient room mics.
Gate them (not fully) then when there's a snare hit, trigger opening up these far back room mics .... sounds very big for genres that require a big snare.
Nice alternative to "snare reverb"
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Post by geoff738 on Aug 1, 2024 13:39:52 GMT -6
Ducking the reverb often helps.
Cheers,
Geoff
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Post by doubledog on Aug 1, 2024 14:17:27 GMT -6
and don't forget to HPF like crazy. muddy snare verb is the worst
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Post by Tbone81 on Aug 1, 2024 14:39:40 GMT -6
My best trick is to use a sample. Two ways I usually go about it, but in both instances I’m duplicating the snare track and loading Trigger on the new track with it set to 100% wet.
1) use Slate trigger to trigger a snare room or verb sample
2) use Slate trigger to trigger a new snare sound. That sound gets blended in with the original snare and an aux from that sample is fed to a reverb, usually a plate.
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Post by recordingengineer on Aug 1, 2024 15:21:51 GMT -6
The last time this came up, a lot of people recommended the PSP 2445. I ended up buying it and I think it sounds nice for that purpose. Similar to what you said above, I will usually mute and unmute the snare reverb in the mix a few times to see if it's at that spot where it's adding to the vibe and cohesion without being too extreme. Yes. I too went with the PSP 2445 mentioned last time. Excellent! |
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Post by drumsound on Aug 1, 2024 17:29:43 GMT -6
On reverb in general I think getting the predelay right is crucial. More often I prefer to send a bit of the overheads to reverb, or sometimes room mics over the close snare. I also like my tom mics up all the time because I think they contribute a little air around the snare sound.
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Post by tonycamphd on Aug 1, 2024 17:38:40 GMT -6
for me no matter what reverb I select, I set my pre delay and decay times in relation to the musical bpm of the song and the image distance/depth I desire, I eq for the distance/depth as well, that gets me 90% there, everything else is gravy
tbc, my snare reverbs are generally gone by the next down beat
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Post by Oneiro on Aug 1, 2024 17:46:25 GMT -6
I tend to use a Master Room spring for this. Sounds cool when driven, subtle when lightly tapped, more character than other things.
It's not boing-y at all.
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Post by jeremygillespie on Aug 1, 2024 19:12:01 GMT -6
Love this sort of thing in an open arrangement.
Glyn Johns btw.
(And Belmont on the tasty B3)
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Post by bgrotto on Aug 1, 2024 19:13:23 GMT -6
I tend to use a Master Room spring for this. Sounds cool when driven, subtle when lightly tapped, more character than other things.
It's not boing-y at all.
Yep, the Master Room stuff is awesome. Had a 305 for years that ruled. These days, I have the AudioScape version; it also rules, but it's a bit more hifi (in a good way, IMO), and wayyyyy quieter noise floor. |
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Post by RealNoob on Aug 1, 2024 20:12:56 GMT -6
Love this sort of thing in an open arrangement. Glyn Johns btw. (And Belmont on the tasty B3) i had never known of Ryan Adams so i thank you all for the introduction. I already saved TWO as a reference track. This is very cool as well and I love the subtle but cool snare vibe in this. |
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Post by ericn on Aug 1, 2024 21:39:29 GMT -6
All I’m going to say is Yamaha Pro3R. Your we😁
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Post by drumsound on Aug 2, 2024 0:44:25 GMT -6
Love this sort of thing in an open arrangement. Glyn Johns btw. (And Belmont on the tasty B3) A really nice example of working with the predelay I think. |
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Post by copperx on Aug 2, 2024 14:16:55 GMT -6
I select, I set my pre delay and decay times in relation to the musical bpm of the song How do you measure the musical BPM? is it the perceived tempo, and not the real tempo? |
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Post by tonycamphd on Aug 2, 2024 17:08:34 GMT -6
I select, I set my pre delay and decay times in relation to the musical bpm of the song How do you measure the musical BPM? is it the perceived tempo, and not the real tempo? Doesn't matter if the song is recorded to a click or not, i simply count the beats for 15 seconds and multiply x4 to get the BPM, then i divide into milliseconds from there, I'll adjust slower or faster depending if i want the feel to be laid back or forward driving hope that helps |
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Post by the other mark williams on Aug 2, 2024 21:21:21 GMT -6
I select, I set my pre delay and decay times in relation to the musical bpm of the song How do you measure the musical BPM? is it the perceived tempo, and not the real tempo? The “MusicMath” app for phones is really good. Several ways to use it, but you can tap in the beat and it’ll tell you the milliseconds for different note divisions and subdivisions. |
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Post by theshea on Aug 3, 2024 0:10:16 GMT -6
obviously depending on style and vision but sometimes on real drums all i do for snare reverb is i send the gated snare bottom (sometimes the bussed sn top and bottom) to a nice sounding wooden room. and maybe a bit of the OH‘s. instead of a plate. makes the snare sit back nicely and not so upfront without the obvious 80‘s snare reverb splash.
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