I suck with reverb.

Haha, oddly enough, it sounds like something Aaron Smith did? You're both in Seattle. If it is, ask him!

Buttt, if I'd guess it sounds a LOT like D-Verb using the medium plate ala Andy's stylee. 2.5 or so decay. Mess with it until it sounds similar.
 
Is there settings for where the reverb will sit within the instrument (EQ wise)

For example:

Pantheon.png


Artsacousticrverb.png


Masterverb5.png



The second and third EQs it's labeled "dampening" the first doesn't really have it.
 
ah, so it's more of an le-type version!?? i guess it's not anything like those little white units that can be seen on so many large scale consoles, ay?
 
Crazy...I open this thread thinking, "Maybe I can help this guy with reverb", and then I look and the reference song is band I tracked and mixed!

ffaudio said:
These guys are semi known in my area and I get a lot of bands that want "that" reverb sound on their snare.
Click to expand...

Send 'em to me for mixing :heh: Haha...

CJWall is basically right on with the settings...D-Verb, plate setting, about 1.5 seconds decay. Also, don't be afraid to EQ the crap out of the reverb...take out the extreme high stuff and then just listen to what other frequencies resonate in the reverb that don't help the sound. I'm pretty sure there was a Q10 or something after the D-Verb for Mirror The Ghost.
Having a really good snare sound helps an awful lot, too. Reverb is never going to make the actual snare sound better than it is.

...now if only Mirror The Ghost would finish paying me :mad: It can't be that hard to come up with $290.
 
Aaron Smith said:
Crazy...I open this thread thinking, "Maybe I can help this guy with reverb", and then I look and the reference song is band I tracked and mixed!



Send 'em to me for mixing :heh: Haha...

CJWall is basically right on with the settings...D-Verb, plate setting, about 1.5 seconds decay. Also, don't be afraid to EQ the crap out of the reverb...take out the extreme high stuff and then just listen to what other frequencies resonate in the reverb that don't help the sound. I'm pretty sure there was a Q10 or something after the D-Verb for Mirror The Ghost.
Having a really good snare sound helps an awful lot, too. Reverb is never going to make the actual snare sound better than it is.

...now if only Mirror The Ghost would finish paying me :mad: It can't be that hard to come up with $290.
Click to expand...

Do you cut any lows out on the reverb buss? and do you leave your reverb buss panned 100% left and right normally?
 
broken81 said:
Do you cut any lows out on the reverb buss? and do you leave your reverb buss panned 100% left and right normally?
Click to expand...

No, I don't think I've ever needed to cut lows out, but I will normally roll off around 8-10k or so, just wherever I need in order to get rid of those nasty extreme highs that don't sound right. I definitely cut some lower mids usually, and really just a few random -3db dips in different areas, it really depends on the snare drum itself and what it's causing the reverb to do. Listening to a big reverb tail without the snare turned on actually (send the snare output to Analog 3-4, so the the signal still goes to the reverb buss) helps find little areas you can further EQ in the snare, too.
As for the panning, I always leave it hard panned. I'll normally create a mono Aux input, and send the snare on a mono buss over to it. Then when you're adding the D-Verb insert to the Aux input, choose the one that has a stereo output, so it creates a stereo output from a mono input.
Overall though, when you're EQing the reverb, just listen to it and think to yourself "Does it sound like an actual room?". Usually you'll notice stuff about it that doesn't sound "right", like those extreme highs I mentioned...a real drum room wouldn't have that super bright fizzle to it.
 
Aaron Smith said:
...now if only Mirror The Ghost would finish paying me :mad: It can't be that hard to come up with $290.
Click to expand...
i deal with this by not releasing anything but mp3's until i'm paid in full. and only those if they've paid a 50% deposit. since instituting that policy i've always been paid in full. the shitty thing is it's often really hard to tell, going by how "cool" people seem to be, which ones are going to jerk you around. a strict, unbendable policy of no CD's until the bill is paid in full is the only way to make sure you don't get jerked around. it's really the worst when they keep stringing you along... "hey man, sorry i know i said i was gonna have the balance for you today but my wife's car blew a tire and i had to just go ahead and get her a new set.....", etc etc., blah blah. i'd like to see them try crap like that at the grocery store, or with their electric utility.
 
James Murphy said:
i deal with this by not releasing anything but mp3's until i'm paid in full. and only those if they've paid a 50% deposit. since instituting that policy i've always been paid in full. the shitty thing is it's often really hard to tell, going by how "cool" people seem to be, which ones are going to jerk you around. a strict, unbendable policy of no CD's until the bill is paid in full is the only way to make sure you don't get jerked around. it's really the worst when they keep stringing you along... "hey man, sorry i know i said i was gonna have the balance for you today but my wife's car blew a tire and i had to just go ahead and get her a new set.....", etc etc., blah blah. i'd like to see them try crap like that at the grocery store, or with their electric utility.
Click to expand...

What James says ... or ... send some mean russian thugs over to their house!! :)


(No disrespect to the russians on this board, but of all mean thugs I know, the russians are the meanest ...) :zombie:
 
Aaron Smith said:
No, I don't think I've ever needed to cut lows out, but I will normally roll off around 8-10k or so, just wherever I need in order to get rid of those nasty extreme highs that don't sound right. I definitely cut some lower mids usually, and really just a few random -3db dips in different areas, it really depends on the snare drum itself and what it's causing the reverb to do. Listening to a big reverb tail without the snare turned on actually (send the snare output to Analog 3-4, so the the signal still goes to the reverb buss) helps find little areas you can further EQ in the snare, too.
As for the panning, I always leave it hard panned. I'll normally create a mono Aux input, and send the snare on a mono buss over to it. Then when you're adding the D-Verb insert to the Aux input, choose the one that has a stereo output, so it creates a stereo output from a mono input.
Overall though, when you're EQing the reverb, just listen to it and think to yourself "Does it sound like an actual room?". Usually you'll notice stuff about it that doesn't sound "right", like those extreme highs I mentioned...a real drum room wouldn't have that super bright fizzle to it.
Click to expand...

Thanks Aaron i got some experimenting with reverb to do now.
 
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