Adam has been lucky enough to be involved with many award-winning and creatively gifted artists and projects. From hip-hop artists like Lil' Wayne to latin jazz by Oskar Cartaya to feature film mixing. Artists Adam has worked with range from Gladys Knight to The Swedish House Mafia. Adjust Mid Reverb Time to 1.8 to 3 seconds and Low Reverb Time to below 2 seconds.Īdam Kagan has over two decades of experience in the recording industry as a producer, mixer, engineer and designer, contributing to more than 19 Grammy nominated projects, and dozens of gold and platinum selling records. Lexicon 224 (UAD): Use a drum room preset that uses Program 7 (Room A). Waves H-Verb: Use preset “Blue Plate Special,” Output Echoes OFF, Adjust Reverb Time as desired, from 1.5 to 3.5 seconds.įabfilter Pro-R: Use preset “Mellow Narrow Hall for Snare,” Adjust Space between 1.5 and 2.8 seconds and adjust Stereo Width as desired. In general, try any preset called medium room, large room, drum room, or studio. Adjust decay time as desired.ĭear VR ( Stereo): Use preset “Drum Room 1,” Size 50, Output Format 2.0 Stereo (2CH). Adjust Decay up to 500ms as desired.ĪMS rmx16 (UAD): Use program 8 “Nonlin 2,” decay time 4, predelay 0, decay filter -4. In general, try any preset called nonlinear, ambient or small room.Īvid D-Verb: Ambient + Small setting, Decay 280ms, HF Cut 10 kHz, LP Filter10 kHz.
#Reverb lp give 10 free#
Any parameter not mentioned here should default settings that works well, but feel free to experiment with your own settings! Short Reverbs Some mixers only send layered snare samples to the reverb and keep the original snare dry for extra clarity.īelow are some useful starting points for a few common plugins, but try whatever reverbs you own. Also try compressing the output of the long reverb by 4 dB with a 20ms attack and 50ms release to enhance the character and density of the reverb. You shouldn’t even notice the short reverb until you mute it, and then the snare will lose its body.Įxtra Credit: Insert a high-pass filter from 200 to 400 Hz after the long reverb. The long reverb should disappear in time with the beat-usually an eighth- or quarter-note in length. Viola! Play the drums along with both reverbs in the context of the mix. Some mixers send the overheads but not the snare to this verb, while some prefer the opposite.
Try sending different combinations of snare, toms and overheads to this reverb. You’ll find that the softer this reverb plays in the mix, the longer the decay time should be so that you hear more of the tail. Send enough snare to make this reverb loud and then turn the effect return down until you feel a long decay, but the reverb is softer than the snare.
This reverb could be a stereo room, hall, plate or chamber set to a decay time between 1.5 and 4 seconds with 10ms to 20ms of predelay. Mute the first reverb and send the snare to the second reverb. This reverb also works well for programmed drums, percussion, and even electric guitars. Too much of this and your drums will sound like the ’90s! Send any combination of the snare top, snare bottom, toms, overheads and maybe even a touch of the hat and kick to this reverb. Then turn down the reverb until you barely notice it. Send a lot of snare to this reverb and listen to what it sounds like. Start with a stereo ambience or nonlinear preset and set the reverb time between 200 and 500 milliseconds. The second reverb creates sustain and a tail for the drums.
One reverb creates a feeling of the drums filling a small space with sound. Two individual stereo reverbs create this effect. Stock DAW reverb plugins will certainly work for this technique, but as you progress, you may come to find certain plugins that shine for this application. Follow this simple recipe and you can create this effect with almost any reverb plugins you own.
This reverb technique is the foundation for drums in many top pop, rock, and metal records. We don’t necessarily want to notice the reverb, but we want to create a sense of a real space for the drums and to fill the cracks in the mix with the tonality of the drums. Reverb on live and triggered drum tracks provides punch to close-miked drums along with a sense of space around the kit that blends the drums together.
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