Let's say you have plenty of snare in your overhead mics, but wish to
add some snare reverb without adding reverb to everything in the
overheads. Is it common to keep the snare track muted, but use a pre
fader send to a reverb unit to get some snare-only reverb?

Also, what if I wanted to EQ the snare in this scenario without adding
any more snare volume from the snare mic. If I want to add some high
end crack to the snare without ****ing up everything in the overheads
could I high-pass the snare track at say 3-4K and bring it up slowly
kinda like a hi shelf EQ on the snare only?


Anyone else do these things, or am I asking for trouble with this mix.
Any tips with this issue.

Thanks,

Tyler

Let's say you have plenty of snare in your overhead mics, but wish to
add some snare reverb without adding reverb to everything in the
overheads. Is it common to keep the snare track muted, but use a pre
fader send to a reverb unit to get some snare-only reverb?

Try it; if it sounds good, keep it.

Also, what if I wanted to EQ the snare in this scenario without adding
any more snare volume from the snare mic. If I want to add some high
end crack to the snare without ****ing up everything in the overheads
could I high-pass the snare track at say 3-4K and bring it up slowly
kinda like a hi shelf EQ on the snare only?

Try it; if it sounds good, keep it.




"I'm beginning to suspect that your problem is the gap between
what you say and what you think you have said."
-george (paraphrased)

knud wrote:
Try it; if it sounds good, keep it.

Exactly. There really are no rules. If it works great, if it doesn't
don't do it.

--
Eric

Practice Your Mixing Skills
Multi-Track Masters on CD-ROM
www.Raw-Tracks.com

TYY at wrote on 7/18/04 1:09 PM:

Let's say you have plenty of snare in your overhead mics, but wish to
add some snare reverb without adding reverb to everything in the
overheads. Is it common to keep the snare track muted, but use a pre
fader send to a reverb unit to get some snare-only reverb?

absolutely.. esp if teh dum track as a whole is compressed but the
snare-only SEND is NOT compressed.. it lets the dded room/verb jump out on
hard hits and make em sound bigger without BEING bigger in teh mix.



Also, what if I wanted to EQ the snare in this scenario without adding
any more snare volume from the snare mic. If I want to add some high
end crack to the snare without ****ing up everything in the overheads
could I high-pass the snare track at say 3-4K and bring it up slowly
kinda like a hi shelf EQ on the snare only?

you might want to delay the snare mic to match teh distance to teh OH
mics...



Anyone else do these things, or am I asking for trouble with this mix.

of COURSE it's extra trouble...
the question is 'Is the RESULT -worth- the extra trouble'...
you won;t know till you try.

--
John I-22
(that's 'I' for Initial...)
Recognising what's NOT worth your time, THAT'S the key.
--

On Sun, 18 Jul 2004 10:09:40 -0700, TYY wrote:

Let's say you have plenty of snare in your overhead mics, but wish to
add some snare reverb without adding reverb to everything in the
overheads. Is it common to keep the snare track muted, but use a pre
fader send to a reverb unit to get some snare-only reverb?

That can work fine. You could try gating the snare hard too, as it
will mean less mush in the reverb send. A really short decay on the
snare gate would sound terrible if you could hear it, but on a reverb send
it can work.

I sometimes gate and eq the snare reverb send even if I am also using the
straight snare mic in the mix.


Also, what if I wanted to EQ the snare in this scenario without adding
any more snare volume from the snare mic. If I want to add some high end
crack to the snare without ****ing up everything in the overheads could
I high-pass the snare track at say 3-4K and bring it up slowly kinda
like a hi shelf EQ on the snare only?

Give it a go. Try inverting the phase of the high passed snare track and
see what happens as well.



Anyone else do these things, or am I asking for trouble with this mix.
Any tips with this issue.

Thanks,

Tyler

TYY wrote:
Let's say you have plenty of snare in your overhead mics, but wish to
add some snare reverb without adding reverb to everything in the
overheads. Is it common to keep the snare track muted, but use a pre
fader send to a reverb unit to get some snare-only reverb?

No, but it sounds reasonable. Of course you should make sure the reverb
is passing no dry signal.

Also, what if I wanted to EQ the snare in this scenario without adding
any more snare volume from the snare mic. If I want to add some high
end crack to the snare without ****ing up everything in the overheads
could I high-pass the snare track at say 3-4K and bring it up slowly
kinda like a hi shelf EQ on the snare only?

Sure. But that doesn't mean you shouldn't first fight to get better
isolation in the snare track to begin with.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

JoVee wrote in message ...
TYY at wrote on 7/18/04 1:09 PM:

Let's say you have plenty of snare in your overhead mics, but wish to
add some snare reverb without adding reverb to everything in the
overheads. Is it common to keep the snare track muted, but use a pre
fader send to a reverb unit to get some snare-only reverb?

absolutely.. esp if teh dum track as a whole is compressed but the
snare-only SEND is NOT compressed.. it lets the dded room/verb jump out on
hard hits and make em sound bigger without BEING bigger in teh mix.



Never thought of this before, but the snare send is NOT compressed-
perhaps this artifact/effect is something I was liking.


Also, what if I wanted to EQ the snare in this scenario without adding
any more snare volume from the snare mic. If I want to add some high
end crack to the snare without ****ing up everything in the overheads
could I high-pass the snare track at say 3-4K and bring it up slowly
kinda like a hi shelf EQ on the snare only?

you might want to delay the snare mic to match teh distance to teh OH
mics...

I had the snare track's phase flipped, as it sounded more natural with
the overheads. I may try delaying it instead.




Anyone else do these things, or am I asking for trouble with this mix.

of COURSE it's extra trouble...
the question is 'Is the RESULT -worth- the extra trouble'...
you won;t know till you try.

Well, they say that necessity is the mother of invention. The mix
needed a solution, so I came up with these solutions which seem to be
working. I realize it has all been done before, but with my limited
experience, I am making things up as I go along...


Thanks for the advice all.

(Scott Dorsey) wrote in message ...
TYY wrote:
Let's say you have plenty of snare in your overhead mics, but wish to
add some snare reverb without adding reverb to everything in the
overheads. Is it common to keep the snare track muted, but use a pre
fader send to a reverb unit to get some snare-only reverb?

No, but it sounds reasonable. Of course you should make sure the reverb
is passing no dry signal.

Naturally, mix is 100& effect

Also, what if I wanted to EQ the snare in this scenario without adding
any more snare volume from the snare mic. If I want to add some high
end crack to the snare without ****ing up everything in the overheads
could I high-pass the snare track at say 3-4K and bring it up slowly
kinda like a hi shelf EQ on the snare only?

Sure. But that doesn't mean you shouldn't first fight to get better
isolation in the snare track to begin with.
--scott

The snare track is well isolated. Its simply that for the specific
song, I want a quieter snare sound, and there is a lot of snare in the
overheads. I suppose for that track I could have changed the overheads
to more of "cymbal mikes" instead of "whole kit" mics. However, this
is a mix decision, not really a pre production arrangement decision.
Also, I didn't mic the toms so I needed the whole kit in the OH mics.


Tyler