just fyi, around 16:20 you say that the abbey road 80s drummer gives you only a single snare channel with no top/bottom mic control. if you look at the manual pdf in section 4.2.5 'channel settings' > 'additional kick and snare controls' you will see that in the mixer, under the snare 'settings' section, the left most panel has faders to control the level of top and bottom mics, as well as bleed. you can get a lot of control over the bottom snare wire sound using those faders. not to take anything away from the value of snapback, but good to know when using the abbey road drum kits
Welcome back to you Dan ! 4 months without an update, we were getting worried. At least I was. Audio engineering would be a lot harder without your tips.
I think that’s because he has a very sparse arrangement. I bet you barely notice with something busy playing. In these examples the drums are almost featured as the lead instrument…
I'm not an audio engineer, I don't work in a field related to music, I can't play a single instrument, I own a Roland workstation but haven't gotten around to learn how to play or really do anything.... yet I always find these videos incredibly interesting even though it really has no relevance to me. It's one of the few TH-cam channels where I watch every new video. I think that says a lot about the quality of the content! So thank you for that!
Snapback user here! It's sooo good for adding drum samples - before or on the transient. I preloaded all my own samples, so it becomes my modern days' Drumagog.
Drummer for 52 years here... i.e., Sometimes I will ad white noise or a bottom snare sound subtly into the kick track cause that's what gives the kick an edge to my ears when playing a real drumset. Your examples embody this mindset. Thanks for this video Dan.
I've learned not to trust those people who demo a product and insist there is a vast improvement in the sound although I can not hear it. My advice is when in doubt always trust your own ears. I know that Dan would never do that so I wasn't that surprised when I could fully hear and agree with Dan's assessment of this plugin. My reaction in a word was "wow!". And to find out that it is very reasonably priced makes this one a no brainer for me. Great to hear from you again Dan and I look forward to your next installment of ear training videos.
The sound type is called a "whoosh." It's the sound of air turbulence as something moves through it. If you're programming drums in MIDI you can duplicate the MIDI notes to trigger the whooshes and nudge the note a tiny bit earlier. Then put the whoosh in a choke-group with the original sound. Adjust timing to taste.
I wish this plug in existed 10 years ago when I had my studio. The band I was working with had their drums tracked at a well known recording school in London Ontario. Everything was trimmed down to just the transient and a short tail. In the mix they sounded totally dead. This plugin would have allowed me to fix that quite easily. Its amazing how fuller and natural everything sounded with a subtle pre transient.
I saw the value to my workflow the moment Cableguys emailed me about this product. I ordered it straight away! Thanks for demoing the features using practical examples
I bought Snapback. I'm preferring Character enhancement to Exaggerated long attacks for the most part. Still, a very useful plugin. Adding a perceived, non-reverbed, roominess works too.
as i’m sure most people who ever used any of the famous vintage drum machines or samplers know there are no pre-whooshes in any of them unless there is also some form of compression or bit reduction added on top. the micro-timing usually varies wildly between hits however, and this is what typically creates most of their “mojo” (apart from the obvious transformer-saturated sound) and is easily observable in the recorded waveform presented in any digital recording software. so while i don’t find this technique (or plugin in this case) particularly useful for recreating said mojo, it is probably very useful for creating another kind of sound or “groove”
Dan these videos are phenomenal. I'm try to get into the mixing business and I'm always learning from you. Can't express how much I appreciate a master sharing his knowledge for everyone
We need an audio file with pre-delay metadata that DAWs use to position the onset in the right place. The best alternative I've found is to make all of your snapbacks exactly (say) an eighth note long, but this only works in one BPM. Maybe a sampler could just let me set a tempo sync'd sample length from the end. Also, there's an interesting tradeoff where presets need to be as impressive as possible on their own to get people to buy them, but then they don't sit well in a mix. I'm always having to turn down/off reverbs and delays, etc. Many of the Snapback presets are a bit much, but toned down a bit they really add that little extra polish to a drum sound. I'm kind of worried that every hit Pop or EDM song for the next year is going to have snapbacks on all the drums though.
This is nice and I will use it, so far been doing it by hand or using a drum replacer plugin with noise, then bounce that down and shift left a few ms with a gate on-top, for me the pre-transient is important because when you compress the drums that touch of noise really make the drums splat hard, sometimes I have shorter ones in the main beat and longer ones in the beefy sections
definitely brought a realism to the acoustic kit. tool with lots of potential and looks like something that may even be fun used or abused "wrongly". thanks Dan
I've been asking that in my mind for many years.. ...these little pre-transients "sound" registered just before all kicks and snares I've zoomed for editions of any kind... The gate process is always my first shot... Producing beats for rappers I've been dealing with these pre-transient stuff for a long time, and according to my experience, snares sound way better when you leave some "extra dirty" before them... The result is almost a soft "flam" and the slap seems to happen inside you hears... ...it causes some sort of "feeling"... "Subliminal" was very precise... Thank you one more time, Dan!
Omg you just described what happened to me yesterday, I was mixing a song with a sampled snare which sounded (even in solo and thru headphones and monitors) like it was "flamming" but only occasionally, not every hit, and the waveform didn't look like it contained any flame-behavior. The problem is that I don't want it and I don't want to change the sample because it sounds exactly how it should except for this issue. Zooming on the sample start point I saw that there was some of the "dirt" you mentioned before the actual transient spike so I suppose it's the transient that it's actually making the flam, after the "dirt".
Dan is so good at his art of bringing the best part of a product, he can review a pen without an ink cartridge and make you believe it already has all the existing colours. I hope Cable guys can handle the incoming traffic on their website now.
Thank you for that outstanding presentation. I really enjoyed the examples and the explanation on the topic. One thing you could have mentioned is that SnapBack relies on a DAW capable of implementing Plugin Delay Compensation (PDC). So for example it is not working on native Instruments Maschine (tbh - which is more of a groove box than an DAW)
I especially enjoy what you did on the "live" kick with this, but in general the overall effect on the Abbey Road drums is pretty big to me. The "measurable" difference (for lack of a better term) is perhaps small, but I still have a very different emotional reaction, in a good way, to the way those drums *feel* when you engage Snapback with what you've dialed in. And to me, serving the emotional goals of a song is one of the most important jobs of an engineer. A very quick and user-friendly tool like this for manipulating that feel and emotional reaction would certainly be an invaluable addition to any engineer's toolbox. Great video, Dan!
It kind of sounds like the sound effects on Kung Fu films when they throw punches. It always sounded like they were throwing the heaviest punch ever. But now it's done in a musical way.
That is the psycho-part in psychoacoustics. individual information processing chains in brains are not rational but often they have a significant effect on the full thought process as a whole. That is why it's hard to reason why such relatively insignificant sound bytes would have such a massive effect on the listening experience beforehand, until you actually do experience it yourself, and even then it's hard to rationalize why exactly that insignificant part makes the whole thing so much grander.
I guess it's true that first impressions count. The transient part of a sound is very short, but our brains take a lot of information from it. No one ever says "That release time really hits me in the chest and makes me want to dance". It's all about the attack phase.
I don't like that whip sample, the snare sound good by itself imo, need maybe a sample to increase the attack so the parallel drumkit can do the loudness of the overall kit.
Thanks Dan, we missed you bud. I search your channel daily waiting for your next drop. I’d love to see you make a series for basement warriors…how about mixing & recording a live drum set with just 4 inputs… you could probably make a whole series showing us how you arranged, tracked and mixed any of your originals. We’d devour it! You’re great bro. Thank you.
I like to use the tails of cymbals and hats in reverse and layer them just before my kick or snare. Nice pumping sound.✌️😌🎧🎶 Snapback seems like a cool workaround
better parallel compressor with an ams neve there is a channel in the console that allows you to send your channel in parallel to that and has a filter around 120hz
The component addition idea makes way more sense to me than whole samples. Roland V Drum modules add to samples using principles of physical modeling. There isn't any reason you can't also do the same with recorded drums or other instruments. Need a different attack just layer an attack instead of an entire drum that has the attack you want. Need more body add a resonator maybe with some saturation to add additional harmonics. Physical modeling is more dynamic and doesn't require round robin and velocity switching. IMO that's way more natural than sample layers and replacement.
I think these woosh sounds before the transients really make everything sound heavy. When you turn it off it sounds like the drummer doesn't play so hard. I honestly like both, just bypass the woosh sounds at a mellower moment of the track.
Imagine explaining to a 1950s engineer that one day there would be a piece of gear that uses over a billion nano-tubes (transistors), to insert the sound of a rattling air-duct into your sound with absolute precision.
I once went through all my folders of drum samples and trimmed the "junk" at the start of any that weren't trimmed "properly" just before the main transient. I now realise I made a terrible mistake. Those (fairly quiet) whooshes and thwips of the attack phase must have been providing character and life that I'd never really thought about.
Excellent video as always, Dan. It certainly helped clarify some of the questions I had about it. BTW, illicit parties? I couldn't possibly know what you mean 😂However, is it possible the reason why those 909 kicks sounded different to the studio was because of the preceding/following track not being mixed perfectly in time. Thinking about it now, no matter how good the DJ, there must have always been a tiny, tiny fraction of snapback happening when trying to mix vinyl, especially on the higher frequencies (ie, snare) when bringing in a new track.
awesome plugin! would be cool if they added their crazy MSEG editor and a few effects so one can add something to the way a sample sweeps to the transient of the drum
Another similar product is the Texture plugin, which is not entirely geared for drums but anything. This looks nice and a rather inexpensive option. I could use this in live audio too.
I loved this plug so much I had to make a vid too! I've had to go through hours of work in the past, getting these "whips" to happen in mixes before. It's a heckuva plain old drum trigger too-almost 100% accurate. What was so "illicit" about those parties in the 90s? 🤔 😅 Great vid!
Now imagine modulating the attack parameter with Reaper, at random or with a LFO, without too much depth. Sounds like a free "humanize" function to me.
Wtf.. this info makes me smiling from ear to ear! would call it whiped-in effect.. Adding a subtle "pre-whipe" before drum hits can create a more natural, immersive sound. This tiny sound, like the air displacement before a bass drum or snare hit, mirrors the physical feel of an instrument moving. By simulating the anticipation of a hit, it engages the listener’s instinctive response, feeling less abrupt and more organic. This trick enhances groove by signaling the brain to expect a rhythm, making each beat land with a sense of anticipation. Unlike pure transients, which can feel mechanical, this approach adds warmth and depth. It works for both acoustic and electronic drums, adding realism to any beat. Ultimately, it taps into the psychology of rhythm, aligning with the natural way we perceive sounds in the world.
Hang on, did I miss something? How does the plugin... like... work? Does it have lookahead, making it purely a mixing tool? Does it have internal playback or just feed straight into the channel? Does it do any sort of side chaining (or: using audio from elsewhere in the mix as the sample?) I still have questions lol
It uses lookahead. With the Snapback layer set to "Off", there is base latency of 27ms (required for Audio Trigger and Limiter), and 17ms in MIDI mode. Beyond that, the length of the Snapback sample adds to the latency. Snapback samples from the Short category add 35ms, while all others add 135ms. Using your own custom snapback sample will add latency equal to its length. And yes, you can route sidechain input to its audio trigger detection (open the Trigger settings and activate the Sidechain button for that).
I am missing the option to toggle between layering and replacing a transient like e.g. in "Slap" from yum audio. Other thn that the plugin is a lot of fun and powerful for designing drums!
@@katabatica Ah, didn't realise. But I'm a huge fan of Dan, and Cableguys tbh, so where does that leave me? Ok, how about .... I actually preferred the drums without the snapback (which isn't 100% untrue).
@@katabatica it's definitely a cool effect and I know that it's used for a lot of "electronic" music but I don't hear it and think it's "better" any more than I think a stereo guitar track is "better" than a mono guitar track even if it sounds fuller and richer in isolation. So I think I agree with you - it's a cool effect that could change/lift certain parts of a song
Hmm. Will buy. On BD it sounds to me like beater noise which we (hace 40 years ago) used to work a lot to minimise, and then stopped doing that 'cos it took away the feel! I guess psycho-acoustic cueing might be involved too.
So effective on the snare! A little goes a long way... Cableguys are great! Cool idea, superbly implemented, brilliantly effective, great control with great presets, effective results, a no-brainer plugin currently as a no-briner price, bravo Cableguys! 👏
So practically speaking, what from the clubs are you adding back in? What could have caused something to exist BEFORE the 909 sample except room acoustics that delayed everything except the thwoop?
Obviously nothing would move earlier. But if significant parts of the sound are delayed, everything else ends up earlier. Subwoofers have group delay, also probably not correctly time aligned in an illicit PA on fire kind of party. I suspect vinyl styluses might smear things a bit, but I'm guessing there.
The 808s? That's a patch I threw together in FabFilter Twin3, plus compression and reverb. The samples I added are all included with Snapback, apart from that one that I dragged in.
nice thank you, for me i would put the effect quieter, it is too noticable like this. Btw I saw another video where they said the plugin added some latency to the hits.
The plugin has some latency (it would be impossible without it) but that should be automatically compensated by your DAW. Worked fine for me in Reaper.
He certainly sells them a lot better than Cableguys themselves. Maybe that’s because he’s just showing off their value rather than trying to deliberately sell them.
Wow, that's one of those things that has just been sitting there the whole time. Not some new technology that enables it, a theory that most of us just simply have been ignoring! Sounds amazing, thanks!
just fyi, around 16:20 you say that the abbey road 80s drummer gives you only a single snare channel with no top/bottom mic control. if you look at the manual pdf in section 4.2.5 'channel settings' > 'additional kick and snare controls' you will see that in the mixer, under the snare 'settings' section, the left most panel has faders to control the level of top and bottom mics, as well as bleed. you can get a lot of control over the bottom snare wire sound using those faders.
not to take anything away from the value of snapback, but good to know when using the abbey road drum kits
Thanks, wasn't aware of that.
was just about to comment the same thing!
Haha im late!
You 'out Worrall'd' the Worrall! Not an insignificant achievement! 😀
Welcome back to you Dan !
4 months without an update, we were getting worried.
At least I was. Audio engineering would be a lot harder without your tips.
Pre-ringing once was an unwanted side effect. Now, we have a plugin for it :D
i used to make 808 bass hit different (like a zay 808) with intentional pre-ring by using EQ filters on linear phase
Just like with DAWs and how everyone was excited about having clean mixes. Now everyone’s trying to bring sonic dirt back into the mix
@@slayabouts People assumed the prestine sound would be of higher fidelity and quality but it just turned out to be stale and boring.
Finally!
We missed ya Dan
i actually would prefer without snapback but it is a welcoming change between different bars to add some distinction!
I'm not sure. I feel like snapback was a bit too much, so a little more subtle than the initial example here.
In these examples, it sounds more like a special effect than a subtle tweak to make the drums have more impact.
I think that’s because he has a very sparse arrangement. I bet you barely notice with something busy playing.
In these examples the drums are almost featured as the lead instrument…
I'm not an audio engineer, I don't work in a field related to music, I can't play a single instrument, I own a Roland workstation but haven't gotten around to learn how to play or really do anything.... yet I always find these videos incredibly interesting even though it really has no relevance to me. It's one of the few TH-cam channels where I watch every new video. I think that says a lot about the quality of the content! So thank you for that!
Snapback user here! It's sooo good for adding drum samples - before or on the transient. I preloaded all my own samples, so it becomes my modern days' Drumagog.
I used Drumagog yesterday; I still love it.
Drummer for 52 years here... i.e., Sometimes I will ad white noise or a bottom snare sound subtly into the kick track cause that's what gives the kick an edge to my ears when playing a real drumset. Your examples embody this mindset. Thanks for this video Dan.
thats right! if you need more upper harmonics, this is the way to go. using it for a decade.
I made it 3 minutes in before pausing, adding these to my kicks and snares, and knowing I will forever do this
Bypass mode = Boring. Engaged mode = low and behold.. We have life!
Thanks for the upload Dan.
I've learned not to trust those people who demo a product and insist there is a vast improvement in the sound although I can not hear it. My advice is when in doubt always trust your own ears. I know that Dan would never do that so I wasn't that surprised when I could fully hear and agree with Dan's assessment of this plugin. My reaction in a word was "wow!". And to find out that it is very reasonably priced makes this one a no brainer for me. Great to hear from you again Dan and I look forward to your next installment of ear training videos.
I’ve been doing this manually for the past month or so, all hyped thinking I had my own “special sauce” and then this comes out. Damnit. 😂
Impressive. A VST that serves a new and useful purpose. Bravo to CableGuys!
I am just here to say hello, and I am happy seeing a new vid. Been (seriously) thinking of you the other day. Cheers from Germany!
Glad to see you back Dan! I love the Cableguys plugins!
The sound type is called a "whoosh." It's the sound of air turbulence as something moves through it. If you're programming drums in MIDI you can duplicate the MIDI notes to trigger the whooshes and nudge the note a tiny bit earlier. Then put the whoosh in a choke-group with the original sound. Adjust timing to taste.
I wasn't sure he would review this new plugin from them, but now I'm really glad I bought it.
really really cool to see Cableguys making such innovative AND useful plugins.
Hi Dan, just to say that your tutorials always have the best tunes, happy friday! 🥰
I wish this plug in existed 10 years ago when I had my studio. The band I was working with had their drums tracked at a well known recording school in London Ontario. Everything was trimmed down to just the transient and a short tail. In the mix they sounded totally dead. This plugin would have allowed me to fix that quite easily. Its amazing how fuller and natural everything sounded with a subtle pre transient.
I saw the value to my workflow the moment Cableguys emailed me about this product. I ordered it straight away! Thanks for demoing the features using practical examples
Geez, buddy, you had us worried, there for a while. Welcome back!
He owes us nothing
I bought Snapback.
I'm preferring Character enhancement to Exaggerated long attacks for the most part.
Still, a very useful plugin.
Adding a perceived, non-reverbed, roominess works too.
as i’m sure most people who ever used any of the famous vintage drum machines or samplers know there are no pre-whooshes in any of them unless there is also some form of compression or bit reduction added on top.
the micro-timing usually varies wildly between hits however, and this is what typically creates most of their “mojo” (apart from the obvious transformer-saturated sound) and is easily observable in the recorded waveform presented in any digital recording software.
so while i don’t find this technique (or plugin in this case) particularly useful for recreating said mojo, it is probably very useful for creating another kind of sound or “groove”
Welcome Back! Dan Worrall #1 💟
This is so pleasant to hear | instant buy
Glad to hear your voice again my friend!
Dan these videos are phenomenal. I'm try to get into the mixing business and I'm always learning from you. Can't express how much I appreciate a master sharing his knowledge for everyone
We need an audio file with pre-delay metadata that DAWs use to position the onset in the right place. The best alternative I've found is to make all of your snapbacks exactly (say) an eighth note long, but this only works in one BPM. Maybe a sampler could just let me set a tempo sync'd sample length from the end.
Also, there's an interesting tradeoff where presets need to be as impressive as possible on their own to get people to buy them, but then they don't sit well in a mix. I'm always having to turn down/off reverbs and delays, etc. Many of the Snapback presets are a bit much, but toned down a bit they really add that little extra polish to a drum sound. I'm kind of worried that every hit Pop or EDM song for the next year is going to have snapbacks on all the drums though.
waveform markers already exist and can be used for this purpose
A new video from Dan Worrall is like getting a call from an Old Friend!
Well said...an old friend who has some awesome tricks to share
This is nice and I will use it, so far been doing it by hand or using a drum replacer plugin with noise, then bounce that down and shift left a few ms with a gate on-top, for me the pre-transient is important because when you compress the drums that touch of noise really make the drums splat hard, sometimes I have shorter ones in the main beat and longer ones in the beefy sections
definitely brought a realism to the acoustic kit. tool with lots of potential and looks like something that may even be fun used or abused "wrongly". thanks Dan
I've been asking that in my mind for many years..
...these little pre-transients "sound" registered just before all kicks and snares I've zoomed for editions of any kind...
The gate process is always my first shot...
Producing beats for rappers I've been dealing with these pre-transient stuff for a long time, and according to my experience, snares sound way better when you leave some "extra dirty" before them...
The result is almost a soft "flam" and the slap seems to happen inside you hears...
...it causes some sort of "feeling"...
"Subliminal" was very precise...
Thank you one more time, Dan!
Omg you just described what happened to me yesterday, I was mixing a song with a sampled snare which sounded (even in solo and thru headphones and monitors) like it was "flamming" but only occasionally, not every hit, and the waveform didn't look like it contained any flame-behavior. The problem is that I don't want it and I don't want to change the sample because it sounds exactly how it should except for this issue. Zooming on the sample start point I saw that there was some of the "dirt" you mentioned before the actual transient spike so I suppose it's the transient that it's actually making the flam, after the "dirt".
@mttlsa686 Yep!
Probably a sidechain with lookahead working not properly may cause that, too...
@@marceloribeirosimoes8959 Yes I'm aware of that and it's a thing I check everytime to avoid it :)
Good to see you here again. Pretty cool plugin. Certainly would help out an anemic drummer.
1:05 I love how the kick comes in when he talks about parties!
Those backing track details Dan, crazy!
Dan is so good at his art of bringing the best part of a product, he can review a pen without an ink cartridge and make you believe it already has all the existing colours. I hope Cable guys can handle the incoming traffic on their website now.
Thank you for that outstanding presentation. I really enjoyed the examples and the explanation on the topic. One thing you could have mentioned is that SnapBack relies on a DAW capable of implementing Plugin Delay Compensation (PDC). So for example it is not working on native Instruments Maschine (tbh - which is more of a groove box than an DAW)
Yes. I think I'm too complacent as a Reaper user. Might need a follow up...
I especially enjoy what you did on the "live" kick with this, but in general the overall effect on the Abbey Road drums is pretty big to me. The "measurable" difference (for lack of a better term) is perhaps small, but I still have a very different emotional reaction, in a good way, to the way those drums *feel* when you engage Snapback with what you've dialed in. And to me, serving the emotional goals of a song is one of the most important jobs of an engineer. A very quick and user-friendly tool like this for manipulating that feel and emotional reaction would certainly be an invaluable addition to any engineer's toolbox.
Great video, Dan!
It kind of sounds like the sound effects on Kung Fu films when they throw punches.
It always sounded like they were throwing the heaviest punch ever.
But now it's done in a musical way.
Thanks Dan, this video just inspired me to purchase the Cablebox bundle.
We did this in electronic music manually for about two decades and will continue to do so for flexibility and arrangement purposes.
Cool video. Trailer hits have been using this too extremes for a while. Some of them are things of beauty
Never ceases to amaze me how so little can make such a massive difference in perception.
That is the psycho-part in psychoacoustics. individual information processing chains in brains are not rational but often they have a significant effect on the full thought process as a whole. That is why it's hard to reason why such relatively insignificant sound bytes would have such a massive effect on the listening experience beforehand, until you actually do experience it yourself, and even then it's hard to rationalize why exactly that insignificant part makes the whole thing so much grander.
I guess it's true that first impressions count. The transient part of a sound is very short, but our brains take a lot of information from it. No one ever says "That release time really hits me in the chest and makes me want to dance". It's all about the attack phase.
8:23 My man Dan Worrall getting into Rawstyle territory, he already did accidental Uptempo with the Lufs video, rad.
As a hiphop producer who designs his own drum sets - this is an instant buy.
I don't like that whip sample, the snare sound good by itself imo, need maybe a sample to increase the attack so the parallel drumkit can do the loudness of the overall kit.
Thanks Dan, we missed you bud.
I search your channel daily waiting for your next drop.
I’d love to see you make a series for basement warriors…how about mixing & recording a live drum set with just 4 inputs… you could probably make a whole series showing us how you arranged, tracked and mixed any of your originals. We’d devour it!
You’re great bro. Thank you.
Woah, at subtle settings, this is really fantastic.
I'm gonna try this on some synths to get some more bass/guitar style attack!
I like to use the tails of cymbals and hats in reverse and layer them just before my kick or snare. Nice pumping sound.✌️😌🎧🎶
Snapback seems like a cool workaround
better parallel compressor with an ams neve there is a channel in the console that allows you to send your channel in parallel to that and has a filter around 120hz
3:23 do you think it’s just that it takes the drums a little off the grid so that they’re more human and not so clinical?
The component addition idea makes way more sense to me than whole samples. Roland V Drum modules add to samples using principles of physical modeling. There isn't any reason you can't also do the same with recorded drums or other instruments. Need a different attack just layer an attack instead of an entire drum that has the attack you want. Need more body add a resonator maybe with some saturation to add additional harmonics. Physical modeling is more dynamic and doesn't require round robin and velocity switching. IMO that's way more natural than sample layers and replacement.
great example of subtle = noticeable difference
Thanks Dan
BT is a criminally underrated genius
Preview told me "BT is a criminal".
@@DanWorrall both can be true
Welcome back legend❤
Okay I would actually have guessed they're all waves 😂
Love this plugin! 🔥
I think these woosh sounds before the transients really make everything sound heavy. When you turn it off it sounds like the drummer doesn't play so hard. I honestly like both, just bypass the woosh sounds at a mellower moment of the track.
Finally something really interesting I have never tried before! But I have always thought about reverse swoosh sounds in my head, since I was a kid
Imagine explaining to a 1950s engineer that one day there would be a piece of gear that uses over a billion nano-tubes (transistors), to insert the sound of a rattling air-duct into your sound with absolute precision.
Everything about computers, software, the internet etc is mind-blowing to me almost weekly I have a moment of wow this is so crazy
Huge Dan Warrel Fan here... cliced on this video just because of that...
Impressive, creative and affordable. 👍
That terry pratchett comment instantly transported me back about 2 decades
The Goat
I once went through all my folders of drum samples and trimmed the "junk" at the start of any that weren't trimmed "properly" just before the main transient. I now realise I made a terrible mistake. Those (fairly quiet) whooshes and thwips of the attack phase must have been providing character and life that I'd never really thought about.
Excellent video as always, Dan. It certainly helped clarify some of the questions I had about it.
BTW, illicit parties? I couldn't possibly know what you mean 😂However, is it possible the reason why those 909 kicks sounded different to the studio was because of the preceding/following track not being mixed perfectly in time. Thinking about it now, no matter how good the DJ, there must have always been a tiny, tiny fraction of snapback happening when trying to mix vinyl, especially on the higher frequencies (ie, snare) when bringing in a new track.
How nice i just purchased it and who drops a tutorial .. Dan Worral 🙂 Thank you Dan.
awesome plugin! would be cool if they added their crazy MSEG editor and a few effects so one can add something to the way a sample sweeps to the transient of the drum
People throw your slate trigger out of the window and use this gem. Importing your own samples is the game changer here.
The background track in the first part of the video is “Grace Jones - I've Seen That Face Before” 😉😊
Another similar product is the Texture plugin, which is not entirely geared for drums but anything. This looks nice and a rather inexpensive option. I could use this in live audio too.
I loved this plug so much I had to make a vid too! I've had to go through hours of work in the past, getting these "whips" to happen in mixes before. It's a heckuva plain old drum trigger too-almost 100% accurate. What was so "illicit" about those parties in the 90s? 🤔 😅
Great vid!
Thats an ingenious plugin! I've been trying to get the same effect using a linear phase EQ but it never sounds as good as this!
This seems interesting. Will keep an eye on it
Bought - thanks Dan!
Love these deep analytical drum mplugins available. Dawesome Chop Sui is a similarly useful tool I find.
Now imagine modulating the attack parameter with Reaper, at random or with a LFO, without too much depth. Sounds like a free "humanize" function to me.
This makes me wish DAWs would start supporting a "placement marker" in an audio file.
Dan Review Must have buy
Wtf.. this info makes me smiling from ear to ear! would call it whiped-in effect..
Adding a subtle "pre-whipe" before drum hits can create a more natural, immersive sound. This tiny sound, like the air displacement before a bass drum or snare hit, mirrors the physical feel of an instrument moving. By simulating the anticipation of a hit, it engages the listener’s instinctive response, feeling less abrupt and more organic. This trick enhances groove by signaling the brain to expect a rhythm, making each beat land with a sense of anticipation. Unlike pure transients, which can feel mechanical, this approach adds warmth and depth. It works for both acoustic and electronic drums, adding realism to any beat. Ultimately, it taps into the psychology of rhythm, aligning with the natural way we perceive sounds in the world.
Hang on, did I miss something? How does the plugin... like... work?
Does it have lookahead, making it purely a mixing tool? Does it have internal playback or just feed straight into the channel? Does it do any sort of side chaining (or: using audio from elsewhere in the mix as the sample?)
I still have questions lol
It uses lookahead. With the Snapback layer set to "Off", there is base latency of 27ms (required for Audio Trigger and Limiter), and 17ms in MIDI mode. Beyond that, the length of the Snapback sample adds to the latency. Snapback samples from the Short category add 35ms, while all others add 135ms. Using your own custom snapback sample will add latency equal to its length.
And yes, you can route sidechain input to its audio trigger detection (open the Trigger settings and activate the Sidechain button for that).
Please tell me you are getting paid for your voice talent. You should be the voice in every training video. Cheers Dan!
BT flaming June epic track
I see Dan Worrall, I click.
I am missing the option to toggle between layering and replacing a transient like e.g. in "Slap" from yum audio. Other thn that the plugin is a lot of fun and powerful for designing drums!
Nice to see you back, Dan. Here's a comment for the algo
Apparently the algo-overlord likes controversy. So I think you're WRONG about the algo!!!
@@katabatica Ah, didn't realise. But I'm a huge fan of Dan, and Cableguys tbh, so where does that leave me? Ok, how about .... I actually preferred the drums without the snapback (which isn't 100% untrue).
@@bigstewdio yeah, indiscriminately used it might be too much, butI think it's a cool effect that could lift a chorus.
@@katabatica it's definitely a cool effect and I know that it's used for a lot of "electronic" music but I don't hear it and think it's "better" any more than I think a stereo guitar track is "better" than a mono guitar track even if it sounds fuller and richer in isolation.
So I think I agree with you - it's a cool effect that could change/lift certain parts of a song
Hmm. Will buy. On BD it sounds to me like beater noise which we (hace 40 years ago) used to work a lot to minimise, and then stopped doing that 'cos it took away the feel! I guess psycho-acoustic cueing might be involved too.
So effective on the snare! A little goes a long way...
Cableguys are great! Cool idea, superbly implemented, brilliantly effective, great control with great presets, effective results, a no-brainer plugin currently as a no-briner price, bravo Cableguys! 👏
So practically speaking, what from the clubs are you adding back in? What could have caused something to exist BEFORE the 909 sample except room acoustics that delayed everything except the thwoop?
Obviously nothing would move earlier. But if significant parts of the sound are delayed, everything else ends up earlier. Subwoofers have group delay, also probably not correctly time aligned in an illicit PA on fire kind of party. I suspect vinyl styluses might smear things a bit, but I'm guessing there.
07:38 what's the Plugin/Soundbank for those? They sound awesome!
The 808s? That's a patch I threw together in FabFilter Twin3, plus compression and reverb. The samples I added are all included with Snapback, apart from that one that I dragged in.
@DanWorrall did you happen to save that patch? I'd love to use it!
@@papaschlumpf1390 no but I've got the session. Email me if you want a preset.
Just WOW!
would love to be able to map pitch to the input key somehow
nice thank you, for me i would put the effect quieter, it is too noticable like this. Btw I saw another video where they said the plugin added some latency to the hits.
The plugin has some latency (it would be impossible without it) but that should be automatically compensated by your DAW. Worked fine for me in Reaper.
NEW DAN WORALL
loved the video
I was going to skip this one on the grounds that I can easily do this without a plugin... but.. If Dan's in I'm in.
Dan has sold me more on CableGuys' products than anyone ever could do.
PS: Love Discworld too. Terry Pratchett was a genious. R.I.P. ❤
He certainly sells them a lot better than Cableguys themselves. Maybe that’s because he’s just showing off their value rather than trying to deliberately sell them.
Can I load this in shaper box?
Wow, that's one of those things that has just been sitting there the whole time. Not some new technology that enables it, a theory that most of us just simply have been ignoring! Sounds amazing, thanks!
What monitors do you use?