Tape emu for channels

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I use guitar rig tape echo to degrade. Resonation is all but patent.

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Dean Aka Nekro wrote:Although there isn't any audio examples Marco, Jack Endino has a ton of reliable information and free of bullshit terminology that might be worth you having a read over
http://www.endino.com/archive/arch2.html
http://www.endino.com/archive/index.html
http://www.endino.com/graphs/index.html
Its easy to search his works on discogs, Hope you find that useful.

The other guy whom has come up with a great tape processor that is actually a reel tape recorder, playback and processor/effect if abused is Chris Estes whom delivers with his CLASP, Of which lots can be heard of and read about here:
http://www.endlessanalog.com/tag/clasp- ... -processor
http://www.endlessanalog.com/what-is-clasp
http://www.musicradar.com/news/guitars/ ... eed-506271
https://www.youtube.com/user/endlessanalog

I can't tell you what exactly it sounds like but you'll know when you hear it, Not always for the better IMveryhumbleHO, All the best to all as always :)

Dean
sweet should be a good read.
If your plugin is a Synth-edit/synth-maker creation, Say So.
If not Make a Mac version of your Plugins Please.

https://soundcloud.com/realmarco

...everyone is out to get me!!!!!!!

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realmarco wrote:Im sure the people around here have never touched a studer or know that kick drum about -40
level will sound like mush.
I have. A lot!

My first time in a studio was in the late 70s. My band had a deal with CBS and we recorded in Utopia Studios in London. I then went on to record a further 4 albums in various analog studios, as well as a ton of other, one-off sessions in studios such as BBC Maida Vale, Townhouse and the ubiquitous Abbey Road to name but a few. I'd been recording for years before I saw the inside of a digital studio (Air Studios in London).

The "sound" in those days was much more about the people who worked the equipment than the actual equipment itself, especially with regard to the BBC and Abbey Road studios - those guys were (are) the best engineers I've come across. They were striving to get the purest, cleanest recordings possible - low noise, low wow & flutter, and the widest dynamic range possible. They didn't want the gear to have a "sound". they wanted to capture the music/performances as cleanly as possible.

Now we can all easily achieve that, and more.

The point is; I don't think tape emu plugins can really take you back there.

As realmarco pointed out...
realmarco wrote:how do we know if *insert plugin name* truelly sounds like what they promise its supposed to sound like.
Maybe tape emus can get you close, but my feeling is why would you want to?

Personally speaking, I much prefer the sound of modern digital recording and mixing technology. I don't want to go back there. Tape was a pain.

And yes, I have tried a few tape emu plugins, but I've always removed them after a few minutes. They're okay as an effect when needed I guess, but otherwise they're just snake oil in my opinion.

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first; I don't understand why the OP would need to have 10+ instrument tracks or whatever with varying degrees of "tape saturation" on them instead of having it on a bus send
Andywanders wrote: . . . Maybe tape emus can get you close, but my feeling is why would you want to?
Personally speaking, I much prefer the sound of modern digital recording and mixing technology. I don't want to go back there. Tape was a pain . . .
yes ^

peace
expert only on what it feels like to be me
https://soundcloud.com/mrnatural-1/tracks

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realmarco wrote:i wonder..howe do we know what tape is supposed to sound like

Studio 2 inch tape recorders where very expensive(100 000$+)

Most people had those cheap home-studio reel-to-reel

how do we know if *insert plugin name* truelly sounds like what they promise its supposed to sound like

Im sure the people around here have never touched a studer or know that kick drum about -40
level will sound like mush.
I wouldn't know a high-end tape machine if it bit me on the ass. What I do know however, is that for certain sounds, Satin & VTM provide a gorgeous softening of digital harshness or certain transients.

So, to answer your question, for most people we don't know whether the plugin sounds like <insert tape machine here>, just whether it sounds good in absolute terms.

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Mister Natural wrote:first; I don't understand why the OP would need to have 10+ instrument tracks or whatever with varying degrees of "tape saturation" on them instead of having it on a bus send
Indeed. Why not have just one instance on a send? :?
No band limits, aliasing is the noise of freedom!

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Nielzie wrote:
Mister Natural wrote:first; I don't understand why the OP would need to have 10+ instrument tracks or whatever with varying degrees of "tape saturation" on them instead of having it on a bus send
Indeed. Why not have just one instance on a send? :?
Because summing minimal levels of saturation that interact with each track individually gives a whole different (and tmo better) result then just slamming 'saturation' as a final solution on the master-bus (or as a 'shared' send). Besides that, the 'analog' tape saturation sound is exactly that: summing all the minute saturation levels of the multi-track recorders separate tracks. Besides that there is also the compression effect of running tape at hot levels, again on a summed track basis, and even track-bleeding (cross-talk between the tracks) is part of the final sound, although back in the day that was exactly what we didn't want and closely linked to the quality of the multitrack deck in use.
CrimsonWarlock aka TechnoGremlin, using Reaper and a fine selection of freeware plugins.

Ragnarök VST-synthesizer co-creator with Full Bucket

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Andywanders wrote: Maybe tape emus can get you close, but my feeling is why would you want to?

Personally speaking, I much prefer the sound of modern digital recording and mixing technology. I don't want to go back there. Tape was a pain.
I want the effect for a few tracks I'm working on. I don't automatically use tape emus on every project, which is why I'm looking for something significantly less expensive than Satin.
Nielzie wrote:
Mister Natural wrote:first; I don't understand why the OP would need to have 10+ instrument tracks or whatever with varying degrees of "tape saturation" on them instead of having it on a bus send
Indeed. Why not have just one instance on a send? :?
This is what I currently do with Reelbus.

crimsonwarlock summed it up nicely.

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The real magic of tape is the cumulative effect of driving it on every mixer channel. Just having it on the Master bus is not the same.
Intel Core2 Quad CPU + 4 GIG RAM

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Actually, you have more benefit of overdriving a console preamp the right way(!) rather than overdriving a tape machine.

A tape machine always suffers from a limited dynamic range, from noise reduction schemes (a lot of plugins don't have that - SATIN is among the rare exception) and an oversaturation/too strong comrpession if run too hot.

As AndyWanders pretty much pointed out - tapes were a pain in the butt. But the only option to get something on to multitrack, until ADC's were good enough to work with. Now we have ADC's capable of 96kHz, with a dynamic range of way above 120dB (ultra low noise floor) at 24bit.

Yet we want a certain "old sound" back, the limitations, the issues with these tapes. "It sounds softer", "it does sound more warm and pleasant to my ears". Of course, because tapes had not a linear frequency response (unless it was a real high end tape - ever tried to re-record a recording like 3 times from initial recording to mixdown without proper frequency compensation?!). And if you drive the signal too strong, yes you get harmonic content (the so called saturation) due to the distortion of the overdriven signal.

But the hotspot is very thin (depending on the machine and settings) - and consumer tapes.... well, better not talk about consumer tapes.


Having a tape machine in plugin form, or maybe even an old 4 track at home, is definitely a nice add-on. But personally, I also rather use a console emulation to "round out" things from a 32+ channel digital multi-track, rather than a tape machine on 24 tracks. Though I don't hesitate to use a tape machine if the client demands such a sound.
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Mudcat007 wrote:Too bad Jeroen from ToneBoosters discontinued Ferox.
Discontinued, or perhaps just temporarily unavailable?

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djeroen wrote:
Mudcat007 wrote:Too bad Jeroen from ToneBoosters discontinued Ferox.
Discontinued, or perhaps just temporarily unavailable?
Hueheheeueehee (some incomprehensible dialect) :shock: :-o :eek:

http://www.toneboosters.com/tb-ferox/

:hyper:

Y'know what Borat would have said about it ??

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Professional technicians are assessed by the abilities they possess.
Amateur technicians are assessed by the tools they possess - and the amount of those tools, with an obvious preference to the latest hyped ones.
(Gabe Dumbbell)

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SKnote Roundtone is the one I use most and is quite nice imho

http://www.sknote.it/Roundtone.htm

Edit: oops I see now it has been mentioned already..
No band limits, aliasing is the noise of freedom!

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Toneboosters Ferox is back again, you should demo it and see if you like it.

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DMG68 wrote:Toneboosters Ferox is back again, you should demo it and see if you like it.
I used to have the track essentials. Looks like I'm going to re - buy it.

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