Satin Question

[bduffy]

Really excited about the new Satin - it will be an auto-purchase if I can afford it when it comes out!

I had a question about something in the ad copy, namely this:

"While aiming for a complete simulation of classic tape machines, u-he also decided to include the noise reduction circuits. The classic compander models can be used for decoding old tape recordings, or for dynamic processing and colouration effects such as - a known trick amongst seasoned tape-ops - enhancing background vocals and e.g. acoustic guitars."

This set my brother and I on a little debate. What exactly were you talking about there?

[sascha]

Quoting Satin's manual here:

compander

No tape machine plugin should be without a noise reduction encoder/decoder! You can use these purely as coloration effects, or for decoding old cassettes (for instance) that have been recorded with noise reduction switched on. Satin includes five different types - all models of well-known hardware (or parts thereof), despite the "obscured" names...

A-Type
First implemented in early professional video recorders, this type also became the noise reduction standard for multitrack tape and, to a lesser extent, optical movie soundtracks. A-Type processes four different frequency bands, with the two higher bands overlapping so that typical tape hiss frequencies are companded more strongly. The A-Type typically provides about 12 dB of noise reduction (A-weighted).

A-Type Mod
This type mimics the 'Cat-22' modification that was popular among users of the original A-type hardware from the early 70s. All four bands were realized on a single card, and the signal that was added to (or subtracted from) the main path was mixed via four resistors. By simply cutting or desoldering the resistors of bands 1 and 2, only the treble bands remained active, resulting in the very 'airy' sound heard on numerous hit records.
A-Type Mod works especially well with vocals, acoustic guitars or anything that would benefit from a very 'up-font' and bright top end without sounding harsh or shrill.

B-Type
This was added to countless consumer products, for instance pre-recorded compact cassette tapes. B-Type is a single-band system that only processes high frequencies. With its relatively mild compansion, B-Type typically provides about 9 dB of noise reduction (A-weighted).

uhx Type I
This 2:1 broadband compander was meant for professional systems using tape with a signal-tonoise ratio of at least 60 dB, and a relatively flat (+/-3 dB) frequency response within a range of at least 30 Hz to 15 kHz.

uhx Type II
This related method was destined for the cheaper, more noisy consumer media with a much more restricted frequency response. Type II rolls off high and low frequencies in the control signal path (the sound isn't affected) to desensitize the system to frequency response errors.

[bduffy]

Quoting Satin's manual here:

compander

No tape machine plugin should be without a noise reduction encoder/decoder! You can use these purely as coloration effects, or for decoding old cassettes (for instance) that have been recorded with noise reduction switched on. Satin includes five different types - all models of well-known hardware (or parts thereof), despite the "obscured" names...

A-Type
First implemented in early professional video recorders, this type also became the noise reduction standard for multitrack tape and, to a lesser extent, optical movie soundtracks. A-Type processes four different frequency bands, with the two higher bands overlapping so that typical tape hiss frequencies are companded more strongly. The A-Type typically provides about 12 dB of noise reduction (A-weighted).

A-Type Mod
This type mimics the 'Cat-22' modification that was popular among users of the original A-type hardware from the early 70s. All four bands were realized on a single card, and the signal that was added to (or subtracted from) the main path was mixed via four resistors. By simply cutting or desoldering the resistors of bands 1 and 2, only the treble bands remained active, resulting in the very 'airy' sound heard on numerous hit records.
A-Type Mod works especially well with vocals, acoustic guitars or anything that would benefit from a very 'up-font' and bright top end without sounding harsh or shrill.

B-Type
This was added to countless consumer products, for instance pre-recorded compact cassette tapes. B-Type is a single-band system that only processes high frequencies. With its relatively mild compansion, B-Type typically provides about 9 dB of noise reduction (A-weighted).

uhx Type I
This 2:1 broadband compander was meant for professional systems using tape with a signal-tonoise ratio of at least 60 dB, and a relatively flat (+/-3 dB) frequency response within a range of at least 30 Hz to 15 kHz.

uhx Type II
This related method was destined for the cheaper, more noisy consumer media with a much more restricted frequency response. Type II rolls off high and low frequencies in the control signal path (the sound isn't affected) to desensitize the system to frequency response errors.

COOL. Thanks, Sascha! Nice to see a manual that clearly explains the modes and their potential uses.

Can't wait for the release!

[sascha]

Gotcha!

Another excerpt from the manual:

enhancing vocal tracks

If you push a large professional multitrack recorder hard enough, you probably won't need noise reduction as such - at least not for the less up-front tracks like backing vocals. However, it is precisely these tracks that come alive so beautifully when processed by NR encoders...
Most noise reduction systems use some sort of frequency-dependent dynamics processing, either in the main signal path, in the detection side-chain, or in both. Some engineers misused encoders for the so-called Dolby Trick, with the brand name standing for a broader range of systems.

• - In Satin's compander, set the encoder to 'A-Type Mod', but leave the decoder off. Also try bypassing the tape and experimenting with the Mix parameter. Owners of the original hardware units generally used them in an AUX bus - with Satin, you can simply adjust the 'mix' control for the amount of enhancement you want.
  
  - Listen to how the quieter parts become more airy, while the frequency response remains flat during the louder passages...

Back in the days of portable cassette players, many wired-for-sound joggers preferred listening to their encoded tapes with the NR decoding switched off: The higher noise floor didn't matter too much - it was worth it for that extra treble!

[xx JPRacer xx]

Is the manual ready? Can we download it now?

[Sendy]

Hooray for non-"Black Box"-style manuals.

[sascha]

Is the manual ready? Can we download it now?

Howard & me argued today whether the huge pile of plots I created should ready go into it. We'd have to go over a final editorial round this week, I suppose.

We're creating the final web page in parallel, and will make it all available the coming days.

[bduffy]

Man, I forgot this was a joint effort from Sascha and Urs! My god, I'm excited.

[Steve Folta]

"The classic compander models can be used for decoding old tape recordings..."

OMG, I can feel at least one lost album about to rise from the dead! It was recorded on 1" 16-track with dbx and never received a proper mix. We can get access to a 16-track machine but not dbx. Okay, now I'm excited about Satin!

[Ch00rD]

[...] Back in the days of portable cassette players [...]

Glad to see you're using classic Philips geek terminology there, rather than Sony's trademarks which were rather skilfully designed to appeal to the unwashed masses.

[Howard]

Howard & me argued today whether the huge pile of plots I created should ready go into it.

Pile of plots added to manual already