Using Satin on every channel

[Andrew John]

Hi there.

I just bought Satin, I'm super stoked! It sounds amazing!

I have noticed a lot of people talk about always starting their channel insert chain with a tape emulation plugin. Steven Slate does this a lot and lots of people like to use plugins like the McDSP analog channel subtly on every channel to give an accumulative effect on the overall mix.

Does anybody have any suggestions for using Satin in a similar way? Possibly even suggest some settings or presets?

Thank you

[Googly Smythe]

Get a stonkingly powerful machine - you'll need it if you want to do this! There's a reason as to why it sounds amazing.
PS It's my fave echo and flanger plugin.

[Googly Smythe]

Also, I think it would be better to use Satin on your group/sub channels, but put a simple (ie very few controls) console/preamp sim on all your tracks. Sonimus Satson or Britson ($39 each), or, if you don't mind iLok, the Kush Omega series ($29 each). All very simple, and light on the cpu.

[ariston]

It's on every channel in my Reaper default mixing template. I don't have a specific preset that I use, what I do is group all instances and experiment with various mastering presets, adjusting to taste, depending on the track. Sometimes you'll need pristine, barely noticeable, at other times, some obvious colouration will do the trick. Grouping everything lets you experiment with driving the plugin to find that ideal sweet spot. Don't forget to auto-mute the tape hiss!

Don't know about powerful machines... mine is an i5 4460. I use Sonimus Satson, Equality, Studio Devil VTP, MJUC and HG-2 on every channel as well, without a glitch or a hitch with even 20-30 tracks - we're talking (mostly) mono stems here, of course, not works-in-progress with 20 instances of Diva and 4 additional FX on every track. And I find Reaper to be very efficient, especially compared to Ableton.

My chain starts with the Satson console emu, Satin on the last slot, and everything else in between... in a real world setting, you'll obviously get all your mixing done before printing to tape. The master track naturally holds an instance of Satin as well.

To me, this is the only way I use Satin as a tape emulation. I rarely like what tape emus do on single tracks, but I love that overall cumulative "glueing" effect when used in this way.

[clangorous]

One slight difference for me is to start with a meter plugin, then the tape emulation.

Then set each track to -18 peak.

Once that's set then it's clip gain to level out each track.

Gain-staging in this way sets things up so the tape emulation sounds predictably awesome, I avoid clipping, and I need less compression since adjusting clip gain is basically transparent compression.

[#rob]

set each track to -18 peak.

Wow, that would give you VERY different perceived volume levels between tracks... I'd strongly recommend against that.

When levelling, rather go for a consistent RMS level. The odd peak breaking out here and there won't matter, as long as the overall perceived RMS stays fairly consistent.

[Andrew John]

Thanks for your input guys, much appreciated!

I have the Slate digital bundle so i might try using the Virtual Console on the channels instead of the Sonimus suggestion, but thank you for that suggestion.

It leads me to a question about presets. When i load up the preset "Vintage Master -18db RMS" what does that mean? Do i have to ensure that the signal i feed into Satin has to be -18db RMS?

Thank you.

[Googly Smythe]

Thanks for your input guys, much appreciated!

I have the Slate digital bundle so i might try using the Virtual Console on the channels instead of the Sonimus suggestion, but thank you for that suggestion.

It leads me to a question about presets. When i load up the preset "Vintage Master -18db RMS" what does that mean? Do i have to ensure that the signal i feed into Satin has to be -18db RMS?

Thank you.

Just keep Satin's VU in/out meters around the 0db mark and you should be ok, whatever preset/settings you use.

[Andrew John]

Cool, thank you! But i am curious, these values aren't arbitrary.

[sascha]

Was me who created that preset. It's indeed made for -18dB RMS, thus aimed at pretty conservative-to moderate-level mixdowns. The parameters are set in a way that Satin adds a bit of character and rounding-off at this operation level. If you go higher, it'll surely work somewhat, but who knows...
As with effects plugins in general, I'd generally be cautious with presets and listen very closely, since no plugin can foresee what it gets fed with next.

[Andrew John]

Cool, thank you Sasha, much appreciated. So just to double check, you're saying that the signal before it goes into Satin should be approx -18db for this preset?

[sascha]

Yes. But RMS, not peak.
(Of course you can trim that with the input levels knob if needed)
The idea is, when mixing at relatively conservative levels, chances are the peak-to-RMS ratio (aka crest factor) is sufficiently high for a device like a tape machine to have full effect. If you already have a 'hot' mix, like say, -12 or -10dB RMS, you'll run the risk of not only slamming transients but also steady-state signals.

[Andrew John]

Excellent explanation, thank you. So, generally speaking is it better to feed Satin a signal around -18 RMS?

[sascha]

Not so easy. Depends...
Some sources might be more sensitive to distortion than others. The 'purer' the input (sparse harmonic series) the more you'll perceive added distortion.

[Andrew John]

Ok thanks. I'm generally not into distortion, I'm looking for warmth and glue. Could you elaborate on some recommendations of how to use it for that? Thank you for your help, much appreciated