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fragments wrote:Question to the folks using hardware tape decks: I own two cassette duplicators, can I use these to add those variations via resampling? And would you recommend resampling the stems individually or the entire track after mixdown? (depends on what affect one wants to achieve?

Awesome thread.

I don't like to run the master to cassette, as it destroys all the hard work you done getting your mix the way it sounds. I normally do riffs, or just one shots, I have tried doing multisamples, and got good results it just taks a bit more time. Stems my be the best way, as you would get different wow, and flutter on the same track for the whole song, but I have never done it that way, because you have to sit about for a few minutes to record it out, and then have to wait to record it back in again.

3za wrote:

fragments wrote:Question to the folks using hardware tape decks: I own two cassette duplicators, can I use these to add those variations via resampling? And would you recommend resampling the stems individually or the entire track after mixdown? (depends on what affect one wants to achieve?

Awesome thread.

I don't like to run the master to cassette, as it destroys all the hard work you done getting your mix the way it sounds. I normally do riffs, or just one shots, I have tried doing multisamples, and got good results it just taks a bit more time. Stems my be the best way, as you would get different wow, and flutter on the same track for the whole song, but I have never done it that way, because you have to sit about for a few minutes to record it out, and then have to wait to record it back in again.

Gotcha. That makes sense. Thanks for the tips. I'll have to give doing all the stems a go at some point and report back.

Yes fantastic thread, just what I was after.

I have a question though, been working on a tune with 3 or 4 seperate leads and synths that I've been able to recreate that warm sound just by using saturation, EQ and distortion. However I have a sawtooth base and no matter what I do to it, it just sounds to digital and clinical and doesn't fit with the rest of the track. Anyone have Any suggestions to make the bass sound a little more 'real' or do you think the method used in the article where you record the sound out of your speakers will do the trick?

55stevieboy2010 wrote:Yes fantastic thread, just what I was after.

I have a question though, been working on a tune with 3 or 4 seperate leads and synths that I've been able to recreate that warm sound just by using saturation, EQ and distortion. However I have a sawtooth base and no matter what I do to it, it just sounds to digital and clinical and doesn't fit with the rest of the track. Anyone have Any suggestions to make the bass sound a little more 'real' or do you think the method used in the article where you record the sound out of your speakers will do the trick?

If you have a mic, even a cheap-ass mic, then record it through speakers/cab/amp or direct through VCR/guitar-effect pedal/cassette.

I also recommend any little cheap guitar combo amp. It'll sound better than emulations.

the tune in my sig was ezdrummer and massive and I recorded my monitors with a portable tape player. its a clusterfuck of some the tips in this thread lol although I do like how it made the drums sound more real.

If you have access to either cassette or VHS both of those will do nice things to the midrange. You can try using just the stem/sample of the saw bounced to and from tape or layer it with the original (compress just a tad for glue).

You are on the right track with Saturation and EQ...what are you doing with each? What Saturation plug? Be careful with the saturation. Instead of using a compressor for compression use something like Ferric TDS (Variety of Sound, free). It'll round off the highs in a similar way that tape does.

It might be worth reading the Sound on Sound article on how Slate Digital created Virtual Tape Machine, they really go into detail about which parts of a tape machine affect sound in what way--you might be able to create an FX chain emulation of your own.

I couldn't be arsed and just bought VTM ;p Not sure it sounds like reel to reel tape, but it sounds good.

If using Massive.. just turn the feedback knob up a bit.

I use a chandler little devil pre amp, incredibly flexible sound shaping tool. It has an output knob, acting just like a channel fader, that attenuates all the way. By balancing the gain and feedback controls, I am able to dial anything in from subtle harmonic saturation all the way to total sonic annihilation. I desperately need a second one for stereo work tho.

knobgoblin wrote:I use a chandler little devil pre amp, incredibly flexible sound shaping tool. It has an output knob, acting just like a channel fader, that attenuates all the way. By balancing the gain and feedback controls, I am able to dial anything in from subtle harmonic saturation all the way to total sonic annihilation. I desperately need a second one for stereo work tho.

It's worth repeating...you don't have to have a huge expensive analog setup. But having one piece of OTB kit to breath some life into your stems/tracks/whatever isn't a bad thing!

For anyone who is interested there are some Electrix Filter Factory's on eBay right now for around 300USD. Absolutely love mine, really brings stems to life. Well worth the investment instead of another VST.

Filter feedback is useful for added low end. Free running oscillators can make things sound more random, also a small amount of pitch drift. Tape saturation can soften the high end a bit. A touch of white noise with the oscs can add grit. Eq a waveform then load it into a sampler. Small random amounts on some parameters to make it sound different each key press. Also imperfect squares, saws etc are more analog sounding to start with. Filter FM can sound nice too on some sounds.

IMO the best sounding VA VST is Diva, and it has parameters to set pitch drift and all sorts of analog style features.

VirtualMark wrote:Filter feedback is useful for added low end. Free running oscillators can make things sound more random, also a small amount of pitch drift. Tape saturation can soften the high end a bit. A touch of white noise with the oscs can add grit. Eq a waveform then load it into a sampler. Small random amounts on some parameters to make it sound different each key press. Also imperfect squares, saws etc are more analog sounding to start with. Filter FM can sound nice too on some sounds.

IMO the best sounding VA VST is Diva, and it has parameters to set pitch drift and all sorts of analog style features.

I agree, while CPU heavy, Diva sounds amazingly rich! And great suggestions as well VM

love the diva, wish it wouldn't kill my pc soon as i play more than one note. definetly gonna buy it once i have a new pc, if only for that vangelis preset with aftertouch

the airwindows drive 2 plug is currently rocking my world for all things warmth-related.

Guitar rig as an insert, with no patch loaded, seems to add warmth. Not a one-size-fits-all approach, but worth a trying if you have it

Sharmaji wrote:the airwindows drive 2 plug is currently rocking my world for all things warmth-related.

looking into this...NOW...

FECK...AU only :/ oh well...PC gets everything most of the time...and saves me 50 bucks...lol

claudedefaren wrote:If using Massive.. just turn the feedback knob up a bit.

if only it was that easy