Ok guys, newbie question.
I'm producing in the box, DAW only.
What do I have to buy/use and to do to getting that tape method done?
Hardware mixer?
Pre-amp?
Tape recorder?
And how does this process flow from daw to daw?
Analog-ising
-
Bionic_Eye
- mnml mmbr
- Posts: 264
- Joined: Sat Jan 01, 2005 1:22 am
- Location: Amsterdam
http://abletonlife.com/how-to-go-lo-fi- ... ive-part-1
http://abletonlife.com/how-to-go-lo-fi- ... ive-part-2
i found this very handfull
for that inbox tape effect
create a delay set it to repitch and edit the pitch over a long period with a small amount
mayb some saturnation
cut some lo mid and high freq
http://abletonlife.com/how-to-go-lo-fi- ... ive-part-2
i found this very handfull
for that inbox tape effect
create a delay set it to repitch and edit the pitch over a long period with a small amount
mayb some saturnation
cut some lo mid and high freq
first you need an audio interface with at least 4 out 2 in. then you can take signals out of the computer, process with something analog and record back into your computer.N - Jay wrote:Ok guys, newbie question.
I'm producing in the box, DAW only.
What do I have to buy/use and to do to getting that tape method done?
Hardware mixer?
Pre-amp?
Tape recorder?
And how does this process flow from daw to daw?
Ok. Right now I've got the Edirol ua-25 now. I bought that a few years ago to connect my midi controller. What do you use Tone-Def? What can you advise me?tone-def wrote:first you need an audio interface with at least 4 out 2 in. then you can take signals out of the computer, process with something analog and record back into your computer.N - Jay wrote:Ok guys, newbie question.
I'm producing in the box, DAW only.
What do I have to buy/use and to do to getting that tape method done?
Hardware mixer?
Pre-amp?
Tape recorder?
And how does this process flow from daw to daw?
at the moment i'm in the market for a new interface. actually i'm upgrading my whole rig.
i'm looking at the steinberg MR816 X (£520) because that looks like the best bang for buck for in/out and sound quality. it's got shite drivers though and it doesn't like having anything else on the firewire bus. thats a problem for me because i use an external hard drive. still going to give it a try.
if the steinberg is a pain in the ass, i'll go for the RME fireface UC (£720).
the MR816 and fireface both have 8 in 8 out so they might be a bit much for your needs. Echo do a good range of products, as do m-audio/avid (only the latest models).
i'm looking at the steinberg MR816 X (£520) because that looks like the best bang for buck for in/out and sound quality. it's got shite drivers though and it doesn't like having anything else on the firewire bus. thats a problem for me because i use an external hard drive. still going to give it a try.
if the steinberg is a pain in the ass, i'll go for the RME fireface UC (£720).
the MR816 and fireface both have 8 in 8 out so they might be a bit much for your needs. Echo do a good range of products, as do m-audio/avid (only the latest models).
Im thinking the term analog-ising might mean different things to different people, so Im coming in from the angle of adding charcter to digital or itb recordings.
Since I used software, there might be bigger and better plugins but ive experimented with several methods with varying degrees of satisfaction.
Converting certain samples to mp3 and back to wav again, the effect (on drums) is a softening of the transients - at least it sounds like that. It introduces a kind of 'thwip' to say the kick or snare, which can be seen in an audio editor. Its almost akin to a hardware compressor with a sloppy attack time.
I always wondered why wavelab never had a 12bit recording option but ive resampled at 8bit with cymbals and hats that were pristine and again, with varying degrees of satisfaction. The bitcrush effect I avoided as it was too obvious for me but theres something about lower quality hats I like.
Since I used samples for drums, it was important to pay attention to them sounding like they all belonged together and not just a collection of random one shots. So apart from tuning the kit, id create a beat and run the whole loop through various things. I often used a bit of antares tube in parallel with a hp filter. The reason for the filter was to add 'something' to just the upper frequencies of the sounds as the low end often gets messed up with tube like processing. You also have to be careful of phasing with parallel processing too.
So yeah, id try that and obvious things like vintage warmer but there were other things too whos names escape me but I will post them when I remember. 1 set of plugs were by a french company and used an effect similar to convolution, in essence, it imparted the effect of hi end gear onto the audio. Some settings i was happy with, others not so.
There was a plug i used a lot whos name is gone at the minute but it had a lot of options and was designed for this kind of stuff. It had different types of noise you could add, 'tape speed fluctuation' - which ill get to. Old sampler type emulation, mic, filtering and more. Id run loops through this too. The tape speed thing I liked and the inbuilt compressor. With the tape and speed thing, it would add some colour and slightly fluctuate the speed of the loop. This is obviously an unwanted thing but bare in mind, id chop the audio back up into individual hits with everything id try and with this youd end up with slight variations of each sample. Ok, not really 'character' but interesting and lively.
So the loops were just a means to an end to incorporate my drum hits together and process the entire kit to get a sense of sonic coherence and make them sound like they are all from the same kit. Id even try gated reverb, which sounds naff and 80's, but when you chop the kit up again, you get rid of 90 percent of the reverb tail and leave just an essence which definitely made a difference and pulled the sounds up from that background of digital silence.
Another thing was to indenticall duplicate the groove with a white noise pattern. This is tricky to explain as it involved gate time, an lfo modulating filter and an lfo modulating release time. But the result was nice when done right and when sat under the drum track, it wouldnt be immediately obvious but mute it and youd know it was gone.
Ive done the usual things like run stuff out through the desk and tried recording to cassette tape. I didnt think much of that. Tried to record audio to vhs tape but i neve got it to work.
I had tons of sampled and looped analog and digital waveforms from a huge array of synths and Id build patches in my soft sampler. I actually prefered this to vsti's. A single waveform would become an oscillator and id build 'machines' based on 'oscillator' type.
I was really happy with these sounds and of course being open ended, I could get a decent emulation of a number of synthesis types. The filters were a let down though but I thought Korgs ms20 software had the best filter Id heard in software so I ran various synth sounds through that.
I had a huge amount of those waveforms though and the amount of control the sampler offered, left me with sounds I was happy with so I only really coloured drum stuff.
Since I used software, there might be bigger and better plugins but ive experimented with several methods with varying degrees of satisfaction.
Converting certain samples to mp3 and back to wav again, the effect (on drums) is a softening of the transients - at least it sounds like that. It introduces a kind of 'thwip' to say the kick or snare, which can be seen in an audio editor. Its almost akin to a hardware compressor with a sloppy attack time.
I always wondered why wavelab never had a 12bit recording option but ive resampled at 8bit with cymbals and hats that were pristine and again, with varying degrees of satisfaction. The bitcrush effect I avoided as it was too obvious for me but theres something about lower quality hats I like.
Since I used samples for drums, it was important to pay attention to them sounding like they all belonged together and not just a collection of random one shots. So apart from tuning the kit, id create a beat and run the whole loop through various things. I often used a bit of antares tube in parallel with a hp filter. The reason for the filter was to add 'something' to just the upper frequencies of the sounds as the low end often gets messed up with tube like processing. You also have to be careful of phasing with parallel processing too.
So yeah, id try that and obvious things like vintage warmer but there were other things too whos names escape me but I will post them when I remember. 1 set of plugs were by a french company and used an effect similar to convolution, in essence, it imparted the effect of hi end gear onto the audio. Some settings i was happy with, others not so.
There was a plug i used a lot whos name is gone at the minute but it had a lot of options and was designed for this kind of stuff. It had different types of noise you could add, 'tape speed fluctuation' - which ill get to. Old sampler type emulation, mic, filtering and more. Id run loops through this too. The tape speed thing I liked and the inbuilt compressor. With the tape and speed thing, it would add some colour and slightly fluctuate the speed of the loop. This is obviously an unwanted thing but bare in mind, id chop the audio back up into individual hits with everything id try and with this youd end up with slight variations of each sample. Ok, not really 'character' but interesting and lively.
So the loops were just a means to an end to incorporate my drum hits together and process the entire kit to get a sense of sonic coherence and make them sound like they are all from the same kit. Id even try gated reverb, which sounds naff and 80's, but when you chop the kit up again, you get rid of 90 percent of the reverb tail and leave just an essence which definitely made a difference and pulled the sounds up from that background of digital silence.
Another thing was to indenticall duplicate the groove with a white noise pattern. This is tricky to explain as it involved gate time, an lfo modulating filter and an lfo modulating release time. But the result was nice when done right and when sat under the drum track, it wouldnt be immediately obvious but mute it and youd know it was gone.
Ive done the usual things like run stuff out through the desk and tried recording to cassette tape. I didnt think much of that. Tried to record audio to vhs tape but i neve got it to work.
I had tons of sampled and looped analog and digital waveforms from a huge array of synths and Id build patches in my soft sampler. I actually prefered this to vsti's. A single waveform would become an oscillator and id build 'machines' based on 'oscillator' type.
I was really happy with these sounds and of course being open ended, I could get a decent emulation of a number of synthesis types. The filters were a let down though but I thought Korgs ms20 software had the best filter Id heard in software so I ran various synth sounds through that.
I had a huge amount of those waveforms though and the amount of control the sampler offered, left me with sounds I was happy with so I only really coloured drum stuff.