That's a great idea - I need to reorganize the playlists on this channel. I think that would be good playlist.

YES!!!👍🏻👍🏻👍🏻

It really does. That fuzzy rounded off quality on the drums in that song, incidentally, comes from over biasing the tape machine. Perfect observation.

I was thinking the same thing! I was humming the baseline while listening to this drums lol

Thank you so much Sonny! I appreciate that.

Doin my best!

@@WeissAdvice 🔥🔥🔥🔥🔥🔥

My pleasure, thanks for tuning in!

Back for the very first time!

Thank you! Nothing beats experimenting!

Absolutely! Especially high gain guitars that can get edgy.

Thanks for tuning in Bruno!

Yea, it's a signal used for stimulating those electrons. The exact physics of it, I'm not really sure - but it's something along those lines. Magnets, how do they work?

Right on! Thanks ZeH!

Thanks for tuning in Dipshankar!

@@WeissAdvice You are welcome :) Do you use Slate VTM every time when you need to use a tape emulation or are there any other tape emulations that you use other than the VTM?

Thank you!

That sweet combination of subtle distortion meeting subtle compression.

I try to incorporate that into everything I do, because it's fairly easy to figure out what to do if we know what we are actually listening for and want. But maybe I need to examine the concept and start shaping together some listening courses.

@@WeissAdvice let me know if I can help

Tape Saturation is my favorite way to control hi hats and cymbals - I prefer it to EQ most of the time in that context.

I don't use VTM much for mixbus these days, but low bias, 30ips, 1/2", FG-9, pushed just to the point before audible transient slurring occurs, has always sounded good to me. Doesn't change much, just a little harmonic juice.

@@WeissAdvice nice! I actually recently replaced VTM on mixbus with UAD ATR. I like some of the tonal options better for heavy rock/metal that I work on \m/

Acustica is a very interesting plugin line. I find the saturation of many of the plugins sounds good just going in and out - but the actual "preamps" sometimes sound really bad. But some sound pretty good. Distortion is tricky to model. I usually just leave it off with some exception.

Music is a human experience - and human means imperfection. It's why I try to explain the context of what makes the sound "feel right" rather than "sound good" on this channel.

@@WeissAdvice Okay so on this topic... I have a more in depth question, but limited time to ask it so... You do a great job of explaining a technique and then What the technique is actually doing. The short version of a long question is: in this Era, why not make/use tools that Specifically process the signal in that manner, and with far greater or more precise Control over that effect. Why emulate the Analog devices, and their limitations in order to achieve those effects, in some digital facsimile of an analog (which ironically is short for being analogous of what it was emulating! Meta!) GUI that then gets described as "magic"? There is no Magic, only Science. That was old science used to do a thing. We now have new science to do that thing. The old way did other things While doing that primary thing. But we mostly understand that now, we'll enough to make the new way Emulate the old way. But why not make/use tools that take those old side-effects, and make them new Effects? To some degree I realize that this is exactly what is happening. And don't get me wrong, I'm writing this while sitting in front of 3 Analog Consoles and Racks of Analog equipment. (No Tape Machines though, those were the first to go!) I consider my studio as my Instrument. It's as much about the performance as the final product. And, last thought, I DON'T want to sound like Mr. Fab Filter over the past couple of years whose essentially become Anti-Analog. But as I was watching (and loving) this video, I couldn't help but thinking of the New kid coming into this and wondering: "If you wanna compress and saturate the highs....why are you flipping those 4 fake switches on a fake tape machine. Just make a plugin that controls the signal like that. Why are you explaining Bias?" How much of what we're doing is Nostalgia?

That's really cool. I've never tried that one.

I use a Handsome Audio Zulu - but I mainly use it on mixbus. That said, the song "Get Out" I used Zulu on Rick Ross's vocal and it worked really well to add a bit of grit to the tone. I've never used the Neve 542 specifically so I can't really speak on it. But I rarely meet a saturation I don't like.

Typical workflow would be the end and then you mix into them. But you can do either or.

Nice - one kinda cleaner more "sweet" harmonics, and one a little more "character" oriented. I dig it.

@@WeissAdvice Exactly…like jing jang! 😂

I can only say so much about head bump, because I don't know the exact mechanism that causes it. Head bump is an artifact of the repro/playback head and relates to the physical distance between heads relative to the tape speed. But basically just means that depending on your tape machine and playback speed you'll get little boosts and dips in the low frequencies. Some tape machines record nearly perfectly flat, like high end Studers, and have very little freq change on playback. Other tape machines get pretty ripply. When it comes to tape emulation it just comes down to how the manufacturer wants to incorporate the effect.

@@WeissAdvice Matthew, again thank you very much for your explanations, they make me very understand how to work with tape emulation!

Nice! Have you seen my "Mixing With Delay" tutorial?

@@WeissAdvice Which one? Fun with delays, D16 repeater, god mode delays, perfect delay throws. Doesn't matter as I've watched them all anyway 😉

Well.. I'm on my laptop camera for this coming week's videos so no distraction.... It's a Blackmagic Pocket 6k, and I've been getting progressively better at the color correction.

the high end content is related to the low end in a tonal balance perspective. cutting a little bit of the highs is going to make your bass sound fuller and cutting off some bass will make high mid/high frequency content more evident. that's why a lot of mastering uses tilt shelfs (and tapes)

Zeh Du Bass explained it as well as I could. The tape effect here does boost some lows, but those lows are much deeper than where the "high end" stops. BUT - there are tape emulations that will bump that 1-3k range which we could think of as "the bass of the treble" so to speak LOL. But in this case the perceived body we're getting is from the overall tonal balance shift, not so much a boost to that range.

Yes - it's a very similar concept. Except instead of a single transformer, it's more like a series of components acting like transformers giving a more complex saturation curve.