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Can you tell me more about it, your experience and everything, saw it recommended around few times and got quite interested in it, never was fan of tape, so never cared about plugins that emulate the same (had Nebula with some libs, but after trying some of them, didn't hear or saw any benefits, but back than, I was doing electronic music purely, now I'm into hip hop, downbeat and that likes) , have a feeling I'm missing out on something because of it, so yeah, please expand on it more

Yeah, I have the demo, played little with it, mostly on drum bus and mix bus, quite like what I hear

 

Last edited by a moderator: Sep 10, 2015

Its a really great plug, provides solid emulation, although there arent a lot of customizable tape types, i mainly used the profession swiss 15 inch tape, then tune the rest of the settings to taste, its can be very gentle or obtrusive depending on how you use it, the hiss and ausperity settings have varying levels of sweet spots and heavily depend on the source material you are putting through. The rest of the settings are a lot more applicable in many variable stages, all sounding good. The mid side setting can make things sound really glossy if used correctly too. If you have really low gain set up on your initial sound its great to apply this to taste, and then compress slightly, it will really even out and bring out the sweet artifacts/warmth from the tape.

I found this plugin during the development of this track, mainly on the chorus part of the drums you might hear it the most present.

 

poked my interest, going to follow this tread. 20 euro aint much

 

reelbus/ferox/satin -> must have plugs to take away the digital harshness and add warmth and analog wibe

 

whats wrong with the emulation on Nebula ? I'm pretty interested in Nebula, but I'm not quite sure if I should buy it. But knowing, that it's not really worth it on emulating Tapes...

 

Tape Saturation VST - Slate Digital VTM vs. Waves J37 vs. TB ReelBus

 

piqued my interest too... coming up with a lot of interesting stuff lately you Serbian audiozexual !

 

Thank you for writing, what an lovely track

Nothing wrong, but as I said, at that time I didn't had a purpose for it, mostly because that Nebula libraries were just instant gratification kind of deal, I really didn't liked some of them, but there's plenty to be found, but again, I didn't saw benefit of CPU taxing for it back than, now, Nebula doesn't fit my wallet and I'm not that hot for it anyways

This is awesome, thanks

Ohh stop it you

 

ohh maybe that little part about it needing to filch processing power from a gamer grade video card?
or otherwise slowing your system to molasses ?

 

As for tape saturation, I don't like the hiss and some of the saturation, but I like how it solidifies the low end, and transparently removes harshness.

TB Reelbus is a good plugin for it, they also have one called Ferox, which I believe is just a less indepth version of its big brother, I often like that since I don't have to mess around with flutter and wow as much, it also uses less resources.

 

I have old Ferox, v3 one comes with bunch of other plugins as part of TrackEssentials bundle, like the compressor tho, but even with the great offering, I don't need any of the plugins in there, even that compressor, is it worth paying price for bundle only for Ferox?

 

I'll be honest with you: I don't believe in tape emulators. I've experimented a lot with them, but with few exceptions, I often decide my mixes sound better without them.

A well done tape recording isn't supposed to sound like tape. It's not supposed to be an effect. It's not supposed to add perceptible amounts of wow, flutter or hiss. It's not supposed to perceptibly compress your material. It's not supposed to add significant quantities of harmonics. It's not supposed to roll-off all your high end.

Back in the days, audio engineers did whatever they could to make their recordings sound as transparent as possible, yet, here we are, trying to add something they've spent countless sleepless nights trying to remove.

Anyway, rant off.

What tape emulators will do you your material? You need to know this stuff before you can answer if you need it or not.

They'll add EQ, most likely a smiley curve with a high end roll off. They'll affect you transients through compression and often soft-clipping algorithms. They'll add mechanical noise emulation. They'll mess with your stereo field by emulating crosstalk among channels. They add harmonics. Do you really need all these stuff in your signal path?

I know that what works for me doesn't necessarily works for you and vice-versa, but since I've started practicing a minimalist mixing approach, using as few plugins as possible, my mixes started to sound fuller, clearer, better....Specially plugins which add harmonics; Man, they tend to make a mess at the end of the chain once those harmonics start clashing...

Plus, I don't agree that any analogue emulating plugin is physically able to remove digital harshness; They can blur it, smudge it, obfuscate it, disguise it, but the harshness will still be there, only drowned in a sea of distortion and noise...

If there's perceptible digital harshness in a mix, trying to track it and fix it at the source is a better alternative, in my opinion. Sometimes the fix is as simple as EQ.

Just my two cents, brother.

Cheers,

R

 

Last edited: Sep 11, 2015

what or which videocard is supported? how many instances can I possibly run then?

 

it is the only TB plugin i own. it is very good, even better considering the price. i consider it a great purchase

 

this may help from the TB website

TB Ferox, and its cousin TB ReelBus
One might wonder what the difference is between TB Ferox and its more advanced cousin TB ReelBus:

• TB ReelBus is accurately modeled after tape recorders; TB Ferox consists of a more general and simpler tape saturation simulation.
• TB ReelBus has tape hiss and asperity noise models, these are not available in TB Ferox.
• TB ReelBus has a wide variety of tape models; TB Ferox has saturation and hysteresis controls that can work in 2 modes.
• Besides non-linear behavior, TB ReelBus also models certain spectral features of tape, such as the head bump.
• TB ReelBus has configurable pre- and post emphasis, not available in TB Ferox.
• TB ReelBus has wow and flutter simulation, this is not present in TB Ferox.

In general, TB Ferox has a lower CPU load and is therefore very suitable for individual tracks, while TB ReelBus fits better with busses and complete mixes (although it can sound pretty good on individual tracks as well).

---

i would say keep your old ferox and buy reelbus

 

@Kwissbeats

this for starters http://www.acustica-audio.com/index...98:how-can-i-run-nebula-on-cuda&catid=53:cuda

then there's this... https://developer.nvidia.com/cuda-toolkit

I have an intel card, so pretty much out of the question for me

 

Yes I do actually and all in that order, that's what I heard too and I like it

Yeah, that's great advice and approach, I always practiced that (only my bass-es were exceptions where I could have tons of plugins and sends, but that's because I'm obsessed with basslines and I'm doing subtle things that makes difference to me), but overall I'm mostly staying with my rough mix setup, EQ, maybe compression and effect on send where is needed, that's it and using effects as creative tools mostly, but there was a period when I was "demoing" Klanghelm SDDR which end up in every channel, I just liked instant gratification I was getting from it, maybe it was material, just like now, 90s rap/boom bap, go figure.

Better than nothing

Agree, that's the first thing I do, but can't say I don't like what some of that tools add, I do, so why not, this is same as "don't boost" philosophy, I know folks who get amazing mixes just doing whatever the material needs, with something basic as stock EQ and if outcome is great, who cares how it's done, that's my philosophy in this case too

Appreciate you taking a time for doing it, really spot on and informative

 

Last edited by a moderator: Sep 12, 2015

Like to use this on my drum bus and on the master buss as well. Usually just run through the presets until I hear something close to what I want then tweak from there. Always get a really big and round low end from it and very smooth dynamic control.

Usually run it to be really clean, but its easy to turn it into an effect, which can be great on certain material. Majority of my mixes just dont call for that.

 

Me too, it looks like some old 80's HiFi equipment I had.

 

A very interesting read