Okay, that's much closer to the kind of answer I was hoping to get the first time around

Magnetite does enter the "you break me right round baby right round" territory if you push it even by a few db, but oftentimes I like doing the opposite : lower the input gain (rec level) and raise the output gain (playback level). Much more subtler that way (if you want even more subtlety, lower the output gain on the plugin too, and just add gain with your DAW's utility tool afterwards).

That's why I said, on my first comment, that it's my first choice for tape saturation : very good sounding, easy to set up, and allows for really subtle coloring (or total mayhem if you want it, but I prefer more tweakable plugins for that lol).

I'll have to sell my body to afford it, or I can lend it to you

Also, when you say

what does "top of channels" mean exactly? Are you doing parallel processing with mic IRs ?

Damn, never thought I'd hear his name as an example of "everything will be fine at the end"

 

This is very similar to my workflow as well. Just to add to this approach, while the head bump is very subtle with Type II, if you do want to make it flatter for your use case, set the Hysteresis to about 15-20%.

 

• ChowDSP - Chow Tape Model
• airwindows - ToTape
• AbberantDSP - SketchCassette II
• HoRNet Casette644

 

Well I don't disagree, I think we're just arguing two different points...

 

Yeah, I might've been kinda lite on descriptions/examples. I'm accustomed to talking audio in-person, all this typing isn't really my bag, so many "if"s and "but"s and variable to try and cover so someone doesn't take something wildly out of context... plus, it doesn't help I tend to write stream of conscious, just minus as much cursing and local vernacular/slang as I can omit.

... dunno, it sounds like this isn't your first round paying for goods like this. I think I'll pass.

Yeah. Think of it like a chain in the (mad) real world. Recorded into mics to tape, then it hits the console, and so-on from there. I usually use SIR3 for reverb IRs and the like, but for creative channel topper IRs or captures, there's usually some wet/dry that I dial in. I like Kilohearts' Convolver which has a dedicated mix knob, but if I'm doing that to a lot of tracks, sometimes I use other lighter loaders; Signaldust's IRDust is a janky lil' freeware deal with a tiny-ass interface, but it has the lowest CPU usage of any IR loader I've found that has what I need, including dedicated wet/dry parameters [link below]. Someone needs to come up with a simple IR loader that's wicked lite-weight, but no devs who I've brought it up to seem interested in it, despite the claims that it would be easy to throw together.

I feel you, but I was thinking Brewster's Millions. It's corny, and before my time, but I still find it hilarious.

Yeah, my hysteresis is usually under 10% because I like to retain dynamics. Unless I'm trying to wander more into the sound-design territory, I'm aiming for taming, not outright compression. Taming with tape is largely so compressors have an easier time of it down the line and can be used more for tone-shaping than squashing, or if I just need uncolored taming later, I use a limiter. If I do happen to want outright tape compression that's not subtle, I'll hit the FerricTDS which can give you almost DBX-style thump-compression on transient-heavy material ("thump-compression" is a highly technical term only pros use. It's legit. )

Signaldust IRDust: https://plugins4free.com/plugin/3038/

 

Chow Tape Model ofc

 

I have no idea... I have too little experience with real tape machines to be able to judge that at all. For me, Softube Tape is perfectly fine. It's easy to work with and sounds good.

 

I dig Chow tape, it sounds excellent... I rarely use it cuz the continuous sliders cripple me. Seriously, I'll sit there and twiddle variables for days to find the "perfect" sound with that dumb plugin, fully knowing that there's no "perfect" anything in audio and I'll forever feel that a mix needs one more small tweak somewhere... always one more turn of a knob or push of a fader, for "perfection."

Good thing this isn't another known audio forum, otherwise you'd be legally obligated to be judgemental as hell and commit to discussing the changes that magnetic field variances saw as technology used in tape machines changed throughout the decades.

 

To each his own. I love it, especially when I don't forget to add it to master bus :D

 

I know a guy who's doing some repair work and polishing up this TEAC A-2340SX right now. He mentioned that he's probably going to end up selling it so, if anyone wants to be notified if he does decide to sell it, let me know.
====
Specs:

Spoiler

Track system: 4-track, 4-channel, stereo/monaural/multi channel system

Heads: 1 x erase, 1 x record, 1 x playback

Motor: 2 x reel, 1 x capstan

Reel size: up to 7 inch reel

Tape speeds: 3 3⁄4 7 1⁄2 ips

Wow and flutter: 0.18% (7 1⁄2 ips)

Signal to Noise Ratio: 47dB

Total harmonic distortion: 1.5%

Crosstalk: 35dB

Input: 97mV (line), 0.25mV (mic)

Output: 0.3V (line)

Dimensions: 440 x 475 x 220mm

Weight: 21kg

 

Last edited: Jul 1, 2024