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IK Multimedia releases T-RackS Tape Machine Collection for T-RackS 5
Old 4 weeks ago
  #781
Here for the gear
 
Norlick's Avatar
Absolutely insane. I've been telling my fellow engineers IK makes the best emulations and they proved that with this. Tape Machine 80 especially is just so damn nice. Don't mind the CPU hit at all, especially for this kind of thing.

If you guys do a CL-1B I can die happy.

Last edited by Norlick; 4 weeks ago at 02:56 AM.. Reason: CL1b
Old 4 weeks ago
  #782
Lives for gear
 
b0se's Avatar
Quote:
Originally Posted by Andy McGroarty View Post
Hi guys. Do any of you have any suggestions for which tape machine/tape combo might work for hip hop vocals? Thank you.
Lame answer, apologies, but it depends on the vocal. Does it need body/colour? Try 250 tape. Does it need harsh peaks tamed? Try driving into 456 for transient control.

FWIW the MCI (24) was a popular hip hop choice way back when. Used that on my last vocal with 250 tape. Studer (456) on the, mixbus hitting the red.


Quote:
Originally Posted by Norlick View Post
Absolutely insane. I've been telling my fellow engineers IK makes the best emulations and they proved that with this. Tape Machine 80 especially is just so damn nice. Don't mind the CPU hit at all, especially for this kind of thing.

If you guys do a CL-1B I can die happy.
I was thinking similar, how good would it be if IK bucked the trend and released some EQs and compressors that use this no-compromise design ethic (with internal oversampling)? Print through them like you would hardware, but without the maintenance, costs etc.

Imagine a flawless Pultec, CL1B or Fairchild...

Take my money! Literally.

@ Peter - IK , please make this happen
Old 4 weeks ago
  #783
Lives for gear
 
Bstapper's Avatar
 

Quote:
Originally Posted by b0se View Post

I was thinking similar, how good would it be if IK bucked the trend and released some EQs and compressors that use this no-compromise design ethic (with internal oversampling)? Print through them like you would hardware, but without the maintenance, costs etc.

Imagine a flawless Pultec, CL1B or Fairchild...

Take my money! Literally.

@ Peter - IK , please make this happen
Their processors already offer internal upsampling. It’s the dynamic convolution that is the kicker in respect to realism of the plugin. The ability to respond dynamically via multiple variables.

I have no doubt you will see them move more in this direction now that the train has left the station.

Cheers,
Brock
Old 4 weeks ago
  #784
Lives for gear
 
vze26m98's Avatar
 

Quote:
Originally Posted by Bstapper View Post
I have no doubt you will see them move more in this direction now that the train has left the station.
Worth giving a listen to their Leslie speaker, Ampeg 2 and Fender 2 emulations right now.
Old 4 weeks ago
  #785
Lives for gear
 
Bstapper's Avatar
 

Quote:
Originally Posted by vze26m98 View Post
Worth giving a listen to their Leslie speaker, Ampeg 2 and Fender 2 emulations right now.
Thanks for the head's up. The Leslie might interest me. Have real versions of the Ampegs and Fenders so no desire to head in that direction.

Looking forward to see what develops on the processing front. The other day I stumbled upon a post from another forum from 2003 where I was all excited about the possibilities of the new static convolution reverbs and speculating about the days when dynamic convolution would be a viable tool for the average computer. And here we are, just 16 short years later...

cheers,
Brock
Old 4 weeks ago
  #786
Lives for gear
 
Tubthumper's Avatar
 

I watched Jeezo's video a couple of times, I liked what I heard so I bought the bundle (thanks Jeezo).

Bloody hell, these things actually sound like tape.

Great work IK, please do a model of the Studer J37.
Old 4 weeks ago
  #787
Gear Guru
 
Jeezo's Avatar
Quote:
Originally Posted by Bstapper View Post
Thanks for the head's up. The Leslie might interest me. Have real versions of the Ampegs and Fenders so no desire to head in that direction.

Looking forward to see what develops on the processing front. The other day I stumbled upon a post from another forum from 2003 where I was all excited about the possibilities of the new static convolution reverbs and speculating about the days when dynamic convolution would be a viable tool for the average computer. And here we are, just 16 short years later...

cheers,
Brock
Believe it or not , i bougth the leslie for the pream alone , passe some drums in , use cabinet if needed... pure fun !!!


@ Tubthumper thks for the kind words , yep those impreessed me like slate VTM impressed me at that time( it was the bench in native full algo imho and it s still great ) ... used it on a mastering already , but not yet in mixes , i need to put in place a plan to handle cpu until new comps ...

EDIT : for the leslie , since i received a question via pm about it , you can only use the preamp alone in samplitube version .... feature request for sure on Tr5 version ...

Last edited by Jeezo; 4 weeks ago at 04:07 PM..
Old 4 weeks ago
  #788
Lives for gear
 
Leevi's Avatar
 

Quote:
Originally Posted by Andy McGroarty View Post
Hi guys. Do any of you have any suggestions for which tape machine/tape combo might work for hip hop vocals? Thank you.
Depends about the style but in general I would recommend Studer A80 and Ampex 499 or GP9, 30 ips.
Old 4 weeks ago
  #789
Gear Maniac
Quote:
Originally Posted by b0se View Post
Lame answer, apologies, but it depends on the vocal. Does it need body/colour? Try 250 tape. Does it need harsh peaks tamed? Try driving into 456 for transient control.

FWIW the MCI (24) was a popular hip hop choice way back when. Used that on my last vocal with 250 tape. Studer (456) on the, mixbus hitting the red.
Quote:
Originally Posted by Leevi View Post
Depends about the style but in general I would recommend Studer A80 and Ampex 499 or GP9, 30 ips.
Thanks guys! Much appreciated, i will give this a go.
Old 4 weeks ago
  #790
Gear Maniac
Quote:
Originally Posted by Beatworld View Post
Possible/probable odd Tapes behaviour on bounce in Logic.

Yesterday bouncing down mastered tracks with the Tape 24 on board.
First time bouncing with Tape.
On at least 3 occasions (out of 10 tracks) the bounce process immediately threw up the spinning beach ball of death.
Had to force quit Logic, restart it and delete the tiny bounce file that the freeze produced before it worked next attempt.

This has NEVER happened to me before, so seems Tape is the cause.
I read an identical report when bouncing with Tape in a Logic 10.4.5 thread.
44.1/24 project.

Quote:
Originally Posted by Andy McGroarty View Post
Just bounced a track out of Logic 10.4.4., OS Sierra, 2 instances of TMC, one TM 24, one TM 80, no problems, no spinning beach ball of death.
Ok, so despite what i said previously, i just got the spinning beach ball of death, bouncing in Logic.

Earlier on today i bounced out a track with TM80 on the mixbus, no problem. Went back to the same track tonight, did a fair amount of editing and a couple of additional plugins were added, tried to bounce out, spinning beach ball of death, no progress on the screen, just straight to SBBOD. Switched TM80 off on the mixbus, bounced out no problem.

Not really sure what to suggest really as i have never has a problem until now and i didn't do much more to the track, just thought it important to share. I hope they figure something out, real bummer...
Old 4 weeks ago
  #791
Lives for gear
 
Beatworld's Avatar
Quote:
Originally Posted by Andy McGroarty View Post
Not really sure what to suggest really as i have never has a problem until now and i didn't do much more to the track, just thought it important to share. I hope they figure something out, real bummer...
Also important to log a ticket with IK Support to add to the body of info they have on the issue.

Did you try bouncing the same track again with 80 on again? The odds are it will work the next time with no SBBOD.
I’ve had it work the very next time on multiple occasions..
Old 4 weeks ago
  #792
Gear Maniac
Quote:
Originally Posted by Beatworld View Post
Also important to log a ticket with IK Support to add to the body of info they have on the issue.

Did you try bouncing the same track again with 80 on again? The odds are it will work the next time with no SBBOD.
I’ve had it work the very next time on multiple occasions..
So i tried again twice, no joy. Bounced it without TM80 then tried again with it on again and it worked, weird.

I will log a ticket with IK for sure
Old 4 weeks ago
  #793
Lives for gear
 
denork's Avatar
Yesterday I was testing these seriously in a mix, combining them mainly with AA plugin. These tapes kill my buffer, only with 3 instances had a lot of spikes, it was not a CPU problem (it was not even 50% of use), it was to deactivate the tapes and everything went back to normal.

This part I think that it can and should be optimized, because it is not normal.

W10 and Reaper.
Old 4 weeks ago
  #794
Gear Addict
 

If you remove the alcoholics anonymous plugin?
Old 4 weeks ago
  #795
Lives for gear
 
Peter - IK's Avatar
 

Quote:
Originally Posted by denork View Post
Yesterday I was testing these seriously in a mix, combining them mainly with AA plugin. These tapes kill my buffer, only with 3 instances had a lot of spikes, it was not a CPU problem (it was not even 50% of use), it was to deactivate the tapes and everything went back to normal.

This part I think that it can and should be optimized, because it is not normal.

W10 and Reaper.
Have you reported this to our support team at this link? They can troubleshoot directly with you and see how they can recreate the problem and get the issue resolved.
Old 4 weeks ago
  #796
Lives for gear
 
Tubthumper's Avatar
 

Quote:
Originally Posted by arctic audio View Post
If you remove the alcoholics anonymous plugin?
My name's Peter, I'm an alcoholic. And a Gearslut.
Old 4 weeks ago
  #797
Gear Nut
 

Quote:
Originally Posted by Andy McGroarty View Post
Ok, so despite what i said previously, i just got the spinning beach ball of death, bouncing in Logic.

Earlier on today i bounced out a track with TM80 on the mixbus, no problem. Went back to the same track tonight, did a fair amount of editing and a couple of additional plugins were added, tried to bounce out, spinning beach ball of death, no progress on the screen, just straight to SBBOD. Switched TM80 off on the mixbus, bounced out no problem.

Not really sure what to suggest really as i have never has a problem until now and i didn't do much more to the track, just thought it important to share. I hope they figure something out, real bummer...
Its an AU prob, at least on my end, I started noticing getting the freezing ball of death also after one export, then I even got a cache invalid audio dump error message that no one has ever seen when using the 440

I started trouble shooting even making a ticket with IK, they're really great but I got your average trouble shooting suggestion, none which worked. I noticed my AU folder had old t-racks plug-ins I uninstalled so I went to clear them out and then went to clear out my my VST folder, but my VST folder was perfect, so I decided to try VST's and BAM! prob fixed, no crazy cache invalid audio dump error, also no freeze up after one export, I'm so thankful I use Ableton and can choose to use either or both, will never use the AU version of t-racks from now on and might just switch all plug-ins back to VST

hey Andy, if you try and load the AU tape plug-in by itself and export it should work haha I know its useless that way but just some stuff I had to trouble shoot to find out when all the plug-ins are working together is when the problem happens on the AU side, but not with the VST's, they work flawlessly
Old 4 weeks ago
  #798
Gear Nut
 

I cant say enough about this tape machine collection and t-racks in general, I honestly have 22 UAD cores, and only use 1 or 2 of they're plug-ins anymore if that, but I still have to start my three satellites every time as my apollo runs through them haha

I've spent a lot of time A/B'ing my UAD plugs to t-racks and t-racks wins every time, aside from a couple fab-filter plug-ins(mostly pro q2) and izotope plug-ins(mostly imager) it seems my latest mix-downs and masters are a majority of t-racks plug-ins, not that I don't have or haven't tried everything(not really but you know what I mean) else out there, but it seems that with t-racks I get exactly what I want every time, and on the mastering chain its a no brainer, haven't used anything that can compare plug-in wise

So I've messing around on some tracks with these tape machines and really like what the 440 is sounding like, the finish 1 preset sounds great on this particular track , its the first instance in the mastering chain, I also dial it in a little to taste

which one of these tape machines do you guys like on the mastering chain? ideally as the first instance, not to heavy but still thwapingly warm, I think the 80 sounds great I just haven't had the time to start a mix with it, it'll be next but it doesn't want to fit into my already mixed arrangements very friendly, the 440 does nicely
Old 4 weeks ago
  #799
unr
Gear Maniac
 

Recently had a complete DAW freeze in Ableton Live 10.1 using Tape Machine 440 on Windows 10 64 using VST2.
I was quickly switching the tape type from and to GP9. The music kept on playing but the interface did not respond anymore.

Already reported to IK. Anyone else had that?
Old 4 weeks ago
  #800
Gear Addict
 
QuintaQuad's Avatar
 

Quote:
Originally Posted by Artcutech View Post
I cant say enough about this tape machine collection and t-racks in general, I honestly have 22 UAD cores, and only use 1 or 2 of they're plug-ins anymore if that, but I still have to start my three satellites every time as my apollo runs through them haha

I've spent a lot of time A/B'ing my UAD plugs to t-racks and t-racks wins every time, aside from a couple fab-filter plug-ins(mostly pro q2) and izotope plug-ins(mostly imager) it seems my latest mix-downs and masters are a majority of t-racks plug-ins, not that I don't have or haven't tried everything(not really but you know what I mean) else out there, but it seems that with t-racks I get exactly what I want every time, and on the mastering chain its a no brainer, haven't used anything that can compare plug-in wise

So I've messing around on some tracks with these tape machines and really like what the 440 is sounding like, the finish 1 preset sounds great on this particular track , its the first instance in the mastering chain, I also dial it in a little to taste

which one of these tape machines do you guys like on the mastering chain? ideally as the first instance, not to heavy but still thwapingly warm, I think the 80 sounds great I just haven't had the time to start a mix with it, it'll be next but it doesn't want to fit into my already mixed arrangements very friendly, the 440 does nicely
My workflow with these tapes is as follows.

I put Kazrog’s True Iron followed by Tape 24 followed by Acustica’s Cola preamp on each track and bounce each track. This frees up the heavy CPU toll that Tapes has. Running through the Cola preamp imparts an hardware-like 3D weight like someone mentioned in the Cola thread. I then add any other processing (eq/compression) to each bounced track as needed. My comps of choice these days are Kush AR-1 and London Acoustics’ Brighton.

After completing mixdown I bounce that and then bounce the stereo file through Tape 80 into Tape 99 like Transmisser suggested earlier in post 535 followed by a compressor lightly compressing, usually Sonible’s smart:comp. Once again, this lightens the CPU load for my mastering chain.

I then master that file without adding any more instances of Tape. Using this workflow has yielded me the most analogue-like 3D mixes that I’ve ever done. It is rather time consuming but I’m an hobbyist who does my own material along with a few close friends’ projects so time isn’t an issue for me.
Old 4 weeks ago
  #801
Gear Addict
 

Win 7 Live 10 (vst2) sometimes freezes using these. Having Tape on the Master can lead to a variety of freezes actually.

- Rendering the whole mix.
- When i consolidate audio on any other track in the arrangement that doesn't even have the Tape plugin on it.

Quote:
Originally Posted by unr View Post
Recently had a complete DAW freeze in Ableton Live 10.1 using Tape Machine 440 on Windows 10 64 using VST2.
I was quickly switching the tape type from and to GP9. The music kept on playing but the interface did not respond anymore.

Already reported to IK. Anyone else had that?
Sadly yes.
Old 4 weeks ago
  #802
Lives for gear
 
b0se's Avatar
Quote:
Originally Posted by QuintaQuad View Post
My workflow with these tapes is as follows.

I put Kazrog’s True Iron followed by Tape 24 followed by Acustica’s Cola preamp on each track and bounce each track. This frees up the heavy CPU toll that Tapes has. Running through the Cola preamp imparts an hardware-like 3D weight like someone mentioned in the Cola thread. I then add any other processing (eq/compression) to each bounced track as needed. My comps of choice these days are Kush AR-1 and London Acoustics’ Brighton.

After completing mixdown I bounce that and then bounce the stereo file through Tape 80 into Tape 99 like Transmisser suggested earlier in post 535 followed by a compressor lightly compressing, usually Sonible’s smart:comp. Once again, this lightens the CPU load for my mastering chain.

I then master that file without adding any more instances of Tape. Using this workflow has yielded me the most analogue-like 3D mixes that I’ve ever done. It is rather time consuming but I’m an hobbyist who does my own material along with a few close friends’ projects so time isn’t an issue for me.
Quite similar here, although I've yet to put the Cola preamp on all tracks. Demoing as we speak so thanks for the prompt. Are you using preamp 1 or 2?

456 or GP9 tape for the 24? :-)

Cheers QQ!
Old 4 weeks ago
  #803
Gear Maniac
 

Quote:
Originally Posted by b0se View Post
Quite similar here, although I've yet to put the Cola preamp on all tracks. Demoing as we speak so thanks for the prompt. Are you using preamp 1 or 2?

456 or GP9 tape for the 24? :-)

Cheers QQ!
You guys don't mix into a Tape? I do that but only 1 instance Tape 80 - 456.
Old 4 weeks ago
  #804
Gear Addict
 
QuintaQuad's Avatar
 

Quote:
Originally Posted by b0se View Post
Quite similar here, although I've yet to put the Cola preamp on all tracks. Demoing as we speak so thanks for the prompt. Are you using preamp 1 or 2?

456 or GP9 tape for the 24? :-)

Cheers QQ!
Hey b0se, hope you’re doing well, my friend. I use the C-228 module and switch between 1-5 on the preamps to vary things. Similar to how the channels of a console vary a bit.

I’ve pretty much stuck with 456 for the 24. Seems to soften transients nicely. I usually hit it pretty hard. Don’t really play with bias or high and low on the machine. Tend to leave them at default.

All the best!
Old 4 weeks ago
  #805
Gear Addict
 
QuintaQuad's Avatar
 

Quote:
Originally Posted by alibling View Post
You guys don't mix into a Tape? I do that but only 1 instance Tape 80 - 456.
I don’t mix into the tape because it’s so CPU intensive. I run every channel through it’s own tape machine and bounce it immediately before mixing. Similar to if the tracks were recorded on tape. Once I finish mixing and bouncing it I then run the completed mix through the tape machines before mastering.
Old 4 weeks ago
  #806
Gear Maniac
 

Quote:
Originally Posted by QuintaQuad View Post
I don’t mix into the tape because it’s so CPU intensive. I run every channel through it’s own tape machine and bounce it immediately before mixing. Similar to if the tracks were recorded on tape. Once I finish mixing and bouncing it I then run the completed mix through the tape machines before mastering.
Thx alot, will try that for sure.
Old 4 weeks ago
  #807
Lives for gear
 
b0se's Avatar
Quote:
Originally Posted by QuintaQuad View Post
Hey b0se, hope you’re doing well, my friend. I use the C-228 module and switch between 1-5 on the preamps to vary things. Similar to how the channels of a console vary a bit.

I’ve pretty much stuck with 456 for the 24. Seems to soften transients nicely. I usually hit it pretty hard. Don’t really play with bias or high and low on the machine. Tend to leave them at default.

All the best!
Very well dear fellow! Hope you are also :-) Driving into 456 is pretty special.

Ah thanks, I was under the impression only preamps 1 and 2 were console based.


Quote:
Originally Posted by alibling View Post
You guys don't mix into a Tape? I do that but only 1 instance Tape 80 - 456.
I mix into the Studer (456). My machine seems to be OK with that, and one more active on a track (which I print thorough).
Old 4 weeks ago
  #808
Gear Nut
 

Quote:
Originally Posted by QuintaQuad View Post
My workflow with these tapes is as follows.

I put Kazrog’s True Iron followed by Tape 24 followed by Acustica’s Cola preamp on each track and bounce each track. This frees up the heavy CPU toll that Tapes has. Running through the Cola preamp imparts an hardware-like 3D weight like someone mentioned in the Cola thread. I then add any other processing (eq/compression) to each bounced track as needed. My comps of choice these days are Kush AR-1 and London Acoustics’ Brighton.

After completing mixdown I bounce that and then bounce the stereo file through Tape 80 into Tape 99 like Transmisser suggested earlier in post 535 followed by a compressor lightly compressing, usually Sonible’s smart:comp. Once again, this lightens the CPU load for my mastering chain.

I then master that file without adding any more instances of Tape. Using this workflow has yielded me the most analogue-like 3D mixes that I’ve ever done. It is rather time consuming but I’m an hobbyist who does my own material along with a few close friends’ projects so time isn’t an issue for me.
I took a screen shot of your post and will try that workflow and see how it comes along thx!
Old 4 weeks ago
  #809
mpr
Lives for gear
 

Quote:
Originally Posted by b0se View Post
Very well dear fellow! Hope you are also :-) Driving into 456 is pretty special.
Long ago 456 is where I ended up on Studer 827 24 track after trying everything I could get. It’s buttery smooth, a little spongey and the compression (smack) on drums and gtrs is where it’s at.

GP9 is more open sounding with a firmer low end. It’s closer to digital as it doesn’t round transients quite like quantegy 456. And I never liked how it breaks up, but it has its use for being high gain and clean-ish.

However my favorite and what I still use today for layback mastering is AGFA/BASF/EMTEC/RMGI 911 (the formula has been passed along). It’s like a more open sounding 456. It’s HiFi and yet can be driven into loveliness - a great balance.

IK should add 911 when they add the ATR.
Old 4 weeks ago
  #810
Gear Maniac
 

thx for all the tips ... have to try what works for me.
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