tape saturation using multitrack recorder

[fredsparky]

Hi. Is anyone here using a multitrack tape deck to send ProTool (PT) sessions to get that warm analog sound and tape saturation? For example- sending 8 tracks from PT session (HOT) to tape and rerecording back into PT? or rolling across one tape head and sending back to PT on another head in real time? Share your ideas here. I've mixed down old songs from tape into PT and have had good results- but I'd like to consider originating a session in PT- then sending a hot signal to tape to get a better sound. I think it would be fun to talk about how some of us integrate our analog systems with PT. It would also be interesting to see who is reamping original digital tracks on external amps then remiking the signal back into PT. I look forward to your ideas and actual experiences.

Thanks much.

Mike

[3JDamon]

I'm doing something similar, tube saturation, with a DBX 386. It's got a decent tube circuit with a 200V plate voltage (not a starved plate like ART TubeMP or DBX Mini-Pre etc) and a good a/d converter, same as the 002. I set up a stereo audio track, set its input to the S/PDIF input and its output to an unused stereo bus (15-16 for example) and feed the master outputs to the line inputs, comes back through the s/pdif input warmer than she left. $300 on used market...

[Carl Fuehrer]

If you can afford it, check out the Empirical Labs Distressor.

[Hangtown]

I agree with Carl. After trying a variety of hardware and software compressors and tape saturation simulators, I found that the distressor it all quite well.

[fredsparky]

I cheked out the distressor; pretty cool and expensive. I'm thinking about trying out an old Karmen Garten stereo amp- 1961- and trying out the preamp section to see what that does. Meanwhile I'm going to try sending to a Tascam 38 and back into PT. I'll post results later. Also, I was thinking that it might be interesting using a cassette deck or 2-track tape deck on a master track- or even sending single channels to tape then syncing back in to PT. Is anyone using tape in conjunction with PT?

Thanks,

Mike

[matocaster1202]

I've used my sony cassette deck for something like this. Don't know how proper this is but I set the output of the channel I want to send to the deck to 3/4 and send that into the tape deck, then send it back to PT using the outputs of the deck in monitor mode(It has a separate playback head). I record arm a new track and let it roll. I use a little bit of a test tone at the start of the track so I can line it up when I am done. Not the best sound I've ever had but kinda cool for an effect.

Mat

[Carl Fuehrer]

I understand all of your reasoning for wanting warmth in your sounds, but why do you want to add extra noise and degrade the quality of your sound by running out to a cassette deck? Please make sure you REALLY know what you are doing and what you are talking about when looking for the "Analog Tape Warmth" not everything will sound good on analog or it might not come out to your liking.

[matocaster1202]

Carl,

It's a nice deck I'm using, and when I use a type 4 tape I can get some good clean sounds, and it has a nice saturation to it. But like I said, not the best. I thought the point of the thread was to see what we all have tried. It's not like I'm sending all of my tracks through my tape deck.

Mat

[fredsparky]

I've found using my TASCAM 38 to be very quiet-- even without noise reduction. I've also noticed that some of my old analog tape recordings sound better than digital- but ProTools is so much easier to use (and cleaner- but somewhat more sterile) and you can do a lot more as far as mixing and editing with PT. But, I still think it might be a good idea to get that good tape sound- and; maybe the wider the tape, the better, so using reel to reel is probably better than cassette. Honestly, I get more noise from my Strat or Les Paul than tape hiss. Also, I think a combination of tape and/or some good plugins might be helpful- after all, the objective of many plugins are trying to simulate tape. Something that warms the sound up and won't clip. You know, It's really nice to get that "fat" tape sound- even if there is a bit of noise. I just want to know if other DUC'ers are using the best of both worlds. Many of us and the industry converted to all digital, and I was wondering how y'all, who used tape-based studios intetgrated with ProTools- or; did you abandon tape format all together and just go digital?? I look forward to hearing your cool ideas and techniques!!

Mike

[Phil O'Keefe]

I do the same "pass through" technique (which I first learned about several years ago via Craig Anderton), except I use my Otari half track. It's a perfectly viable way - indeed the only way (short of tracking it to analog to begin with) to get genuine tape saturation / distortion / compression.

And a good analog three head two track can also be used for mixdowns and even tape delay and ADT duties. At today's prices, there's little reason to NOT have a reel to reel in your studio if any of these techniques appeal to you.