"VTM-M2" - The Vintage Tape Machine
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VTM-M2: Created
by Michael Angel and Michael Heiler. Stunning graphics by GravityLinks.
Introduction
Acoustic Guitar
Drums
Electric Guitars
Piano
Songs
Due to the advanced nature of the VTM-M2's design, these audio examples are the best way that we can display just how unique, special, and realistic this plug-in is.
Please take a few moments not only to listen to these recordings, but also to read the details in order to gain a full understanding of how tape can enhance every aspect of your recording process, by responding to your music in a unique way.
All recordings are copyright protected by their original owners and agents of licensing, including Michael Angel and Mikael Wikman. Unauthorized duplication is strictly prohibited and enforced by all applicable laws.
Acoustic Guitar
VTM-M2 Two Times 0dB
Drums
Drum Example 1
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This next group of comparison audio examples require some additional background information. If you have not read the manual for the VTM-M2 before reading and listening to these, here is a brief explanation of what these samples represent:
CDSoundMaster is an Official Third Party Developer for the Nebula Pro Audio Program (Acustica-Audio.com). Our libraries for Nebula Pro provide users of this host vst the ability to use some of the world's finest analog hardware right inside their DAW with stunning precision and accuracy, not to mention instant recall and unlimited number count.
One of our largest challenges was to provide a collection of real analog tape machines for Nebula Pro users, called R2R, or "Reel, TOO Real". This collection includes several secret-weapon pro-sumer tape machines and two of the finest world-class tape machines, a Studer 24 track and an Otari 2 track.
Within Nebula, the R2R collection allows users to load up the machine of their choice, along with choosing tape speed and even the brand of tape formula and certain gain settings specific to the machine's sound. The R2R machines are replicated with great accuracy over a wide dynamic range, including changes in harmonic content and spectral differences. The result is use of the machines "to spec". These characteristics are something that the Nebula Pro plug-in handles remarkably well, due to an advanced recording technology known as "V.V.K.T." or Vectorial Volterra Kerneling Technology".
One of the challenges in creating programs in this process is that there is a great complexity to reproducing the perfect harmonic distortion character of such a wide range of audio devices. Each machine has its own signature, and while Nebula Pro captures this almost perfectly, it has limitations to just how much harmonic content can be 'driven'. This is an area where advancements are made all the time. It does not limit the accuracy of low to medium harmonic content, but it limits how high an amount of heavy distortion will be sampled.
CDSoundMaster proposed creating a second intermediary stage of tape saturation that is more accurate and true to tape character than any plug-in we are aware of. Along with the years of research that went into R2R, VTM-M2, and our research regarding analog devices of this nature, we found that there were certain myths about the approach to tape sound and what the root of this character is perceived to be. A large part of "the" Tape sound is characterized by an "instant compression" which affects the signal without an audible separate attack or release as found in effect compressors and limiters. The effect is similar to deep levelling where the entire signal is affected all the time to some degree. But, our research at CDSoundMaster has developed a system for detecting where the effect of saturation and dynamic compression artifacts tend to be unique to one-another, and in many cases what has been considered a compression effect was actually due in large part to a common saturation that was previously not being measured.
We decided to implement this complex saturation effect in the form of "TapeBooster+" for the Nebula Pro plug-in. The result is an accurate increase of signal exactly as is common in most high end tape machines, where spectrum and transients are left unaffected. This secondary stage tape effect can be used on its own for general tape saturation that is much more accurate and complex than most coded plug-in "tape drive" effects, but it is created to work as a perfect overlapping harmonic content placed after the R2R tape machine chosen in Nebula Pro. By combining these elements in serial, we get to choose the accuracy of the tape machine we want our tracks to sound like, and then use additional instance(s) of Nebula Pro to increase the perceived volume just like that particular machine does. For users of the Nebula Pro plug-in, the only element that was missing from this equation was a realistic and complex representation of the higher gain distortion that is unique to tape, along with the portion of the sound that does in fact come from an actual compressing or levelling of the signal.
This is where the VTM-M2 comes into play. For those that wish to take the concept of tape machines to the highest level of specificity and accuracy, there is no greater combination of sound than to use the R2R, TB+ and VTM-M2 in concert, allowing the user the ability to load the machine of their choice, add additional harmonic drive specific to that machine, and then further drive and compress the machine to any degree desired. It is important to note that all three stages discussed here work perfectly fine on their own.
At CDSoundMaster we feel strongly that every customer should work with the tools that will benefit their particular efforts the most. We would rather meet everyone's individual sonic goals, including their budgets, than to push our products and try to oversell our recording software. We do believe that the combination of all three tape stages provides the finest representation of the tape sound anywhere for use inside the DAW, but for anyone interested in positioning their purchase towards the most important specific purpose for their duties, we want to be clear that all three individual elements are perfectly sufficient for their particular use.
R2R provides the accuracy of several specific tape machines, including dynamic change, spectrum, and harmonic content. TapeBooster+ provides the user with accurate tape saturation that can be used on its own or added as an additional level of actual tape drive to the original R2R machine chosen.
The VTM-M2 can stand alone as the ultimate tape machine emulating harmonic saturation and compression device capable of mastering-grade reproduction and individual track drive with no change to specific spectral variance. When all three are used together, we can specify the absolute perfect device we wish to use, from the changes in frequency to the tape speed, the tape formula, the amount of harmonics generated in addition to the original signal, and then gently or aggressively compress and drive the signal. The only thing that is left out is the hiss of the noise floor and cleaning, calibrating, and demagnetizing, and other tape-op manual duties! Please keep in mind that if you are interested in our Nebula Pro program libraries, the Nebula Pro host is required in order to use them. You can register at Acustica-Audio.com for a free version of Nebula Pro and test it on your system. If it works on your computer, then so will our libraries!
The first example above allows the user to hear the subtle, pleasant effect of using a Studer 2", 24 track reel to reel at 15 IPS with a small amount of additional tape saturation. The difference is subtle but captures the wonderful character of the original machine.
Next, we gently increase the amount of "instant compression" saturation effect by adding another moderate instance of TB+.
As we increase the effect of tape saturation in this example, you will notice a similarity of character with some of the previous VTM-M2 audio samples. Within the low-to-moderate saturation levels, the accuracy of saturation character is consistent between TB+ and VTM-M2, with the exception that the VTM-M2 is also producing subtle complex compression and TB+ has limitations in how much saturation can take place in a single instance of Nebula Pro. The true purpose in showing the result of multiple instances of TB+ is to reveal the complexity of the combined signal from these multiple stages. When combined together, what may seem like a very subtle setting becomes more apparent. Also unique to TB+ and VTM-M2 is intentional variance in the actual character of saturation effect and the addition of complex low-level compressing and levelling within the VTM-M2. The TB+ is created to be a perfect interaction and addition to the R2R machines, where the VTM-M2 is uniquely tuned to interact with R2R and TB+ in addition to its own stand-alone capabilities. When used after R2R and TB+, the benefits of the specific R2R machine and its spectral changes and harmonics, combined with the saturation balance of TB+ are a perfect fit to the absolute realism of VTM-M2 as a final stage saturation and compression tape device.
Each of the examples that follow will show the VTM-M2's abilities at its most aggressive settings. The goal is for the differences between settings to be very obvious, both with the VTM-M2 on its own, combined with R2R and TB+, and when combined with multiple instances of the VTM-M2.
This example is a single instance of the R2R Studer and moderate TB+ fed to the VTM-M2 at Hi +9dB. This can be compared to the VTM-M2 Hi +9dB example on its own:
R2R-TB+TWO-TIMES-VTM-HI-+9dB.mp3
This sample demonstrates the same R2R with two moderate TB+ instances feeding one instance of the VTM-M2 Hi +9dB. At the same maximum setting of +9dB on the VTM-M2, we find that it reacts uniquely to the additional average mass of saturated volume from the additional TB+ instance and also attempts to compress the sound with a different detail than the less processed signal.
R2R-TB+THREE-TIMES-VTM-HI+9dB.mp3
Continuing with the same concept, now we have the Hi +9dB VTM-M2 following three moderate instances of TB+. The entire dynamic range is pushing harder and harder on the VTM-M2's virtual signal path and saturates and compresses more aggressively while still maintaining a certain measure of clarity and punch, never showing different articulation to the original signal as an artifact, and continuing to maintain the integrity of the transient peaks.
Now we're going to examine the next important element ofthe VTM-M2's use. Since we are looking at using the VTM-M2 on its own, in concert with the R2R and TB+ Nebula Pro programs, and with multiple instances of TB+ for increased saturation effect added to the chosen R2R machine, now we're going to examine the high compression/saturation/drive of using multiple instances of the VTM-M2 as well! Since we are already listening to high gain examples, we will start with higher gain examples of dual VTM-M2 instances first. The sample above is two instances of VTM-M2 at Hi +9dB.
R2R-TB+THREE-TIMES-HI+9dBX2.mp3
Here is the same concept following the R2R Studer, 3 moderate TB+ instances, and two VTM-M2 Hi +9dB instances. You can compare these two samples to each other, and also relate them to the R2R and TB+ three times to get a sense for how it all holds together. Each stage truly accentuates the specifics of the tape machine, saturation, dynamics, compression and high gain drive. Once again, no matter how hard we hit the input of the VTM-M2, it always works to give the maximum tape effect without ever squashing the high transients or re-shaping the original character of the input.
R2R-TB+TWO-TIMES-VTM-TWO-TIMES-HI+1dB.mp3
We've listened to the more extreme scenarios for using the most popular, clean high end R2R machine with high saturation and even multiple VTM-M2 instances. Now let's examine perhaps the most important and most common role of the VTM-M2 when used in multi-tracking and mixing. We'll continue to illustrate its use with the Studer R2R and TB+ since they are subtle enough for comparison and are a very popular combination used from Nebula customers.
This first example uses two TB+ instances and two VTM-M2 instances set to Hi +1dB. This signal is enough to make the coloration and character of the VTM-M2 obvious, but it allows complex transients of all volumes to come through without a distorting-type saturation that could ruin a signal. The reason for using two instances of VTM-M2 is its most important and common role, providing tape that suits the individual track, and tape that suits final mixdown. Cleaner settings can be used on track, buss, and mix if desired. In this sample, we can hear the color of the Studer, reaching deeper into the ambient sustain of the instruments while the effect of the VTM-M2 increases its own personality without any negative change to frequencies. The tape effect is very complete here.
R2R-TB+TWO-TIMES-VTM-TWO-TIMES-HI+2dB.mp3
Now, compare to two instances at +2dB
R2R-TB+TWO-TIMES-VTM-TWO-TIMES-HI+3dB.mp3
The same but now increased to +3dB
R2R-TB+TWO-TIMES-VTM-TWO-TIMES-HI-+9dB.mp3
And a more extreme two times at +9dB. Each interaction is as unique to the character of the tape machine as a real hardware device, truly allowing you to produce music the way that you hear it, creatively and accurately.
Drum Example 2
With this series of drum samples, we will explore deeper into the most common everyday uses for the VTM-M2 tape machine following the two instance scenario. Remember, we are listening to the complex interaction of two instances of the VTM-M2 in order to hear its use on individual tracks and on the final mix buss. This also applies to use on group buss. We are examining the use of the "Hi" input calibration setting since they are the easiest to hear the effect.
Now, we have the sound of using one VTM-M2 at -7dB and a second at +0dB. This example shows us how we can continue to gain the benefit of the tape sound in two moderate stages like we would in an analog studio setting, still not ruining the frequency range or dynamics or timing of events, and still not doing the terrible squashing of signals common with fake sounding digital compression.
Now we push the track instance up a little hotter at -3dB, keeping the second instance at +0dB. Every combination has its own unique effect over the low, medium, and high volumes and over the depth and difference in fast and sustaining sound information. We can start to hear a little bit of subtle distorting drive on some of the peaks.
Instance one at -1dB, instance two at +0dB. The drive becomes more and more apparent as we steadily push our virtual tape machine harder.
Increasing the first intsnace to +3dB and sending to +0dB continues to show more drive, but also illustrates the sense of control that the VTM-M2 maintains over the signal it is being fed. Even though drive and compression are increasing, it still holds together the vital musical elements as it drives the sound harder.
At higher gain on both instances, each signal is handling an equal load of the volume and maintaining peak transients although hitting into deeper compression and drive.
And finally, full volume input on both inputs at Hi +9dB for the highest gain drive with very strong distortion and yet still no chopping off of dynamic peaks!
Drum Example 3
This Drum Demo is here to show you just how well the VTM-M2 adapts to different material. Once again, like a real tape machine, we can produce our sound creatively, keeping things natural and real, but using the reel to reel as an art form to sculpt our sound. Listen to the natural dynamics, punch, and yet the additional 'glue-it-together' quality that the "after" portion of this demo contains. This serves as an example for use on tracks but also in a final mix or mastering scenario.
This audio sample begins with "before", an unprocessed drum/percussion mix, and then is followed by the VTM-M2 Hi +3dB single instance.
Drum Audio Sample - Mikael Wikman Drums
A special note from Michael Angel of CDSoundMaster:
I'm honored to include this example of using the VTM-M2 on this demo selection of Mikael Wikman playing his custom drumset at his personal drum studio. To learn more about what he does, please visit his website at: http://www.mikaelwikman.com
I am pleased to work with this accomplished session drummer to provide a full-production mixing/mastering process for clients that wish to have his drums edited and processed in addition to what Mr. Wikman provides. If you use Mr. Wikman for your drum tracks, please feel free to ask me about the full production package as well.
We have listened to the different affects that tape can have on material, so please listen to, and compare, the wide range of qualities from the samples below.
Single instance Hi -3dB
Single instance Hi +4dB
Single instance Hi +9dB
Two instances, Hi -3dB, Lo +1dB
Two instances, Hi +1dB, Lo +1dB
Two instances, Hi +9dB, Lo +9dB
Electric Guitars
Electric Guitar Demo 1
Electric Guitar Demo 2
VTM-TWO-TIMES-LO-3dB-HI-9dB.mp3
Electric Guitar Demo 3
Now we will include a popular "secret weapon" electric guitar setting using an Akai reel to reel from the R2R collection compared to straight VTM-M2 processing. In these examples we can hear that the "chomp chomp chomp" of the guitar's rhythm is printed to tape by use of the VTM-M2 in all examples, while the Akai works its special coloration of harmonics and frequencies which causes yet another unique interaction with our tape machine.
This is the unaltered high gain source file.
Listen to how a moderately low input into the VTM-M2 enhances all aspects of the guitar track, including bringing forward the impact of the guitarist's performance articulations.
VTM-TWO-TIMES-LO0dB-LO-1dB.mp3
Two passes of the VTM-M2 completely glue the sound together without taking away anything from the original signal. Harmonics enhance the buzz and drive of the distortion while the entire signal is gently compressed without harm to transients.
This is the Akai R2R machine on its own. It lends a wonderful, unique sound with some limited frequencies and lots of coloration.
Now with our Akai signature sound in place, we experience the best of both worlds by driving our sound even harder with the VTM-M2. Once again, harmonics play an important role in bringing everything together while preserving the wonderful vintage sound that only the specific real machine can offer.
We hear the same benefits as the previous example with a slight boost in all characteristics.
AKAI-VTM-TWO-TIMES-LO-7dB-LO-7dB.mp3
Two VTM-M2 instances make the entire range of sound apparent as we fill out the stereo field and impact the guitars with a little extra buzz and grinding harmonics.
Piano
With two instances we hear low and moderate notes and sustain with increased detail while the dynamics of the performance are perfectly preserved.
Song 1
This is the original unprocessed track.
Listen to how a single instance of the VTM-M2 can be used in mastering scenarios to bring out the impact of all instruments in a complex mix without harming the transients or disrupting the relation of instruments to each other. Dimension of up-close instruments and sounds that are in the distance are as articulate as the stereo field. There is often a description of tape and tube devices gently smearing the clarity of a signal in a pleasing manner. We've found that although similar harmonic distortion characteristics can have this effect, when applied correctly they can work their wonderful effect without causing any lack of definition. Keep in mind that no other processing has been done other than a single Lo instance of the VTM-M2.
Song 2
Now let's use the example of a song that has been recorded with individual parts on their individual tracks and use the VTM-M2 for the entire song project.
This is the identical mix above, but each individual track has been processed with a low setting on the VTM-M2 to act as if each track was recorded to its own tape track. No other processing has been applied to the mix. All individual tracks are matched to the same output volume as the "Before" example.
VTM1-IND-TRACKS-AND-LO0dBMASTER.mp3
Now, we add a single final instance of Lo 0dB to the two track mix to bring things together and give it that analog glue. We encourage you to listen to the subtle differences several times. You will notice a special sense of atmosphere surrounding the mix that is equated with the analog tape sound. It is sometimes described like there is an additional 'puffiness' surrounding the mix that makes it sound larger than when just mixed digitally.
Song 3
This song is another complete song project example. Usng the example of a harder rock instrumentation, we'll listen to examples of using the VTM-M2 on tracks and two track mix, along with comparison to R2R and TB+ and then the two combined.
This is the original unprocessed track.
The VTM-M2 is used on each individual track and then tracks are adjusted to matched volume as found in the "Before" example.
This version includes the VTM-M2 on each individual track and a single instance on the master two track mix.
The "Before" mix is processed through the Studer R2R and three moderate instances of TB+.
R2R-TB+X3-VTM-TRACKS-MASTER.mp3
This is an extreme version of this mix scenario to make the sound character very obvious. This mix takes the "VTM-TRACKS" mix and runs it through the Studer R2R and three moderate instances of TB+ and a single VTM-M2 instance on the master mix. This pushes the overall saturation into audible distortion, but also shows how each stage has a profound effect on the tonal character of the tracks.
Song 4
Song 4 is an excellent comparison example for differences and combinations between R2R and TB+ and VTM-M2. There are multiple instruments constantly shifting within the arrangement, each with their own individual response .
This is the original unprocessed track.
One instance of Lo VTM-M2.
One instance of Hi VTM-M2.
R2R Studer and TB+ applied to the original mix.
R2R, TB+, and VTM-M2 Lo applied to the entire mix.
R2R, TB+, and VTM-M2 Hi applied to the entire mix.
Thank You for taking the time to read and listen. We hope that
you find the VMT-M2 to be inspiring to your work and an answer
to a long-awaited necessity in digital audio recording.
God Bless You.
Sincerely,
Michael Angel
CDSoundMaster.com