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
This is a simple mik’ed acoustic guitar without additional processing
The VTM-M2’s "high" setting is ideal for tracking clean guitars either on their own or blended with other tracks. A certain measure of tape compression, saturation, and harmonic effect take place at any level, but as the input is increased, all drive characteristics increase exponentially. In this audio example, the moderate setting of Hi -7dB gently accentuates the sustain and overtone of the guitar while leaving transients alone. This comparison graph illustrates the effect.
Before
VTM-M2 Hi -7dB
Careful attention has been given to recreate more than just a one-dimensional tape-drive, but an interactive effect that recognizes the changes in audio in the source. This means that the VTM-M2 does not react the same way to every signal it is fed, but like a true high end tape machine, a track that has already been treated with some processing will react the same way as the real analog equivalent.
In this example, we illustrate this all-important signal chain processing, where the same clean acoustic guitar is processed through the VTM-M2 at +0dB two times, one to represent recording the individual track to tape, and a second time to represent mixing it down to tape. Notice several traits, including the fact that we hear a more complex harmonic interaction between the notes played, their sustain, and overtones in the ringing of the strings. As levels increase we hear a more audible non-linear saturation take place, and when levels are at an average steady reading, the more natural tone of the guitar gently over-rides the audible harmonic distortion.
This happens because the tape effect that the guitar is processed with the first time around is interacting with the sound of the VTM-M2 the second time. We can hear some actual buzz from the interaction of the audio with the tape machine. This example is processed heavier than we would want to treat a cleaner signal, so that the illustration of this complex effect is easier to hear. You can see in the graph that the combination of tracking and mixing more heavily to tape is very non-linear, in that the tape interaction does not simply compress or squash transients, but in this case the overtones actually punch the transients into a bit of distortion while more complex overtones appear at the steady average volume range. Levels that are below the average signal increase more than levels in the previous example with a single pass.
VTM-M2 Two Times 0dB
Drums
Drum Example 1
Drums are an excellent instrument to challenge the realism of a digital processing program. No instrument has as wide a range of fast transient, slow sustain, and complex full spectrum sounds changing and interacting constantly than a well-tuned drumset. This group of audio examples helps us to recognize the effect of the VTM-M2 not only on its own, but as the important 3rd-stage tape drive-compression effect interacting with our R2R and TapeBooster+ program libraries for the Nebula Pro Plug-In. If you have not heard of Nebula, please visit Acustica-Audio.com for more information. Feel free to message us on the forum at screen name CDSoundMaster. This group of samples also represents the difference between hitting the VTM-M2 with a moderate or low signal level versus hitting it with a full-volume setting. Because the processing of the VTM-M2 is completely interactive in response to the input signal, its response increases as the input volume increases, just like real tape machines.
This first set of audio examples present the VTM-M2 in its "Low" setting with the recording at a moderate average signal level. Even at an input level of -15dB the VTM-M2 is affecting the signal with a very subtle amount of tape saturation and compression. Extremely subtle settings like this can be used in mastering scenarios and in tracking. As we observe the steady increase in processing level up to +5dB in the "Low" setting, we can hear and observe that the signal remains clean, punchy, and maintains the integrity with the original signal while the overall perceived impact, volume, and average level sound louder. There is a very subtle ‘lengthening’ of the sound of the signal that takes place, but like real tape, it is very difficult to hear until the machine has to fight to maintain this pristine signal reproduction, either by receiving increasingly louder input or increasing the tape machine’s input. Because we provide the VTM-M2 with two separate gain calibration settings, the entire range of a tape machine’s personality is easily adjustable based upon the user’s desired results.
In this series of samples, we can compare the reaction of the same drum input file at the VTM-M2’s "Hi" calibration setting. At +4dB the tape effect becomes more prevalent not just in volume, impact, and other artifacts, but we can hear subtle increasing in the depth and even ambience of the original recording. At +6dB we hear more drive at peak transients as the virtual machine struggles against the input signal to keep things accurate and precise, it increases in compression and harmonic activity. At +9dB the signal contains a noticeable amount of non-linearity. Important characteristics to recognize in this section of samples is that the goal is not to hear any compression effect or overt distortion and drive, but to represent the tape machine’s attempt to remain neutral while it is pushed exceedingly towards non-linearity. From subtle to more obvious affects, the beauty in the sonic character is in this combination of trying to remain clean while producing pleasant coloration to the signal.
Now that we have observed the VTM-M2’s reaction to a typical moderate drum input signal in both "Lo" and "Hi" calibration modes, we can take the next step in this sonic journey by comparing the maximum drive settings to the same concept with the same drum recording, this time set to a louder input volume. A typical code-based, algorithmic plug-in would react to this change in input signal in a linear scalable form, and although there would still be more affect with higher volume coming into the plug-in, the complexity of the plug-in’s response would be along the same form and function as any other input. Even complex algorithms that seek the input volume and speed for making adjustments to release in compression schemes or look-ahead functions, do not take as advanced an approach to reacting to the actual range of input volume pressure as we have integrated into the VTM-M2.
By comparing the same audio file as before, you will now notice that the entire depth of the signal’s dynamic range is being addressed uniquely in how it is processed. Visually, graphs will reveal fuller and louder low and average signals, with exactly the same amount of peak transients, but with thicker, fuller, wider spectral response while still at a flat spectrum. The harmonic character is driven harder in relation to low, medium, and high input dynamics and are all constantly evaluated and processed to represent this affect of the tape machine in its goal to represent the true sound of the incoming signal while still introducing more compressing and saturating of this signal.
It reacts uniquely to the volume, speed, and frequency of every element of the sound in a unique manner as a true analog tape machine would. Certain frequencies begin to cause more obvious distorting of the signal while others reveal more ambient depth, and still others seem to sound slightly longer than the original signal. Even at the loudest setting of +9dB, we see the peak of the transient is still preserved, and the affect of increasing the signal reacts to the entire signal all the way up to the peak of the transient, while still never cutting off the spike of the transient peak.
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 of the 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.
This is the effect of a single instance of the VTM-M2 at Hi -7dB.
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 instance 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
Often, even excellent sounding audio plug-ins can be impressive to begin with, but after a while, as we get used to their positive traits, they start sounding more one-dimensional and apparent. The ‘fake’ sound starts to make everything sound similar in one form or another, and we sadden as we start to once again hear the limitations of trying to make digital sound more analog.
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 drum set 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 Lo -7dB
Single instance Hi -3dB
Single instance Hi +1dB
Single instance Hi +4dB
Single instance Hi +9dB
Two instances, Lo -7dB and -3dB
Two instances, Hi -3dB, Lo +1dB
Two instances, Hi +1dB, Lo +1dB
Two instances, Hi +9dB, Lo +9dB
Electric Guitars
Electric Guitar Demo 1
This example was chosen to illustrate the VTM-M2’s ability to react to recordings that are unprocessed and mik’ed but where the source material contains complex harmonic overtones and overdrive or distortion. From light to moderate signal levels, the VTM-M2 works like a tape machine to enhance yet preserve the source, based upon the actual character of the recording itself.
This is the original unprocessed file.
In this moderate setting, notice how the sound is bigger, more robust, and how the individual notes have more ring and tone without any unnatural distorting. Not only are transient peaks unharmed, they appear wider ahead and behind the signal, which is a characteristic of the subtle "lengthening" of sound unique to tape.
Essentially the same as above, supplied to illustrate subtle changes at every volume.
At +0dB the complex nature of the VTM-M2 becomes even more apparent. Fast transient peaks cause slightly more audible break-up in the form of a subtle overdriven sound that is familiar on this type of recording. It is because of the harmonics that reside in the source recording that we hear ringing overtones enhanced at low and moderate signal levels and more break-up at peaks.
So, now that we can hear that at +0dB there will be some audible distorting at peak transient levels, we can choose to completely customize the tape effect by using two instances, both under the signal level that causes this effect. Since there is some "drive" in the entire original recording source, adding -4dB to -2dB settings give a gentle audible, yet complex and completely dynamic driven tape sound to the recording that covers the entire volume range and now, even though there is an increase in the full amount of saturation and compression, it does not affect high fast peaks with more weight than lower signals. Once again, we find that the VTM-M2 allows us to be the Producer and Engineer, designing and tailoring audio source to one’s desired taste just like the analog equivalent.
Electric Guitar Demo 2
With the first electric guitar, we heard how harmonic distortion in the source recording can interact with our tape machine to give a unique response, based upon the total signal level and distributing the signal level between two lower input instances. Now, we will listen to the effect of a high gain driven guitar recording.
The guitar is heavily processed and driven in such a way that compresses its signal. Now, we are going to appreciate yet another way in which the VTM-M2 accurately represents true tape response with real harmonic distortion that affects the driven frequencies of a signal without any change in eq. There is a very special kinship that electric guitars share with the tape machine. People have learned to take advantage of this with the R2R machines, using them to shape and polish the sound in unique ways specific to each design. In this case, you will hear the joint effort of the original track and processing options with VTM-M2 and how they can truly finish and glue the sound together.
This is the unaltered high gain source file.
Even at a setting of Hi -7dB, we can hear a lively harmonic interaction taking place in the guitar’s upper spectral register. The guitar track doesn’t become shredded or noisier, but slightly more present and focused, and the distortion already chosen for the track has more impact.
As we drive it slightly harder we hear more of the same effect while even more of a sense of gluing things into place.
A slightly different effect takes place in this example.
VTM-TWO-TIMES-LO-3dB-HI-9dB.mp3
By distributing the signal between two moderate instances of VTM-M2 we hear the unique classic electric guitar tape sound as the rhythm of the guitar has more charge and power and frequency-dependent harmonics come alive.
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
The piano is a sophisticated instrument that covers a wide frequency range, typically spread over 88 keys. It can be fast and punchy or long and sustained, or it can be soft and muted. Each character of the piano contains fundamental notes and very complex ringing of overtones and harmonics that accentuate the fundamental. The length of each string creates the proper fundamental and there is an almost perfect scientific relation of the note to its secondary harmonics. These characteristics are wonderfully matched to the sound of analog tape. When the right combination is used, we hear every nuance of a performance enhanced in a musical way.
This is the original unprocessed piano track.
Listen to the increased depth and sustain of the notes in this single instance of the VTM-M2.
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. Using 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