Good to know there are still mass tape production places out there, even if this one is in the States. That in itself will be fun, how do you master something digitally on a computer that has been recorded directly onto tape - how will my workflow/general methodology get affected? Ideally I'd like to be doing some sort of direct noise recording (using a Kaossilator, the Chimera and maybe a Monotron now they've bought the new ones out), all running off battery and dumping direct to tape to import into the computer at a further point for mastering and trickery etc. It mentions top end limits, standard, but like should I be rolling over the low end that bit further up the range due to a tape's pickup capabilities? Found some more little bits here, here and here (good APX chat) which I've been mulling over for the duration of today. Which touches on the subject, but not far enough for my liking.
a digital version of the same song - does anyone know about frequency ranges on tapes? Found a good thread on GearSlutz Listened to some old tapes to get a feel for that sound they give vs. But since the last time I properly used them, my knowledge in terms of music/audio production has grown massively (or rather, it didn't exist before), so I now know things like headroom and bandwidth and EQ and dynamic range which I didn't before. I fucking love cassette tapes, always have. Sampling in from old jazz records, found a great crickets soundbed with plenty of crackle that found it's way as ambience into one of my tunes etc etc.Īnyways, been thinking more and more about using tapes. Not only a nice touch sonically, but you also get to see the graphics-rich back of the studio with its outboard racks, patchbay, tape machine and so on.Been incorporating old cassette recordings in a lot of my productions since getting my machine to work properly, due to the inclusion of the old shitty tape deck I had laying about. In surround, however, Rotate Studio shifts everything, so at 180 degrees you can face the L and R surround speakers and they’ll be reversed in your headphones. If you’re working in stereo, turning 180 degrees away from the monitors simply makes it sound like they’re behind you.
#Waves nx gearslutz full
Whether it’s beneficial in a mixing situation, though, is debatable, but if you’re after predictability, simply switching head tracking off is always an option.Ī further control, Rotate Studio, shifts the listener perspective horizontally through a full 360 degrees. Your webcam and Waves’ Head Tracker combine to make this very responsive (we achieved a frame rate of 40 upwards) and as you turn your head, the effect is both realistic and quite addictive. The main monitors sound more distant and have a bigger ‘hole’ in the centre of the stereo field, and although they deliver a bigger scale, it ultimately stands to reason that headphones won’t really ever deliver the physical impact that main monitors would.įar more sonic variation is created by the head tracking. The different monitor options do sound quite different to each other, with a nicely upfront directional sound from the nearfields and a more balanced image from the midfields. (Image credit: Future) Performance and verdict
The room ambience is also fixed, although switching between each set of monitors influences things, replicating the mix room. This is different to the mathematical model approach used for Virtual Mix Room and means there’s no way to adjust speaker positions, and no forward or back head tracking.
It’s also worth noting that the plugin has a specific ‘sweet spot’, captured using impulse responses. Waves doesn’t actually specify the monitors used, but Abbey Road Studio 3’s main monitors are well known to be soffit-mounted Questeds (the Q412 system), and the surround monitors are the floor-standing ‘headed’ B&W 800D, both of which match the graphics on the plugin, as you’d expect. When using the stereo version of the plugin, you get a choice of three pairs of monitors (Near, Mid and Far), while for the surround plugin, the monitors default to the midfields. What marks this plugin out from Virtual Mix Room, of course, is that it incorporates the Studio 3 control room ambience and loudspeakers. However, the Headphone EQ option conveniently includes calibration curves that help to smooth out the frequency response for a handful of preset headphone models. Much like with Virtual Mix Room, Abbey Road Studio 3 lets you use any headphones you like for the process, as it’s not primarily trying to ‘correct’ them to some kind of standard.
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