Virtual cz vst
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VIRTUAL CZ VST PLUS
Another big plus is if you denoise (which I will explain in step 8) BEFORE the Dolby plugin, it does a much better job of removing the noise than Dolby can, plus you get more treble back off the tape, with a smoother top end than no NR at all.
VIRTUAL CZ VST PROFESSIONAL
The tone of the tape will be much nicer because you can adjust the level in the plugin, instead of trying to find a professional deck to do it on. The only plugin that can emulate Dolby A, B and dbx is U-he Satin. An even better approach, is to, again, leave the NR off, but this time apply it with a plugin. This is a tip I got from James Perrett on the Sound On Sound Forum. Contradicting step 6: do use noise reduction, but not on the tape deck! It doesn’t just change the high frequencies, it changes the dynamics as well.
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Again, you can hear this for yourself if you switch the dbx in and out as the tape plays. These more commonly used dbx noise reduction not Dolby. Most of the time, you will need as much high end as you can get from the tape! 6.1 Caveatįor regular cassettes this idea works fine, but for most four track tapes it won’t work. If that’s too technical for you, just leave the NR switched off and think of it as a free high frequency booster that you can polish with eq later. Professional machines let you adjust the level going in to the Dolby circuit to compensate for this. The circuit will think it is hearing a quiet part of the tape, and apply too much noise reduction. This will cause the Dolby playback to operate incorrectly. But tapes lose their magnetism over time. The technical explanation: noise reduction is a good thing. You can actually hear the difference for yourself- playback the tape and switch the NR in and out. This way is not- just make sure your hands are clean and grease free and work on a large surface with plenty of light.Įven if Dolby was used, consider leaving it off. There are plugins that can remove pitch wobbles (known as wow and flutter) such as Melodyne Capstan, and the proprietary Plangent Processes. To reduce pitch wobbles, remove the reels from the shell and put them into something really good like a Maxell XL-IIS shell.
VIRTUAL CZ VST DRIVER
The audio interface I use is a humble Focusrite Scarlett which is around 110dB! This is a very popular model for a reason: it’s reliable, clean and neutral sounding, and best of all Focusrite have very good long term driver support.
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To put it simply: the quality of any modern digital device will be a lot better than most cassettes. Best case for a recording would be 85dB with noise reduction engaged on a top flight deck (or the Yamaha above) and we’re assuming the cassette will never degrade over time. The signal to noise ratio of the average cassette is around 50dB, far worse than any modern digital device. Any audio interface will do, even the one built in to the computer These will be wobbly and noisy with even the best tapes, so you will not get the best out of the tapes you have. I would advise against the Walkman sized USB players you can get (pictured above). The only machines that are better are the fairly rare Marantz four track recorders. It’s one of the best decks Yamaha made, with a very low noise floor and a frequency response all the way up to 18kHz, out-performing the Tascam or Fostex four track machines. This can play regular cassettes as well as the four track ones. Even better, use an audio interface so you can optimise the level. You can connect this to the mic/ line input of your computer.
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Ideally a standalone hi-fi unit with a line output. Just look at that cool little mixer and those lovely big VU meters! 1. Yamaha TC-800 GL, the first deck I ever used (it was my grandad’s). Along with my own practice, I’ve whittled the process down to 12 steps. The topic comes up often on the Sound On Sound forum, and I am grateful to Hugh Robjohns and James Perrett there for the advice and discussion over the years.
VIRTUAL CZ VST ARCHIVE
With lockdown I’ve been going back through the archive of old tapes to digitise them.