WAVES
KRAMER MASTER TAPE
USER GUIDE
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TABLE OF CONTENTS |
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CHAPTER 1 – INTRODUCTION ...................................................................................... |
3 |
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1.1 WELCOME ................................................................................................................. |
3 |
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1.2 PRODUCT OVERVIEW................................................................................................. |
3 |
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1.3 CONCEPTS AND TERMINOLOGY .................................................................................. |
4 |
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1.4 COMPONENTS ........................................................................................................... |
7 |
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CHAPTER 2 |
– QUICK START GUIDE............................................................................. |
8 |
CHAPTER 3 |
– INTERFACE AND CONTROLS ............................................................... |
9 |
3.1 INTERFACE ................................................................................................................ |
9 |
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3.2 CONTROLS .............................................................................................................. |
10 |
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CHAPTER 4 |
– THE WAVESYSTEM .............................................................................. |
14 |
4.1 THE WAVESYSTEM TOOLBAR................................................................................... |
14 |
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4.2 PRESET HANDLING .................................................................................................. |
14 |
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4.3 INTERFACE CONTROLS............................................................................................. |
16 |
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4.4 WAVES PREFERENCES (PRO TOOLS ONLY) .............................................................. |
18 |
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CHAPTER 5 |
– APPENDIX ............................................................................................. |
19 |
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Chapter 1 – Introduction
1.1 Welcome
Thank you for choosing Waves! In order to get the most out of your Waves processor, please take the time to read through this manual.
In conjunction, we also suggest that you become familiar with www.wavesupport.net. There you will find an extensive Answer Base, the latest Tech Specs, detailed
Installation guides, new Software Updates, and current information on Authorization and Registration.
By signing up at www.wavesupport.net, you will receive personalized information on your registered products, reminders when updates are available, and information on your authorization status.
1.2 Product Overview
Developed in association with producer/engineer Eddie Kramer (Jimi Hendrix, Led Zeppelin), the Kramer Master Tape plugin is modeled on a rare vintage ¼” tube-powered reel-to-reel machine. A similar machine was used by Eddie Kramer during the late ’60s at London’s Olympic Studios to record some of rock’s most classic tracks, by artists including Jimi Hendrix, Rolling Stones, Led Zeppelin, and Traffic. Typically, it was the final link in his recording chain, used to record the output of the Helios console (modeled in the Kramer HLS Channel plugin), with dynamics processing by the PYE compressor (modeled in the Kramer PIE Compressor plugin.)
With adjustable tape speed, bias, flux, wow & flutter, and modeled noise, the Kramer Master Tape provides comprehensive control over the contours of your sound. To top it off, we’ve added a flexible slap & feedback delay section.
Accurately modeling the character and sound of the machine proved quite challenging, from the acquisition of well-maintained components, generously provided by Eric Schilling (Shakira, Gloria Estefan, Natalie Cole, Elton John), down to finding the correct magnetic tape, in addition to modeling the mechanical and magnetic modulations and
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colorations that give these rare machines their own unique sound. Special thanks go out to Bob Olhsson (Stevie Wonder, Marvin Gaye, Diana Ross) and especially John Haeny (Bonnie Raitt, Weather Report, Jackson Browne, Linda Ronstadt, Jim Morrison, Tom Jones) who provided invaluable assistance in the development of the Kramer Master Tape plugin. You can read in greater detail about the modeling process in the White Paper which is included as an appendix to this manual.
1.3 Concepts and Terminology
The following are a few of the terms and concepts that you will encounter while using the Kramer Master Tape plugin. You can read more about them in the White Paper at the end of this manual.
Tape Speed
The Kramer Master Tape offers two tape speeds: Low (7.5 inches per second or “ips”) and High (15 ips). Low speed offers better low frequency response with some high frequency loss, while high speed offers a more full range signal with slightly less low end.
Input and Reproduce
When recording to tape, two monitoring modes are available. Input monitoring lets you hear the signal as it reaches the recording head, including tube and mic-pre saturation. Repro monitoring lets you hear the output of the repro head just like normal tape playback, meaning that tape speed, bias, flux, wow & flutter, and noise, in addition to tube and mic-pre saturation, all affect the monitored output.
Bias
Bias is an ultrasonic signal which is added to the recording in order to reduce limitations of the magnetic medium. Bias calibration was a regular part of the tape machine calibration routine and, while the manufacturers had their declared recommendations for specific machines, many engineers felt that adding more gain to the bias signal gave them better sound. For this reason, the Kramer Master Tape plugin offers both nominal bias as well as overbias, which represents 3dB over the recommendation, a setting
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which became popular with many users.
Flux
Flux is the term used for the level of magnetic radiation emitted from the record head on to the tape, commonly referred to as operating level. Measured in nano Webers per Meter – nWb/m, flux is essentially a gain factor reflecting a higher level passed onto the record head. While older tapes were designed to handle lower flux levels, modern tapes could withstand much higher flux before distorting, resulting in relatively lower noise.
Noise
The Kramer Master Tape plugin features modeled noise which is a combination of the tape hiss generated by analog tape recording, overlaid by the thermal valve noise of the reference machine’s input and output electronics.
Wow & Flutter
The term wow & flutter refers to modulations and fluctuations in speed and gain caused by physical friction of the mechanical parts of the tape machine and the tape itself. While the original machines were designed to minimize wow and flutter, they nonetheless have become part of the sound we associate with analog tape. Increasing the Wow & Flutter control makes for a rougher, more “worn” sound.
VU Meter
The Kramer Master Tape features a modeled analog VU meter, where 0 dBVU = 1.23Volts RMS = +4 dBu at 1 kHz. Using a 700 Hz tone at -18 dBFS, input and output levels are equal. The default VU meter calibration is -18 dBFS = 0 dBVU, which we found to be optimal for achieving the desired sound when the meter action hovers around 0 dBVU. For hot digital signals peaking close to 0 dBFS, this will require lowering your Record Level proportionately to achieve “proper” tape sound. When running hot signals, the needle may stick to the right side (≥ +3 dBVU). If you are achieving the desired sound, but would like to see some meter action, you can calibrate the meter to
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your desired headroom, and the VU meter will offset its metering so that 0 VU will correspond to the selected headroom value.
Delay
While the original tape machine didn’t feature dedicated delay functions, many engineers utilized the machines for slap/feedback echo effects. The Kramer Master Tape plugin offers delay times from 1ms to 500 ms, with settings for 7.5 ips (266 ms) and 15 ips (133 ms), emulating the natural slap heard when monitoring the incoming and reproduced signals at the indicated speeds.
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1.4 Components
The Kramer Master Tape consists of two components:
Kramer Master Tape Mono
Kramer Master Tape Stereo
Kramer Master Tape Mono
Kramer Master Tape Stereo
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Chapter 2 – Quick Start Guide
o Insert the Kramer Master Tape on a track, group, or master.
o Go to the loudest passage in your song and, using the Record Level control, adjust the input until the meter displays -5 dBVU to 0 dBVU.
oIf the track has important high frequency content (e.g., acoustic guitars, vocals, hi-hats, strings), use the 15 ips to better preserve high frequencies.
oIf the track has a lot of low frequency information (e.g., bass, kick drum, tuba), use the 7.5 ips to better preserve low frequencies.
o Adjust the Flux control to increase or decrease amount of distortion.
oIf needed, unlink the Record Level and Playback level and adjust levels individually.
Please note: Since input levels have a significant impact on the sound of the plugin, we recommend experimenting in order to find your optimal settings.
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Chapter 3 – Interface and Controls
3.1 Interface
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