Tag: music

How to Use The Tape Machine Plugins?

Hi! This is Jooyoung Kim, mixing engineer and music producer.

A few days ago, I met my teacher, who taught me guitar and MIDI. We talked about various topics, including tape machine plugins. That conversation inspired me to write a blog post about using tape machine plugins.

If you purchase a plugin through a link in this article, I may receive a small commission.

Let’s dive in!

Basics of Mixing – 9.4 Tape Saturation

First, I wrote an article about tape saturation. If you wonder how it works, please read the post above.

UAD (Universal Audio Digital)

Purchase UAD Analog Tape Bundle at Plugin Boutique

Recently, Plugin Boutique was having a bundle sale on tapes.

Among this bundle, I will talk about three: Oxide Tape Recorder, Studer A800 Tape Recorder, and Ampex ATR-102 Master Tape.

Oxide Tape Recorder

https://www.pluginboutique.com/products/10182/?a_aid=622ea9ee9160c

Oxide Tape Recorder is one of the best tape machine plugin made by UAD. The user interface of the Oxide Tape Recorder is simple and intuitive.

IPS means “Inches Per Second”. For example, when IPS is 15, the tape moves 15 inches per one second.

When EQ parameter is on NAB, left side is the frequency response of IPS 15, the other side is IPS 7.5
More gain at IPS 7.5
When EQ parameter is on NAB, left side is the harmonic distortion of IPS 15, the other side is IPS 7.5

You can see how IPS affects the frequency response and harmonic distortion.

When EQ parameter is on CCIR, left side is the frequency response of IPS 15, the other side is IPS 7.5
If the input gain is too high, compression acts like a soft clipper.

The EQ parameter has two different values: NAB(National Association of Broadcasters) & CCIR(Comité Consultatif International des Radiocommunications, Now ITU-R)

People used to emphasize high frequency by recording process with tape recorder. This is due to high-frequency loss caused by the tape head and the machine. And then, de-emphasize the high frequency when the costumer play the tape.

At those situations, the EQ called NAB & CCIR was used.

NAB was the standard of the electricity with 60Hz alternating current like USA, and CCIR was the standard of 50Hz alternating current like EU(European Union).

The NAB standard sounds smoother and warmer than CCIR, whereas CCIR sounds clearer and sharper than NAB. It means CCIR more emphasize the high frequency field. You can see how the two differ by the upper frequency response graph.

The NR parameter means just “Noise Reduction”. If it turns off, the noise occurs.

That’s all you need to know about the Oxide Tape Recorder plugin. Simple!

Ampex ATR-102 Master Tape

https://www.pluginboutique.com/product/2-Effects/96-Tape-Emulation/12716-Ampex-ATR-102-Mastering-Tape-Recorder/?a_aid=622ea9ee9160c

The parameters of the Ampex ATR-102 Master Tape are not as simple as those of the Oxide Tape Recorder. However, if you understand NAB, CCIR, and IPS, it’s easy to use.

Let’s see the parameters.

The record(input) and reproduce(output) knobs are located at the top of the plugin.

Down side of the plugin, there are buttons that enable detailed adjustments(open and close), and to choose NAB or CCIR.

The right side, you could change type of the tape, calibrate the volume, and choose the tape head width.

Based on 250 tape and NAB(when you choose IPS 30, couldn’t choice Emphasis EQ),

Left – IPS 3.75, Right – IPS 7.5
Left – IPS 15, Right – IPS 30

there are significant differences in frequency response.

When the tape speed is at IPS 15, this graph shows how the frequency response change by selecting NAB to the other(CCIR).

Input gain and output gain value also make some difference, but it’s not that important..

Compression characteristic is unusual – increase high-volume signals even more – however, it’s not a noticeable difference, so I’ll skip the explanation.

Studer A800 Tape Recorder

https://www.pluginboutique.com/product/2-Effects/96-Tape-Emulation/10185-Studer-A800-Tape-Recorder/?a_aid=622ea9ee9160c

The parameter – tape type, calibration, IPS…

Left – IPS 7.5, Right – IPS 15
IPS 30

now it’s really simple. Isn’t it?

Now, without further ado, you can think of it as a friend that emphasizes the low range, and the frequency response changes like this depending on the IPS!

IK Multimedia

Purchase IK Multimedia Total Studio 4 MAX at Plugin Boutique

IK Multimedia makes various plugins like virtual instruments, mixing and mastering effects – their tape machine plugins are really great.

The total bundle sale started on Black Friday, but it’s still on sale. T-racks 5 MAX included in the total bundle includes a total of four tape machine plug-ins: Tape Machine 24, 80, 99, and 440. Let’s look around.

Parameters seems similar.. Tape types, IPS..

IPS 15 in GP9 tape

True stereo parameter makes the difference response between left and right, and transport modeling makes the variation value of the volume by time.

IPS 30 in GP9 tape

The other plugins’ parameters are same as Tape Machine 24 plugin. Just the machines are different, and they make difference in frequency response.

Simple!

Softube Tape

https://www.pluginboutique.com/products/3416/?a_aid=622ea9ee9160c

Softube’s Tape plugin is very clean tape machine plugin. The harmonic distortion quantity could changeable by Amount parameter, and tape type could be selected by the Type parameter. (Type A is clean side, B has quit a lot of low frequencies, C has the characteristic between A and B)

Left – Default type A, Right – Default type B
Default type C

Tape speed could be changed by IPS too.

Type A tape Left – IPS 7/8, Right – IPS 3 3/4
Type A tape Left – IPS 7 1/2, Right – IPS 15
Type A tape IPS 30

Waves also has a famous tape machine plugin called Kramer and J37, but as I was writing this, the patterns became too similar, so I will omit them.

However, there is a parameter called Bias that exists only in Waves.

Basics of Mixing – 9.4 Tape Saturation

If you wonder about the bias, please read upper article.

If you look at it so far, you will feel something. IPS, EQ and the tape type are everything about a tape machine.

I think that just remembering this will make it easier to use the tape plugins.

Thanks for reading! See you in the next post.

SSL X-EQ 2 and DeEss Plugin Overview + 90% Off Sale (Ends 1/29)

Hello! I’m Juyoung Kim, a mixing engineer and music producer.

It’s been a while since I shared plugin sale news, hasn’t it?
Over the holiday season and into early January, my manager was on vacation, and most major sales wrapped up at the start of the year. So, I didn’t have much to share.

One notable ongoing deal is IK Multimedia’s Total Studio 4 MAX sale.

That said, I recently came across SSL’s sale on X-EQ 2 and DeEss, and I couldn’t wait to share it with you!

Purchase SSL X-EQ 2 & DeEss Bundle at plugin boutique

Disclosure

This product was provided as an NFR (Not for Resale) through Plugin Boutique. If you make a purchase using the links in this post, I’ll earn a small commission, which helps me keep doing what I do.

Let’s dive in!

SSL X-EQ 2

The SSL X-EQ 2 is a feature-packed EQ plugin. These days, DAW-native EQs are so powerful that standalone EQ plugins need to have a competitive edge to stand out—and X-EQ 2 delivers.

Key features include:

  • Mid/Side processing
  • Presets to remove 50Hz and 60Hz hum (ideal for handling electrical noise)

You can double-click to create points and adjust EQ type, frequency (Hz), bandwidth (Q), and gain (dB) with ease.

A particularly fun feature is the knob-like interface—select a parameter (Hz, dB, Q) and adjust it by dragging your mouse, mimicking the feel of turning a physical knob.

It also includes an analyzer (activated via the top-right button) and lets you choose between parallel or serial processing from the top-left menu.

Additionally, you can activate Phase Analysis to see phase shifts (dotted lines) or enable Step Response Mode to view how signals evolve over time after passing through the EQ.

Heaviside Step Function

For those unfamiliar with Step Response:
The Step Response of a system refers to how the system reacts over time to a sudden change in input, specifically when the input shifts instantaneously from 0 to 1 (a Heaviside Step function). It demonstrates:

  1. The system’s transient behavior, showing how it initially reacts to the input change.
  2. The steady-state behavior, revealing how the system settles after the transient phase.
  3. The time it takes to stabilize, which indicates the system’s responsiveness.

In the context of EQs, a longer Step Response often correlates with ringing artifacts, where the EQ introduces unintended resonances that make the sound linger beyond its natural decay. This visualization helps engineers fine-tune the EQ to minimize these artifacts.

Purchase SSL X-EQ 2 at plugin boutique

I love all the features, but the only downside is that the window size can’t be adjusted. But if you see the price, it could be convinced!

DeEss Plugin

The DeEss plugin offers highly detailed sibilance control.

Key features:

  • Adjustable target range: 1kHz to 20kHz
  • Mid/Side processing
  • Compression intensity and Brighten (high-shelving EQ) controls
  • Lookahead capability for precise processing

A standout feature is the Auto Listen mode, which allows you to hear both the filtered signal and the original detection, making adjustments much easier.

Purchase SSL DeEss at Plugin Boutiuqe

This DeEss plugin is one of the most versatile I’ve come across, and it’s surprisingly lightweight unless oversampling is applied. If you don’t already have a dedicated de-esser, this is an excellent choice.

Bonus: Free Plugin Offer

If you purchase any plugin from Plugin Boutique this month, you’ll receive Klevgrand’s Richter Compressor Plugin for free. Don’t forget to claim it when checking out!

Final Thoughts

Both the SSL X-EQ 2 and DeEss plugins are incredibly versatile and user-friendly tools for mixing and production. The 90% discount makes this deal even sweeter—don’t miss out before the sale ends on January 29!

Feel free to reach out if you have any questions. Until next time!

2024 Year in Review

Hello! I’m Jooyoung Kim, an engineer and music producer.

It’s already the last day of 2024…
It feels like I’ve barely done anything, yet the end of the year has come around again. 😊
This year, I want to take a moment to look back on what I’ve done.

First Half of the Year

In January, I started writing introductory posts about mixing techniques.
I’d been wanting to publish articles elsewhere, but after receiving rejections from various outlets, I decided to focus on writing consistently on my blog instead.

I lost count of how many times I revised those posts! Eventually, I submitted them to Kyobo Bookstore’s POD (Print on Demand) service. To my surprise, Joongpil Goo, an engineer from Klang Studio with extensive experience as an SM engineer, graciously wrote a recommendation for the book. Even now, it feels surreal! 😊

This was finally completed by late September, and it was quite an intense journey just to publish a single book.

From January to April, I worked with a studio called Studio Dolphin, producing YouTube videos where AI collaborated with indie musicians to create songs.
We used Soundraw for the AI-generated music, ChatGPT for lyrics, and melodies were composed by indie musicians. The challenge was to create a full song in just 90 minutes.

I participated as both an engineer and a panelist, but unfortunately, the videos didn’t garner much attention, and they’ve since been taken down.

At the start of January, I was extremely busy with various recording and mixing tasks for school projects. In February, I spent a lot of time preparing paperwork to apply for government-sponsored projects. Sadly, none of these applications were successful, which left me feeling rather deflated.

In March, I returned to school, and things got busier from there.

In May, I launched my English blog and started promoting Plugin Boutique products more actively, which kept me even busier.

Summer

From July to August, I worked on producing Danny Boy’s EP from start to finish.
I handled everything—recording, arranging, mixing, and mastering. 😊

At the same time, I collected measurement data for my thesis. The data turned out well enough that I’m now preparing to submit it to an international academic journal.

While processing the data, I found myself delving into coding—a field I never thought I’d explore! Surprisingly, tools like Copilot and ChatGPT were lifesavers. At first, I barely understood anything, but after asking countless questions, things started making sense. 😊

Second Half of the Year

September was tough. I applied for several positions but didn’t get any of them. My final interview was with the Gyeonggi Arts Center, but, well… things didn’t work out. Back in May, I’d also made it to the final round for a position at Kumho Art Hall at Yonsei University but was ultimately rejected. I guess that’s just how life goes. 😊

In October, I filmed a music video, and November passed without anything particularly noteworthy.

In December, I wrote a short paper about loudness in audio and submitted it to a domestic academic journal. It was accepted and will be published in early January.

Also, during this semester, a professor from Sorigeo joined the faculty, and I took his class. In collaboration with him, I gathered data for another research paper, spending two days on measurements. The data looks promising, but I haven’t organized it yet. Once I do, I plan to publish another paper and share the details. 😊

In addition to all this, I continued working on my own music, doing external mixing/mastering, composing/arranging, and providing guide vocals.

Unforgettable Projects

One of the most memorable projects this year was mastering the EP for the Bulkuksa Team’s Random Game. My favorite track was definitely “Microdust.”

A heads-up: the song contains explicit language. 😊

A friend had asked if I could master the track using only an MP3 demo, as they’d lost the original files. I was initially concerned about the sound quality but was blown away by how creative the music was. I couldn’t say no!

Some tracks were well-balanced, while others were completely off, but I managed to improve them significantly through proactive mastering. While the sound quality wasn’t ideal due to the limitations of MP3, the sheer fun of the music made up for it. 😊

Gear Purchases

  1. Stam Audio SA-4000 MK2 Compressor
  2. KEF Kube 15 MIE Subwoofer
  3. Stam Audio SA-2A Compressor
  4. Earthworks M30 Measurement Microphone
  5. Rack Cabinet and Patch Bay
  6. Wharfedale D310 Passive Speakers
  7. Cort A4 Bass
  8. A broken Heritage Audio Successor Compressor

I bought quite a bit this year…

Next year, I’m thinking of adding a tube microphone preamp and an EQ. Maybe another compressor or a mic too? The gear wishlist never ends! 😊

After Modifying My Stam Audio SA-2A

Hello! I’m Jooyoung Kim, mixing engineer & music producer.

Today, I’ll talk about what I did after the article, Record Before Modifying the Stam Audio SA-2A, and how sound changed.

First, let’s review the problems I encountered.

  1. Output gain is similar to input gain, when the GAIN knob is too low.
  2. Compression is started when PEAK REDUCTION knob is too high.
  3. It sounds so dull, like high frequency response is cut off

Otherwise, The Compress and Limit switch was positioned incorrectly. It was simply solved by wrench.

1) Potentiometer Changed..1

If you take off the cover of SA-2A’s knob, you could see a100k potentiometer at each parts. So, I thought that if I change a100k to a50k for gain knob, amount of change is more lower. Also, change a100k to a250k for peak reduction knob, compression would be change more earlier.

So I changed them first.

The green line is SA-2A hardware, the pink line is Waves’ CLA-2A.

It doesn’t seem bad at all! Otherwise, output gain is similar to input gain, when the GAIN knob is too low yet, I ordered A25K and A10K potentiometer too.

2) Vacuum Tubes Changed

I changed my 12AX7 tubes from jj electronics to mullard.

Frequency response and compression curve was not that different compared to jj electronics’. But it sounds much better than before. Harmonic distortion seems to have changed many aspects of the sound.

3) Changed Potentiometer Once Again..2

Upper image is a25k, The lower image shows the a10k potentiometer. You could see frequency response improved when the lower value of potentiometer is used! The problem isn’t solved but it sounds really good.

Red curve is UAD LA-2A Silver face, pink curve is WAVES CLA-2A, green curve is SA-2A.

Compared to UAD, it’s nice that it doesn’t add such an overwhelming saturation. And compared to Waves, I like that it doesn’t have that overly compressed feel.

I think it’s worth trying out more simple tools like this in the future. Next time, maybe an EQ or a Comp DIY kit…!

See you in next post! 🙂