Waves KRAMER MPX MASTER TAPE Bedienungsanleitung
WAVES
KRAMER MPX MASTER TAPE
USER GUIDE
TABLE OF CONTENTS
CHAPTER 1 – INTRODUCTION ......................................................................................3
1.1 WELCOME .................................................................................................................3
1.2 PRODUCT OVERVIEW.................................................................................................3
1.3 CONCEPTS AND TERMINOLOGY ..................................................................................4
1.4 COMPONENTS ...........................................................................................................7
CHAPTER 2 – QUICK START GUIDE.............................................................................8
CHAPTER 3 – INTERFACE AND CONTROLS ...............................................................9
3.1 INTERFACE ................................................................................................................9
3.2 CONTROLS ..............................................................................................................10
CHAPTER 4 – THE WAVESYSTEM..............................................................................13
4.1 THE WAVESYSTEM TOOLBAR...................................................................................13
4.2 PRESET HANDLING ..................................................................................................13
4.3 INTERFACE CONTROLS.............................................................................................15
4.4 WAVES PREFERENCES (PRO TOOLS ONLY) ..............................................................17
CHAPTER 5 – APPENDIX .............................................................................................18
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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 MPX Master Tape plugin is modeled on a rare machine consisting of an
Ampex 350 ¼” transport and 351 electronics. The 350 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, the Ampex 350 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 MPX
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 Ampex 350/351 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
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correct magnetic tape, in addition to modeling the mechanical and magnetic modulations
and colorations that give these rare machines their own unique sound. Special thanks go
out to Bob Ohlsson (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 MPX 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
MPX Master Tape plugin. You can read more about them in the White Paper at the end
of this manual.
Tape Speed
The MPX 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 MPX 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 MPX 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 Ampex
351 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 MPX 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 your desired
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headroom, and the VU meter will offset its metering so that 0 VU will correspond to the
selected headroom value.
Delay
While the original Ampex 350/351 didn’t feature dedicated delay functions, many
engineers utilized the machines for slap/feedback echo effects. The MPX 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 MPX Master Tape consists of two components:
Kramer MPX Mono
Kramer MPX Stereo
Kramer MPX Mono
Kramer MPX Stereo
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Chapter 2 – Quick Start Guide
oInsert the Kramer MPX on a track, group, or master.
oGo 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.
oAdjust 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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3.2 Controls
SPEED selects the simulated tape speed.
Range: 7.5 ips, 15 ips
Default: 15 ips
When switching between the two speeds, the noise and frequency response will change
accordingly; at 15 ips, high frequency response is increased and noise is one octave
higher than at 7.5 ips.
MONITOR selects the monitoring mode.
Range: Repro, Input
Default: Repro
Repro mode monitors input stage, tape stage and output stage; Input mode monitors only
the input tube stage of the 351, before it goes to tape, prior to the pre-emphasis and de-
emphasis filters.
BIAS controls the level of the ultrasonic bias signal.
Range: Nominal, Over
Default: Over
VU METER displays input or output level, depending on your selection.
Range: -20 dBVU – +3 dBVU
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