Developed in association with Eddie Kramer, the Kramer Master Tape plugin is modeled on a rare vintage 1/4" reel-to-reel machine. With adjustable tape speed, bias, flux, wow & flutter, and noise parameters, the Kramer Master Tape provides comprehe...
When asked about saturation plugins, Wolfgang responds, "Waves Kramer tape is amazing but really drains your system, PSP makes a couple good ones too. But I haven't used those on the master in at least a year. usually on individual tracks." Original source from his reddit ama [here](http://www.reddit.com/r/IAmA/comments/1uoeb0/i_am_wolfgang_gartner_ask_me_anything_you_want/cek48zn).more
Used on Lamar's vocals for "All the Stars" as stated by producer Matt Schaeffer in this May 2018 *Sound on Sound* interview. > Kendrick Lamar’s vocal audio tracks, named after his teenage stage name K.Dot, consist of his first verse rap track, ‘VS 1 LD’, and 10 tracks for three moments in the track where he sings the pre-hook in a robotic voice. The verse rap track only has the AIR Flanger on it, and is sent to the ‘Dot VS LD’ aux track, which has eight inserts and five sends. Nine of the 10 pre-hook tracks have Auto?Tune, while the top four have a number of plug-ins on the inserts, including the EQ3 seven-band, Waves RVox, UAD Galaxy Tape Echo, SoundToys Little AlterBoy, SoundToys MicroShift and Valhalla Vintage Verb. These four are sent to a ‘Hook Ref’ aux track higher up in the session with another four plug-ins on the inserts and five sends. The other six are backing vocals to the four other pre-hook tracks and have no other plug-ins, other than a Trim, and are sent to a ‘Hook Background’ aux, just below them, which itself also is sent to the ‘Hoof Ref’ track. It’s a pretty complicated vocal signal chain, as Schaeffer admits. > “The ‘Dot VS LD’ aux indeed has a lot of stuff on it! I did most of the processing on that bus. On the inserts there are the SSL E-Channel, Waves RComp, Waves Q10 EQ, Waves DeEsser, UAD LA2A, UAD Pultec EQP1A, SoundToys Decapitator and Pro?Q2. The SSL channel strip, Q10 and RCompressor remain from the tracking, and maybe the DeEsser as well, but I most likely messed with the settings more during mixing. The Q10 has a high-pass at 50Hz and I notched out a frequency that was bothering me around 8.5kHz with the Q2. I added the other plug-ins during mixing, and they all add something a bit different. I’m boosting 100Hz and 16kHz with the EQP1A. As I said, I like using several EQs on one thing. > “The sends go to a ‘FlangeVerb’ track, on which I put the RVerb and the UAD MXR Flanger, then the ‘Huge Verb’ with the [Audio Ease] Altiverb and EQ3, ‘Hook Valhalla’ with the Vintage Verb, and the SoundToys EchoBoy, the ‘EMT250’ aux with the UAD EMT250, Valhalla Plate and MicroShift, and then finally a send to the ‘Dot VS Delay’ track, with the EchoBoy, set to quarter note, the Reel Tape Flanger and the RCompressor. The EchoBoy is the main delay you can hear in the verse. The EMT250 is not set to a reverb, but to a phaser effect, which gives a cool stereo effect. The Valhalla adds a bit of reverb here, though it’s set to -12, so it only gives a tiny bit of ambience, and the MicroShift makes the whole thing a little wider. It probably still sounded a bit dry, which is why I sent the track to the ‘Huge Verb’ aux with the Altiverb, again taking out low end with the EQ3. > “In the pre-hook, Kendrick wanted that robotic sound with tons of effects. The main robotic effect comes from the iZotope VocalSynth, which gives it a vocoder-like sound. There also are some instances of the Little AlterBoy on the lead vocals in the pre-hook, with some formant adjusting and pitch-shifting. I think one of them is set to +12, so that’s an octave up, and another has a lower formant so it sounds pitched down, even though it remains in the same key. All that adds up to make the vocals sound robotic.” > Adding all inserts on audio and aux tracks together, Lamar’s verse rap is treated with a whopping 22 plug-ins! The ‘Hook Background’ aux, meanwhile, has the EQ3 seven-band, RCompressor, SoundToys Panman, a chorus, the MicroShift, the UAD MXR Flanger and the Valhalla Plate on the inserts and has sends to an aux track with the Waves Kramer Tape plug-in as well as the aforementioned ‘Hook Valhalla’ aux with the Vintage Verb, and Echoboy, and it then is routed to the ‘Hook Ref’ track, which has another four inserts and five sends. Phew.more
Used on "Closer", as stated by producer DJ Swivel in this February 2017 *Sound on Sound* interview. > “All Halsey’s vocals apart from her hook vocals further down have tons of plug-ins and sends! The insert chain on these tracks is Auto-Tune, Waves Renaissance De-essser, Waves SSL Channel, Waves RVox, Waves RDe-esser and SPL Vitalizer, and on two tracks I add the Waves RVerb, and on the ‘Delay Chop’, which happens just one moment towards the end, the Valhalla Vintage Verb. Each of Halsey’s vocals here is EQ’ed slightly differently, and also the same with the de-essers. The first in the chain usually works as a normal de-esser, and the second functions more as corrective EQ. They each have different frequencies that they act on, with different thresholds and amounts, and they tend to correct small issues in just one word or so. It may be a harsh upper-mid thing, which female vocals can have, and I just carve out those frequencies with the RDe-esser. I don’t want to take it out of the entire performance, because that frequency may add energy to the overall vocals. > “I also like using the RVox as a second compressor, to really tame the vocal. It just brings it right out in front and sticks the vocal in your face. I usually am pretty subtle with the RVox, but every once and a while I’ll slam it and you get this really cool sound. I learned that from Pensado’s Place. Finally, the SPL Vitalizer again adds some sheen to these vocals. The ‘Halsey Delay’ track adds four delays at the end of the song, with the second one pitched down with Auto-Tune. You can get some cool things by pitching down the vocals in Auto-Tune and changing the throat length and things like that. > “In addition, all these tracks have tons of sends, going to the Lexicon plate reverb, in some cases the Lexicon hall reverb as well, and the H-Delay medium delay and the Doubler for more width. The ‘Halsey Lead 1’ track also has a send to the ‘Tape Delay’ track, on which I have a delay from the Waves Kramer Master Tape plug-in, which is set to a 15ips slap with not a lot of feedback. That delay adds a nice tonality and space. I also have several delay throws on certain words she sings, like in her opening line, where it goes ‘you... you’ on the upbeat. > “By comparison, there are very few treatments on Halsey’s hook vocals, which only have Auto-Tune, the SSL Channel, and the Doubler. Similarly, Drew’s backing vocals also have these plug-ins, and some Lexicon plate reverb. I’m using the SSL Channel to get rid of some high end on some of the tracks, because they were a little too bright, and had different effects on each of them to make sure they were not too similar.more
Developed in association with Eddie Kramer, the Kramer Master Tape plugin is modeled on a rare vintage 1/4" reel-to-reel machine. With adjustable tape speed, bias, flux, wow & flutter, and noise parameters, the Kramer Master Tape provides comprehensive control over the contours of your sound. And to top it off, we’ve added a flexible slap & feedback delay, ideal for rock, dance, dub, you name it. For recording, mixing, mastering, and more, bring the richness and warmth of real tape saturation to your DAW with the Kramer Master Tape plugin. It’s the reel deal.
Modeled tape saturation plugin. Based on a rare vintage 1/4" reel-to-reel machine. Adjustable tape speed, bias, flux, wow and flutter, slap / feedback delay. Developed in association with legendary producer / engineer Eddie Kramer. As used in London's famed Olympic Studios.