Ferric TDS Issue

davecg321

New member
I love this plugin as it subtly adds some warmth to tracks.... But

In the manual it states that the best performance is obtained if the audio input is -0dbfs and that in bypass mode the needle should just be hitting the red on the VU meter. Now I've been taught (like most people) not to have tracks peaking anywhere near -0dbfs more lie -12.

Anyway, so I increase the input on the plugin itself until the needle is just hitting red on the VU, I then dial in my dynamics and saturation but obviously need to now attenuate the signal by using the trim knob (in order to get back to my original volume) The problem I have is that the needle then moves back and isn't peaking on the red anymore (optimal level)

am i missing something here? to me it's as if this plugin can't sound its best unless the signal is really hot...

:rolleyes:
 
From the manual:

"Summary: Always assure equal RMS output levels and then use your ears."

Seems like you might be able to use this thing in 3 different areas,

1 - on individual channels
2 - on the 2 buss as "glue"
3 - as a "mastering" plug / maximizer / louderizer

The plug gives quite a bit of control over how much compression, saturation and limiting (if any) you get. Since there is no threshold control, you need to drive the signal into range but still have control over output level with the trim control to suit whatever you want. It's how the internal gain staging of this thing was designed. The manual states this as a hint on how the thing works, not an order.

Personally I'm not sure that subtle saturation is something I'd want on individual channels, and there are a number of other leveling amp or broadcast limiter type plugs to do "loud" available for comparison. This is another option if you like the sound.

Subtle saturation is something that can be a big help to "glue the mix" at the 2 buss. When used as described in the manual, the saturation effect is described as "not subtle". It's adjustable. The input control is key. The output isn't relevant. You meter the input level in bypass and adjust the trim for equal RMS levels to get a fair comparison. If it sounds how you want, the meter doesn't matter. If the "input" signal (as seen on the meter in "bypass") is too low, you'll be under the threshold and nothing will happen.

Ears before eyes.
 
By the way, TRACKING levels shouldn't be near zero, so that the converters are not clipped. Inside the box, the levels really don't matter much. That is, until the audio is sent back through the converters again.

However, it does seem pretty stupid to design a plugin with that sort of gain staging.
 
However, it does seem pretty stupid to design a plugin with that sort of gain staging.

Yeah, but it's free. VoS makes some of the best sounding free plugins I've heard. Seems to me like the OP thinks the input and output metering on the plugin have to match each other, when really they don't.
 
I've never tried using this plugin. I assume it would be used after final limiter and compressor, which would have my master mix at -0.1?
 
Could someone kindly explain how I would set this up on say a guitar or vocal track... I think I'm missing something

Please excuse my naivety haha
 
Well, you said the manual has a suggestion for best performance, and I wouldn't care about performance. I'd be interested in the effect. A lot of these simulations use the signal strength to vary the "main" effect, so that is what you focus on, and clean-up afterwards to get your track level in-line..
 
I've never tried using this plugin. I assume it would be used after final limiter and compressor, which would have my master mix at -0.1?

I don't think there are any rules that way. It's a "Tape Dynamics Simulator". That would probably expalin why they suggest bumping the red with the VU meter to set the input level. This was fashionable in certain circles at one time or another.

Essentially it's a compressor with a defeatable hard limiter and soft knee characteristics. It also has a "saturation" control that adds harmonic content. Really, you could use it anywhere you'd use a compressor and/or harmonic saturation device. To me, being able to dial in harmonics seems most useful at the 2-buss while mixing. Nothing wrong with experimenting, though. Whatever floats your boat.
 
Could someone kindly explain how I would set this up on say a guitar or vocal track... I think I'm missing something

Basically you play with all the controls and things until it does something interesting. Decide whether you like it or not. Condition, wait, rinse, repeat.

If you flip it in & out of bypass mode to compare to your tracks before processing, make sure you use the trim to set the before & after to the same volume. Our ears like to play tricks on us, and "louder is better" is one of the main ones.
 
I don't think there are any rules that way. It's a "Tape Dynamics Simulator". That would probably expalin why they suggest bumping the red with the VU meter to set the input level. This was fashionable in certain circles at one time or another.

Essentially it's a compressor with a defeatable hard limiter and soft knee characteristics. It also has a "saturation" control that adds harmonic content. Really, you could use it anywhere you'd use a compressor and/or harmonic saturation device. To me, being able to dial in harmonics seems most useful at the 2-buss while mixing. Nothing wrong with experimenting, though. Whatever floats your boat.

Ya, I do use it on some tracks, but I still like to look at it as 2-buss glue. I haven't tried any new versions of this plug for many years, so I have no idea what it like today. I think my last plugs were the essential package from Tonebenders. A lot of my open reel record label album tapes are dancing around +3 when playing and the VU is more like a average. I don't know if any VST tape plugs have a high speed duplication on cheap ampex tape setting ! hahah
 
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