![]() ![]() In fact, studio tape systems and good quality vinyl and turntables can produce clear and bright reproductions. We're used to imagining that these recording mediums are noisy and dirty, but that's more to do with our recollections of grotty consumer cassette tapes and abused, overplayed vinyl. Don't overdo itÄon't go overboard with the vinyl or tape emulation. A short intro will ensure that all the trigger and reverb/delay tails carry over from previous drum/instrument sounds. Incorporate a couple of intro and outro bars either side of the sample section that you want to use. Any problems with the rest of the sounds will be less noticeable if the one defining characteristic of the replay is absolutely perfect. If there is one element of the sample that stands out as particularly distinctive, it may help to work on that first. The smaller details of your replay might be masked by other instrumentation in the final mix anyway. This is especially important in complicated arrangements or if you're pressed for time. Try to pin down the big wins first by dealing with the percussion, bass and melody lines. If you're having trouble matching levels, try using an RMS or VU meter plug-in. ![]() If you're flicking back and forth between your replay and the original sample to make comparisons, make sure that they're at the same volume, since louder always sounds subjectively 'better'. ![]()
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