> Step by step

1. Cut­ting a vir­tual record in your DAW

Computer Music - - Make Music Now / Virtual Vinyl -

1 We can pre­view what a track might sound like when trans­ferred to vinyl by au­di­tion­ing the mix through suitable pro­cess­ing. After drop­ping our Tutorial Files into a fresh 128bpm project, we load Waves’ Abbey Road Vinyl plugin on our mas­ter out­put. This plugin em­u­lates the vinyl cut­ting and play­back process. First, we’ll need to process our mix so that it’s ready to ‘cut’… 2 Con­trol­ling the high fre­quen­cies of our mix will give a clearer sound, with no­tice­ably less play­back dis­tor­tion. We use TB Si­bi­lance CM’s Mix De-Harsh­ing pre­set on the track’s FX chan­nel to soften the high-mid fre­quen­cies of our sweeps. After that, we place TB Si­bi­lance CM on the Bass chan­nel, then select the Male Voice De-Es­s­ing pre­set. This smoothens the bass out. 3 Next, we use DMG Au­dio’s Essence to de-ess our vo­cal above 4kHz, set­ting Ra­tio to 1.5:1 to take sharp­ness from the sound with­out overly dulling the voice. Next, we load DMG’s EQui­lib­rium on the stereo out­put (be­fore Abbey Road Vinyl), then ap­ply a 100Hz El­lip­ti­cal high-pass fil­ter to the Side chan­nel. This re­moves out-of-phase sub-bass fre­quen­cies from the track’s stereo con­tent. 4 We can hear the dif­fer­ence in sound be­tween a lac­quer/dub­plate and pressed vinyl by tweak­ing Abbey Road Vinyl’s Gen­er­a­tion set­ting – we choose Print for an authen­tic vinyl tone. Cy­cling through the Turntable and Car­tridge modes au­di­tions our vir­tual vinyl us­ing au­dio­phile or DJ-grade equip­ment. As our track is a dance banger, we choose DJ set­tings for both. 5 Pulling back In­put gain to -1dB re­duces drive into the vir­tual cut­ting head, giv­ing us a cleaner sound. We clean the sound up even more by turn­ing the Noise and Crackle amounts down to -6dB to make Vinyl’s back­ground noise less ob­vi­ous. The Phase Dis­tor­tion con­trol mod­els tone-arm dis­tor­tion on play­back – we set this to -12dB in or­der to em­u­late a high-qual­ity turntable. 6 To finish things off, we can au­to­mate the tone arm’s po­si­tion in or­der to ac­cu­rately em­u­late the loss of qual­ity that hap­pens as a record plays from start to finish. Add a new au­to­ma­tion lane for the Tone Arm Po­si­tion to your mas­ter out­put, then draw in a line from 0 at the be­gin­ning of the track that goes up to 100 at the end.

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