The slew rate limiter defaults to something along the lines of a typical opamp running unity gain with your converters, and is extremely subtle at realistic settings. Then you can vary how hard you hit it to get more or less crunch. Then I know that if my mix is hitting 0dbfs, it's just barely clipping the mix bus, but it anything that goes into it will come out at least a bit below 0dbfs.
![tb reelbus tape emulator mac tb reelbus tape emulator mac](https://static.bhphoto.com/images/images500x500/McDSP_M_PI_AC_Analog_Channel_Plug_In_1232657056_234527.jpg)
I usually set them both really close to max, but not quite the same, and then set the input and output so that 0dbfs is just a little more than 18V. With both drops at max, it gives a +/-9V (=18V peak to peak) "rail". With the diode clipper, I think of it like the opamp at the mix bus. I just move the sliders till it sounds good! ) Would you mind to post some presets? I know they can sound really good, but usually the controls are too fiddly / the range too big for a quick setting. Once you've got a couple decent, flexible, saturation options, then you stick ReaEQ before and/or after, and you can pretty much emulate anything you want. I don't know of anything else out there for variable slew-rate limiting. At its best, it's really subtle, at extremes it gets really dark and distorted. It can knock off the pointies and clicks in a really natural way and make things sound a bit more "analog" without really coloring things too much. Not trying to toot my own horn, but my slew rate limiter JS is pretty cool, too. The controls are a bit weird, but once you sort out how it works it's pretty flexible, and is the easiest way I know to get variably assymetrical clipping. I use my own "diode clipper" JS (under my username in the stash) quite a lot as a sort of mix bus emulation. Then play with the other controls - the sidechain filters can have a real impact on the character of the saturation, and ratios less than max will soften it up even more.
![tb reelbus tape emulator mac tb reelbus tape emulator mac](https://i.ytimg.com/vi/1rWUd6XIFec/maxresdefault.jpg)
Threshold sets the clipping "limit" and Knee controls the curve from very hard to super soft. Start with all time constants (pre-comp, attack, release, rms) at 0 and ratio at infinity. ReaComp is a super flexible distortion machine. There couldn't be a clearer case of digital aliasing, but it's possible I'm operating Satin or Reaper wrong somehow. Keeping the sine at 11,025, if I change the sample rate to 48,000, the response changes: No analog machine would respond so differently depending on whether I sent it 10,000 or 11,025. When I run it at 44,100 kHz and send it a 10,000 Hz sine wave, the harmonic at 30,000 gets reflected off the Nyquist-frequency back down to 14,100:Īs I move the source sine upwards in frequency, the reflected sine moves downwards, and they cross at 11,025: Internal sample rate: 352-384kHz (depends on project sample rate, 8 x oversampling 44.1kHz)īut I'm certainly getting aliasing.
#TB REELBUS TAPE EMULATOR MAC MANUAL#
The manual agrees with you about the internal sample rate:
![tb reelbus tape emulator mac tb reelbus tape emulator mac](https://sampletorrent.net/wp-content/uploads/2020/11/pB6VMeY464964654654984616494651651964-735x321-2.jpg)
I can't listen/test your files atm, but iirc, Satin internally uses a 384kHz sample rate, so my guess would be that what you're hearing/seeing are simply the artefacts of tape being emulated rather than a technical problem.