TEAC TA-1VP TA-1VP owners manual - Page 36

7 - Appendix ªª Drum Presets 18 DrumAlert 19 TiteSnare 20 KickEnhance 21 LoFoDrLoop Adds weight and snap to drum kit, adjust model mic proximity to work kick sound, and Low Pass EQ to control high end. Adjust compressor threshold, EQ 1&2 gain to taste. Will give even a well-recorded kick drum some spectral enhancement. Use input level to increase or decrease the overall effect. A patch designed to properly trash a mono beat (or one side of a drum loop). ªª Bass Presets 22 FatBass 23 FunkBassBeef 24 PopBass Adjust EQ 1 frequency for your specific mix. Adds power bass and slap sizzle to funky bass parts - adjust model mic proximity for low end response. Adjust compressor threshold, EQ 1 frequency, and EQ 2 gain. ªª Instrument Presets 25 ElecGtrWarm 26 TheSaxCuts 27 MonosynthDbl 28 PianoCuts 29 BrightAcGtr Adjust Tube Warmth, EQ 1&2 gain. Adds grit, tone and presence to saxes. Adjust model mic proximity for low end thump. Enhance and spread out that mono synth track. You can also use this one on guitars. Pan outputs R/ L. Allows piano to peak through a mix. Adjust modeled mic proximity for bass response. Adjust compressor threshold, EQ 1 frequency, and EQ 2 gain. ªª Special Effect Presets 30 Destructo 31 Telephone Adjust compressor threshold for desired effect. For that special phone moment - less is more! Depending on your source level you may need to boost Output gain. 36 TASCAM TA-1VP ªª Utility Presets 32 LiveVoxFix 33 GateThatKick 34 SnareGate 35 TomGate Preset built around a live vocal track recorded at Caesar's Palace in Vegas in the '60s. Mostly designed as damage control. Pumps and isolates the kick drum from the rest of the kit (and live) sound. Adjust the gate threshold to your track. Adjust the gate threshold and Notch EQ frequency to your track. Adjust the gate and compressor thresholds to dynamics. Realistic Mic Modeling Expectations Although the TA-1VP's Microphone Modeling seems in many ways to be almost magic, it is, in fact, simply very clever science. And as such, it has some limitations that you must be aware of. To get the maximum satisfaction out of Mic Modeling, it is important to have realistic expectations of exactly what it can and can't do. (Most of what it can't do relates to the physical impossibility of recovering information that wasn't in the original signal to begin with.) Here are the main issues to be aware of: •• Choice of Input Microphone Luckily for all of us, the general quality of "affordable" microphones has reached a remarkably high level. Consequently, if you stick with well-known manufacturers, most any reasonable quality mic will provide sufficient performance to allow the TA-1VP to do its processing with good results. On the other hand, you can't expect to pick up a cheap mic and expect the TA-1VP to make it sound like a classic Neumann U87. If a source mic has massive rolloff in a particular frequency range, there is no way the TA-1VP can produce the signal that would have been captured had the source mic had better response. •• Microphone Technique In getting the best possible recorded sound, mic technique and placement are at least as important (if not more so) that mic choice. A good engineer can record a great track with an SM57 while a poor one can make a U47 sound like a toy. If your audio is not well-recorded in the first place, the TA‑1VP can to do very little to improve it. If you start with a poorly recorded track, all the TA-1VP will do is make it sound like a track that was poorly recorded with a great mic. •• Excessive Frequency Boost Although the TA-1VP's processing does not itself add noise to your signal, any noise in your original audio or noise added by intervening processes (e.g., A/D conversion, pre-TA‑1VP dynamics processing, etc.) will be accentuated by any large amount of frequency boost. This should only