Re: T.O. Query RE: Strymon Deco
Wow, this is actually a pretty large question! I will try to keep it to under 1,000 words.
SKIP TO THE TL;DR if you just want the log line.
The first thing that needs to be addressed is how you are planning on using the DECO, because while it is super-versatile, it is still better at some things than others.
IF YOU ARE LOOKING AT ADT, there are a couple of other options: the much-touted Keeley 30ms on the hardware side, and Waves ADT on the plugin side. The main question becomes whether you are going to be recording dry and adding the effect after, or if you are going to track with the effect.
I cannot speak for the 30ms, I haven't had the chance to try it yet. The Waves ADT is really good, and I will get into its uses a little later.
The second question is, are you looking for tape saturation only? The DECO covers five effects: tape saturation, tape delay/ADT, chorus, flange, and boost/overdrive. I will address everything but tape saturation here.
TAPE DELAY/ADT: EXCELLENT. Sounds nothing like a tape echo unit: this is not dark and crunchy, it is clear and transparent. I wouldn't use this for rockabily slap, but for an Echoplex emulation? Possibly the best out there.
CHORUS/FLANGE. EXCELLENT. Hands down, my favourite chorus and flange in my arsenal.
OVERDRIVE/BOOST. EXCELLENT. When pushed, the DECO is a fantastic drive and boost. This is the opposite of the tape delay/echo; the drive is warm, fat, and juicy. I am not an overdrive person at all, but if you like drive tones like the closing solo to Kate Bush's
Wuthering Heights, this will give you a dead-nuts replica of that tone. Personally, I love it.
I read in another thread that you're using this stomp to emulate tape saturation (a la the good ol' days)... what do you think of the pedal and how effective is it? Also, if you've used it for the effect, how well does it double-track?
With all of the other effects out of the way, I can now address the tape saturation application.
The DECO has two functions when it comes to tape saturation. The first is as an instrument-level pedal and the second is as a line-level outboard processor. I have used it both ways.
Conventional engineering wisdom says that when you are recording with tape emulation, it is better to track with the effect than to add it afterwards. There are a lot of reasons for this, and you can research this and come to your own conclusions, but based off of my experience -- I TOTALLY AGREE. Tracking with tape emulation gives you a much more authentic end result than adding it after. I think it has something to do with layering the subtle variations of the 'tape' reaction to each track. I also am a firm believer that the cabling itself adds variations to each track that, even if not heard, are still there, and no plugin can replicate that randomness yet.
So, now we come down to it.
As an instrument-level effect, the DECO is
sans pareil in my opinion. The tape saturation effect is immediate and utterly convincing. The ADT will leave a huge grin on your face as you experience it in real time. Yes, it is THAT good.
As a line-level processor ... this, in my opinion, is where strymon dropped the ball to a certain extent. As an outboard processor, the maximum signal level you can run into it is -18dBu. From a digital recording perspective, even at -14dBFS (0dBu), you will still be at least 20dB too hot for the DECO to handle. And here is where the DECO behaves like the digital device that it really is -- when fed an overly hot signal, the DECO clips -- hard. And you know what digital clipping sounds like.
To compensate, you have to run an INCREDIBLY LOW line level signal through the DECO and then CRANK it after it passes through the unit, which of course, is bad because you have to add so much gain, there is no way you cannot catch some of the noise floor along with it.
The gain staging with the DECO became so problematic on my last mix session that in the end I had to scuttle that idea entirely.
IN MY OPINION -- strymon really missed the boat on that aspect. That one simple tweak would take this pedal from excellent to stellar. Of course, if you are tracking straight with the tape emulation in place, this will never be a problem, even if using synths, so it may be an entire non-issue for you if you are not mixing with outboard or using analogue summing (both of which I routinely use).
I've got tape "satch" plugins including Kramer Master Tape but I'm always looking out for possible outboard gear that does the job too.
Cheers.
Okay, down to the final word. I have the KMT also, and use it on pretty much every mix, regardless of whether I have the DECO on there already or not.
The DECO, as amazing as it is, still only simulates a SPECIFIC type of tape machine instance: tape type, speed, noise reduction, head azimuth. KMT allows you much greater flexibility if you are one to experiment with such things, and not just calling up presets.
If I were recording, and had to choose, I would rather track with the DECO on every track. In fact, this is de riguer for me anyway. But, if you already own KMT, now the REAL fun begins, because you can set up an entire vintage-spec mixing chain.
My VMB is usually set up with the following chain:
Either the Helios or EMI REDD, Kramer Pi or api 2500 (usually barely doing 1dB of compression, just using it for colouration), Kramer Master Tape, and the Waves NLS. Combined with the DECO tracks, the end result is as close to authentic as you can get -- provided the -50dBFS noise floor doesn't scare you!
. A lot of people are in love with the IDEA of vintage sounds until they encounter the noise floor and then quickly change their tune.
And that is pretty much all I have to say on the matter.
TL;DR -- Definitley get the DECO, use it on every track, AND use Kramer Master Tape when mixing. That is instant access into the world of tape without the 10 year education into biasing, noise floor, tape speed, noise reduction, and tape splicing.
