Tape It Vst Plugin
CHOW Tape Model is a free, flexible tape machine emulation effect plugin for PC & Mac including Catalina support (VST/VST3(AU/L2/standalone).
It’s time for a new free plugin for PC & Mac. CHOW Tape Model, a new free, open-source tape machine emulation effect plugin for PC & Mac (VST/VST3/AU/L2 & standalone) developed by Jatin Chowdhury. Although the plugin was initially intended to model the Sony TC-260 tape machine, the algorithm was later changed to be a more flexible, versatile simulation of a wider variety of analog reel-to-reel machines.
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CHOW Tape Model is based on a physical model of an analog tape machine that was created as a class project for Music 420 at Stanford University. So the plugin is not a commercial product but part of a research project. Also good to know is that the user interface is based on JUCE graphics and is freely resizable what is a handy feature.
Overview
CHOW Tape Model sounds super authentic in the first run and offers a good amount of parameters for tweaking the tape simulation algorithm. It emulates all the essential sonic components of an analog tape machine: saturation, non-linearity features that can enhance the sound as well as the lovely lo-fi aspect of analog tape. The user can also go deeper into the engine by tweaking the bias, drive, saturation (hysteresis section) but also the depth and rate of the wow and flutter that is applied to the input signal.
The plugin can be used to add the classic sound of an old tape recorder to your tracks but also as an analog-style double-tracking effect thanks to its wow and flutter simulation.
Tape It Vst Plugin Plugins
CHOW Tape Model is available as a free download as a standalone effect, as well as a VST, VST3, and AU plugin for Windows and macOS. A macOS Catalina version is also available, along with an LV2 port.
More information here: CHOW DSP
Article Content
Modern engineers are spoiled. We have keyboard shortcuts for making edits, crossfading and even quantizing. But back when engineers still routinely recorded to tape, they needed a pair of scissors and special tape to make cuts.
While most engineers don’t miss the hassles that come with using a tape machine, we all miss the sound. Tape machines impart a unique combination of equalization, compression and saturation to audio signals. The exact effect a tape machine has on a track depends on a number of settings.
Tape Machine Type
Before DAWs were popular, tape machines were the primary method for recording audio. Typically, studios would use multichannel tape machines for recording and then bounce the final mix to a 2-track master tape. Each of these machines effected the sound in different ways.
Generally speaking, fewer tracks requires a smaller tape size to maintain fidelity. So, 2-track mastering decks typically used 1/4”, 1/2” or even 1” tape. However, 8-track, 16-track and 24-track recorders typically used larger 1” or 2” tape. Each tape size has its own unique sonic characteristics.
Tape Speed
The speed of the tape also affects the sound. All tape machines offer a “head bump“, or frequency boost in the low end. Which frequency, and how much boost depends on how fast the tape is spinning. Tape speed is measured in inches per second, or IPS.
Generally, faster speeds offer higher fidelity, less noise and more high-end. Slow speeds tend to roll off the high-end and boost the lows and low-mids. Slower speeds also add more saturation but tend to be noisier. Common speeds include:
- 30ips: Typically considered more “hi-fi”. Low midrange boost around 200Hz. Slightly extended high-end.
- 15ips: Low-midrange boost around 100Hz. Slight midrange boost for more “bite.” More saturation and “attitude”, but more noise. Favorite for rock.
- 7.5ips: Typically considered more “lo-fi”. Significant high-end roll off and boosted low-end.
Tape Types
Of course, the tape machines themselves aren’t the only variable in this equation. The type of tape you use has an impact on the sound as well. Each tape type has “different frequency response, compression, and distortion characteristics.”
Tape types are defined by the amount of input they can handle before distorting. Early tape types offer more color and thicker low-end response in exchange for more noise and distortion. “Modern” tape types tend to sound punchier, have extended headroom and less noise/saturation.
Although each of these tapes has a suggested “calibration level,” most tape machine plugins let you adjust them. Calibration levels determine how loud the incoming audio signal can get before distorting.
Generally, the lower the calibration level, the higher the signal level needs to be to cause saturation. Here are the most common tape types, and their default calibration level.
- 250 (+3): Distorts early. Highest noise floor. Highs are noticeably rolled-off. Big low-end boost.
- 456 (+6): “Colorful.” Thick low-end.
- 900 (+9): Punchier. More definition.
- GP9 (+9): Minimal distortion. Least noise. Flattest frequency response. Minimal coloration.
Fine Tuning
The great part about tape machine plugins is that they offer many of the luxuries of analog recorders, with almost none of the drawbacks.
For instance, one of the worst parts about working with tape (aside from editing) was dealing with all of the noise. Many plugins simply offer a Hiss and Hum controls to reduce or remove the noise entirely.
As an added bonus, many plugins feature group controls. Which allow you to try a variety of settings across multiple channels. Instead of, you know, shutting down the session for an hour while you swap the heads and tapes on two machines. Don’t forget to recalibrate every channel when you’re done!
Here are the most common “fine tuning” controls seen on tape machine plugins.
- Over-Bias: Introduces an ultrasonic signal to help prevent artifacts. Some plugins offer Normal/Over-controls. Over-Biasing adds an extra 3dB of the ultrasonic signal, which many engineers prefer.
- Low/High Bias: Other plugins offer Low/High Bias controls, which causes the low-end to distort when set to Low, and the high-end to distort when set to High.
- Flux: Flux is another control that dictates when the signal will distort. Higher flux settings mean you can drive the input harder before causing distortion. Low flux settings mean distortion will occur earlier.
- Wow: Fluctuations in frequency below 4Hz caused by movement in the tape machine.
- Flutter: Fluctuations in frequency above 4Hz caused by movement in the tape machine.
Signal Flow
Most tape machine plugins allow you to monitor the signal at different parts of the signal path. They’re typically broken down into four options:
- Thru: Monitors the original signal. Bypasses the plugin entirely.
- Input: Monitors the signal after passing through the tape machine’s circuitry, before it reaches the tape. Great for analog vibes without the effects of tape.
- Sync: Monitors the signal after passing through the record (sync) head, but before reaching the playback head. Minimal tape effects.
- Repro: Monitors the signal after passing through the record and playback heads. Maximum tape effect and maximum vibes.
Tape Emulation Plugins
Over the years, many different companies have modeled a variety of different machines from all over the globe. They each have their own unique sounds and shine in certain situations. Here are the most popular tape machine emulations:
- Satin: U-He “Tape Construction Kit”
- Slate Digital: Virtual Tape Machine (Studer A827 2” 16-Track Multichannel Tape Machine, Studer A80 RC ½” 2-Track Mastering Tape Machine)
- Softube: Tape (Studer, ATR, EMI)
- UAD: Studer A800 Multichannel Tape Recorder, Ampex ATR-102 Mastering Tape Recorder
- Waves: J37 (EMI 4 Track 1” Multichannel Tape Machine), Kramer Master Tape (1/4” Tube-Powered Machine)
Tape – Softube
Modern engineers are spoiled. We have keyboard shortcuts for making edits, crossfading and even quantizing. But back when engineers still routinely recorded to tape, they needed a pair of scissors and special tape to make cuts. While most engineers don’t miss the hassles that come with using a tape
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Most of these plugins offer a range of options, so it’s easy to dial in the sound you’re looking for. Just be warned, once you hear the effect tape can have on your tracks, you might have a hard time going back!
Tape It Vst Plugin Installer
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