Airwindows Tape. Just 'Tape'. Nothing else.

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https://www.youtube.com/watch?v=o5lny2TPwLY

TL;DW: Tape is simplified, all-purpose tape mojo: my personal jam.

Tape.zip(382k)

Once more, with feeling!

This one's for me. It's very similar to last week's ToTape, but with the following differences:

-simpler name
-overdrive uses Spiral, not the Mojo algorithm
-simpler controls (not exactly 'input gain' but close)
-changes to the Head Bump algorithm
-no flutter

This is what I WANTED to do with ToTape6, and didn't. In some ways, that's good: if I'd axed flutter I would not have spent all day struggling with it and coming up with a better algorithm that more closely resembles real physical tape, something that could come in handy for future echo plugins etc. If I'd done the things I've done with Tape, to ToTape6, then ToTape6 wouldn't be as adjustable as it is. There's room for both, and I gave people the complicated many-knobs version because I know you too well ;) and I know what people like, and I'm there for you.

But I also have dreams of my own. So, the plugin (first ever from Airwindows) that carries just the generic name 'Tape' is Airwindows tape emulation MY way.

I've heard a lot of tape in my time, being over 50 years old. I've dubbed and re-dubbed tapes a lot. So I dialed in (and re-programmed) Tape by loading up eight instances of it, in a row, and making it behave itself as well as could be expected while running audio through eight instances of Tape. It's not meant to be clean if you do that: it's meant to be eightfold trash, but the right kind of trash I'm familiar with when you've got that much generation loss and head bump buildup. I knew that if I could get that right, if I could get it to behave okay under that kind of duress, I could rely on it as a go-to output stage (going just before Monitoring) that would condition the sound in the right kind of way.

And so it does.

Tape will be heard from again, but much as ToTape5 bore the standard for Airwindows tape emulation for years, Tape is my personal choice for 'mix into' DAW output stage and it'll stand for a while, I think. If you need more phat or more flutter or more controls etc etc, use ToTape6, which is just as good in many ways. This is just my 'director's cut' version, designed to my tastes, for if you trust my ears and my choices. Since it's Airwindows, ToTape6 (and 5) still works and you can have both. This one is for those of you who pursue the simple creed: I have a (virtual) tape machine. I record to my tape machine. I am happy. :)

I have a Patreon. People support this work, so I'm happy too. If you already threw an extra $50 a year at the Patreon over ToTape6, don't feel you have to add more: my treat. On the other hand, if I made Airwindows Tape even more like tape for you (as in, how often do you sit around tweaking the record bias, really?) and the previous one didn't quite clear the bar, maybe give it a thought?

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Bravo Chris! Another winner, and I like the sound of the director's cut.

Keep up the good work, but don't forget to give your brain an occasional rest :wink:

Martin

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Yeah, there will be weeks when I just do an 'Evergreens' for patrons only or something like that. After getting too burnt out at the end of 2019, from now on I'm embracing interleaving, not just in my DSP algorithms. So if I have extra other stuff I do, I can take a week to present that, not having to do all the things at the same time :D

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Thanks this sound really good. I wonder what are the differences between all your Tape plugins. Chris, you may can elaborate on this? Also a plugin which 'mix' melt and the flutter of ToTape6 would be fantastic.
rabbit in a hole

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Chris from Airwindows, the 'unspoken' King of #ITB Tape - emulations. This could become pretty useful, so many thanks again for your brilliant Work!
The art of knowing is knowing what to ignore.

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tape 32 bug report: hearable whistling noise at 11 kHz when slam is set below 0 db /strongest at slam -12db/

test audio - drum loop /acoustic/

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kvaca wrote: Tue Jan 28, 2020 10:29 pm tape 32 bug report: hearable whistling noise at 11 kHz when slam is set below 0 db /strongest at slam -12db/

test audio - drum loop /acoustic/
So that's why PluginDoctor shows a very narrow bell in there? I thought it was a bug of the program.
Also, when Slam is over 0dB, that peak becomes a cut, equally narrow.

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heavymetalmixer wrote: Wed Jan 29, 2020 12:42 am
kvaca wrote: Tue Jan 28, 2020 10:29 pm tape 32 bug report: hearable whistling noise at 11 kHz when slam is set below 0 db /strongest at slam -12db/

test audio - drum loop /acoustic/
So that's why PluginDoctor shows a very narrow bell in there? I thought it was a bug of the program.
Also, when Slam is over 0dB, that peak becomes a cut, equally narrow.
correct = in its current state this plugin is completely unusable when slam is set below 0 db, at least for me /and probably for everybody who can hear up to 11 kHz/ :shrug:

needed to say when slam set above 0 db it souds very good /as far as tape emu/ :)
edit - strange thing is to see people at gs whinning about missing output or head bump fader and completely ignoring that artifact I have mentioned above :o
Last edited by kvaca on Wed Jan 29, 2020 2:48 pm, edited 1 time in total.

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bug report Nr2.: be aware - plugin processes sound differently depending on sample rate used! and its not only about bigger head bump with higher sr, sound is completely different...
and now this is bummer, because tape suffer from aliasing a lot and using higher SR to avoid it is very problematic /if not impossible/...

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heavymetalmixer wrote: Wed Jan 29, 2020 12:42 am
kvaca wrote: Tue Jan 28, 2020 10:29 pm tape 32 bug report: hearable whistling noise at 11 kHz when slam is set below 0 db /strongest at slam -12db/

test audio - drum loop /acoustic/
So that's why PluginDoctor shows a very narrow bell in there? I thought it was a bug of the program.
Also, when Slam is over 0dB, that peak becomes a cut, equally narrow.
Btw, this same problem happens in ToTape 6.

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That's the interleaved filter that goes into the Soften control. If necessary, I can kill the ability to set either one's input/slam below 0dB. It seemed like it could be worth allowing subtle adjustments of that nature, but if people are just going to expect it to work at its most extreme cut, allowing it was a bad idea.
I do like to allow for 'wrong' settings, but in this case it's not a win.
The 'cut' behavior is less troublesome as it's incredibly narrow without requiring anything to be a high Q/resonance. Again, this is an interleaved filter. Compare to BiquadOneHalf. All of these have some real quirky behavior, which is why I'm the only person to my knowledge using them. I just prefer to process samples in pairs because a sample by itself is meaningless…

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Actually, I could run simultaneous gain trim positions where negative settings ONLY pad the input: the positive ones have to be inside the internal UnBox routines to work, but the negative ones clearly can't be. Maybe this Sunday can see updates to this behavior (and perhaps giving the DC servo behavior of Tape, to ToTape6, as there was an improvement)

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Hmmm... But then these features wouldnt work anymore, I presume:
And I could have restricted the adjustability to very tiny increments to go along with the 'tune it subtly' idea, but I gotta let you have SOME fun with the thing

I think there can be some uses for the extreme settings even though it's not normal. For instance, suppose you have some kind of hi-hat, and you intend it to be quiet but it feels too aggressive still. You could throw a Tape on just the hat (I did design it so it could be put on channels and buss alike) and back Slam way down. In doing that, you'll get the Soften behavior but little or no overdrive, and you'll get the fringes of the UnBox processing, the 'dry' part that doesn't see distortion. That would translate as partly Soften, and partly just an aura of super-high brightness around the hats that you're going to bury in the mix. It could work, plus you don't have to worry about tape noise (if you want it, throw the TapeDither onto that track to force an incredibly faint tapey noise floor and call it a day)

And then, if you're doing something the opposite like a huge heavy metal guitar, you could do the opposite. Throw Tape on that channel, and increase Slam, not to make it all distorty but to make it bigger and more upfront. 'Slipperman' has talked about the uses of real tape in tracking heavy guitars and soaking up some of the overtones: 'don't go crazy with it but it can be some of the cleanest compression you'll ever hear'. It's like that with Tape if you subtly boost the 'Slam': it's resisting aliasing, boosting most of the audio range but centered in mids, and you have the head bump helping out the weight of the thing. In that case 'Slam' will be slightly boosted, not slightly cut (or maybe you have layered guitars and it sounds good if some of them are anti-slam? Like, more textural added layered guitars?)

The idea is, it's a parameter that is NOT exactly just 'input gain' but can be learned and understood, and people used to working with tape will recognize the way in which it sort of focusses and intensifies. It's all about gain staging. It's a different kind of gain staging you wouldn't otherwise have.
https://www.gearslutz.com/board/new-pro ... -else.html

I am actually quite used to the functionality that some Airwindows - parameters are more 'experimental' and just for a specific purpose & also in finding the 'sweetspot' how they work best for me. Yet, if too many people complain about the current behavior; I just saved an extra copy of the 'first' - version, because I find it pretty useful as it is now, too. :phones:
The art of knowing is knowing what to ignore.

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Yeah, I suspect my talk about air-ifying hi hats and such is not going to carry the day. You should keep a copy of the original version if you'd like a 'secret weapon' that gets an interesting but broken sound: it's not going to be generally useful enough compared to the negative effects for people who are only trying to pad their input signal :)

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Makes good sense & me just renamed the original Tape into TapeOG.
The art of knowing is knowing what to ignore.

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