Having worked the aforementioned Satin deeply into our retro production workflow some time ago, Tape had its work cut out impressing us, but we fell in love with it pretty much instantly. The VU meters respond smoothly and accurately to changes in Amount and Input gain, showing you exactly how hot you’re running your virtual tape, and can be flipped to THD (Total Harmonic Distortion) mode to visualise the weight of saturation being brought to bear. As the speed decreases, the top end response rolls off, the distortion increases and the signal progressively deteriorates, from bright and smooth at 30ips to dark, lo-fi and fabulously crunchy at 17⁄8ips. The Tape Speed knob steps between five settings, starting at the studio standard 30 inches per second, halving down through 15ips and 71⁄2ips, then dropping all the way to 33⁄4ips and the snail-like 17⁄8ips. High Frequency Trim boosts or attenuates treble response, rather like a shelving filter while Crosstalk bleeds the left and right channels into each other, profoundly boosting central punch and weight at high settings.įinally, activating Noise adds in emulated tape noise that increases in loudness and low- end emphasis as the Tape Speed is reduced, but is effectively imperceptible at high speeds and the Run and Stop buttons trigger very cool tape start and stop effects, the lengths of which are, annoyingly, entirely dependent on the Tape Speed setting. Speed Stability simulates wow and flutter, dialling in wholly convincing pitch and volume wobbling, and opening Tape up to flanging and chorus effects when used in conjunction with the Dry/Wet mix knob above. Like the machines they mimic, each model has its own distinct sound: Type A is the flattest and most versatile in terms of frequency response, while Type B delivers a fairly hefty boost to the lows and highs, and Type C tilts a touch towards the top end.Ĭlicking the Remote Control bar down Tape’s right hand edge slides open a panel containing an additional set of parameters.

Switching between them is done with the Type button, and the Amount knob increases the depth of processing - ie, tape saturation - with separate input overdrive available in the Remote Control panel (see below).

The three vintage decks in question aren’t specifically named, but A is described as “Swiss” and popular in the 60s, and therefore can only really be a Studer B is “transformer- based” and thus, we reckon, probably the Ampex ATR102 and C is “British” - an EMI, we suppose. Tape (VST/AU) is about as simple as this kind of thing gets, sacrificing the configuration depth of, say, u-he Satin, for a simple interface that boils the architectural minutiae of its three modelled tape machines (each complete with unspecified tape) down to a streamlined set of controls that no one’s going to have any trouble getting to grips with.

Studio one and softube tape