Time to get reel! Softube’s Tape plug-in adds cohesion and weight to your mixes. But Tape goes far beyond your average tape machine emulation. It includes three distinctly different tape machine types, and it offers the ease of use and low CPU strain that today’s music creators rightfully expect. Even in this day and age, it’s common practice for computer based professional studios to run their mixes through at least one generation of analog tape. Because even when used subtly, analog tape has a smoothing effect and adds cohesion and weight to a mix—it takes the recording from a collection of individual tracks into a song where everything is connected and works together. With Softube’s Tape plug-in, you can have all that and more. Three Machines in One Tape includes three different tape machine types in one plug-in. Type A is based on a classic Swiss high end reel-to-reel machine, known and loved for its precision and linearity. Type B is much more colorful—it’s a transformer based machine which adds extra weight and cream to the low end. Lastly, Type C is based on a British tape machine with a distinct vintage vibe. Ease of Use Select your favorite tape machine Type, and adjust the Amount knob to taste. In most cases, that’s all you need to do to soak your tracks in analog tape sweetness. Time to get reel! Softube's Tape plug-in adds cohesion and weight to your mixes. But Tape goes far beyond your average tape machine emulation. Start a fire. Did you ever try to give a track attitude by adding distortion, but then wind up with a washed out, lifeless sound instead? Harmonics, with its. Perhaps the most common use of a tape saturation plugin is to place it on the master out track to truly emulate mixing down to tape. This would apply the saturation across the entire mix as a whole, providing that 'wall of pleasurable fuzziness' over the entire recording. Easier still, load up one of the included presets, made by award winning engineers such as Joe Chiccarelli (Beck, U2, Strokes) and Howard Willing (Smashing Pumpkins, Sheryl Crow, Kris Kristofferson). Feeling tweaky? Why not start by trying the different tape speed settings—you’ll find that the slower the tape speed, the more pronounced is the so-called tape head bump, which adds low end to the mix. Or open the Remote Control panel where you can control the selected tape machine’s speed stability, crosstalk amount and several other tape-a-liscious features. Dense Sound, Light on CPU Add a single instance of Tape on your master bus to emulate what most computer based studios do today—mix in the computer, then mix down to a stereo tape machine—or go vintage style by adding Tape to every single track in your mix. Yes, your computer will be able to handle it. As most Softube plug-ins, Tape is uniquely light on your computer’s processor. Extras for Studio One Users If you run Presonus Studio One, you can not only use Tape as a standard plug-in. Adding Tape to your MixFX slot gives you Tape Multitrack. Free adobe reader for windows 10. Where there are countless advantages to this software, on the other hand, it is quite troublesome to use for the preliminary users. Adobe releases more advanced versions of this software regularly with added features and security options for the convenience of the users. Moreover, users can fill-in forms via the protected mode in Adobe Reader itself. With the magnifying glass, editing tools and reading aloud feature, this program is considered as best among millions of users across the globe. They often encounter hassles to download Adobe Reader. Tape Multitrack includes all the goodies of Tape, but in addition, you get selectable crosstalk between each individual track—and you can easily control the Tape Multitrack settings from a single interface. The Tape and Tape Multitrack license is one and the same. This means that if you’re not a Studio One user but at some future point decide to switch to that DAW, you will already have Tape Multitrack installed, licensed and ready to go. 117 Shares Today, I give you one of my favorite tools and The Not So Secret Ingredient to a Great Mix: Saturation With all of the sales hype and marketing shoved in our faces on a daily basis, it can be difficult to determine what is and isn’t necessary to achieve a “great” mix. Don’t get me wrong, I enjoy gear. But recently, I decided to take the offered up by Graham Cochrane of. This was long overdue and I’m way more focused as a result of limiting my plugin options when mixing. I recommend you give it a try for yourself. Saturation is one of the tools I enjoy using the most so it was hard for me to only pick a few to keep in my arsenal of plugins. There’s just something exciting about showing some harmonic love to everything from the individual tracks all the way through to the. ![]() What is Saturation? In the world of plugins, saturation generally refers to “saturating” magnetic tape and tube-type distortion. By running an audio signal through various types of equipment that utilize analog valves “tubes” or tape we can achieve ear pleasing side effects (especially when pushed harder for a more dramatic effect). How does Saturation Help Me in the Mixing Process? And my personal favorite: Mmmph! Hi, I’m David Glenn and I’m a professional mix engineer from Orlando, FL currently residing in Colorado Springs, CO. It’s been over 20 years since I made the transition from musician to engineer/producer and then onto professional mixing engineer. I’m passionate about helping you reach your goals in mixing and I’ve built David Glenn Recording and The Mix Academy to do just that. My mixes have been heard over 500 million times across multiple genres. I’ve been fortunate to work with some incredibly talented artists, including: Redimi2, Pablo Villatoro, Blanca Callahan (Group 1 Crew), LaRue Howard, Jeremy Rosado, Aimee Allen and many more. I’m excited to help you advance in your musical endeavors. I’ve always loved teaching and I am confident that I can help you excel with the concepts and strategies that I cover in the articles and tutorials. I whole heartily agree with you on: FabFilter Saturn Sound Toys Decapitator UAD Studer A800 Tape Recorder (and the Ampex ATR-102) iZotope Alloy 2 I guess I should check out TDR VOS Slick EQ (Gentlemen’s Edition) then! ? Other saturation effects I also really like and use frequently are Vintage Warmer, Vertigo Sound VSM-3 Mix Satellite, bx_saturator V2 and bx_limiter from Brainworx / Plugin Alliance, MDynamicLimiter from MeldaProduction, Tape Head from Massey, Twin Tube from SPL all the subtle analog emulation goodies from UAD and Slate am I forgetting something? ? Do I have a problem? Thanks as always for this great info David! I’m increasingly using tasteful, limited amounts of saturation in my mixing, and loving it. I learned a lot of this from you, thanks to your tutorials (e.g. In the Mixing Vocals course, which I just completed, and which is excellent). So, much credit to you for the insight! I, too, have taken up Graham’s plugin detox challenge, and what I’m left with that I like in this category are: Softube Saturation Knob (so simple but brilliant), the Manny M distortion from Waves (very good vibe), CamelCrusher (a great little unit, though more aggressive), and the multiband beast that is Saturn. I also want to note that I am in love with the variety of saturation types in Ozone 6, and their quality! Thanks for all you do to help us improve our music David, I know I speak for many others when I say I’m truly grateful to you! Softube Tape Saturation VsSaturation-based effects have always been Softube’s bread and butter, so it was only a matter of time before it brought us a tape emulation. 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. Deck hand 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. 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). Softube Tape Saturation TapeLike 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. Clicking the Remote Control bar down Tape’s right hand edge slides open a panel containing an additional set of parameters. 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. 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. Finally, 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. 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.
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