GS-201 Tape Echo v1.2.0 VST WiN

R2R KGN | 15/10/2008 | 5 MB

Tape echo effects were invented towards the end of the fifties. Presumably the very first tape echo machine was invented by Charlie Watkins of London, England, in 1958. It was based on a small loop of 1/4 tape onto hich audio was recorded by a magnetic head and then read by three separated heads. What was read from the tape was amplified by the internal all-valve circuit and eventually recorded back to the tape, creating the eedback or sustaining echo effect. The delay time of the unit was determined by distance of the write head from the read heads, in conjunction with the sd of the tape.

Tape to Dub Plate Vol.6 Brush Bap WAV

FANTASTiC | May 22 2016 | 158 MB

Volume six contains 204 original drum breaks created using brushes. The tempos range from 85 to 100 bpm, and were specifically selected to represent the boom bap genre. Each break is provided as a pre-vinyl master and a vinyl-pressed version. Recorded directly onto analogue tape using three microphones, a close mic on the kick drum, a close mic on the snare and an overhead mic. Mixed using analogue compressors and eq’s before being sent to a Neumann cutting lathe.

Tape KONTAKT

FANTASTiC | 09 April 2016 | 340 MB

Explore sonic degradation and recombination with Tape, a collection of hundreds of individually handcrafted and uniquely-styled percussive strikes, stingers, multisamples and effects that will burn right through your mix. Tape’s unique sound comes from acoustic recordings he captured through destroyed cassette and microcassette tapes, then carefully twisted and mangled into a distinctive collection of easy “out-of-the-box” content for all of your electronic and hybrid percussion needs. Tape is perfect for minimalist, EDM, IDM, dubstep, chillwave, glitch, post rock, soundtrack, downtempo, dub and ambient music. It’s also fantastic for sci-fi sound design and creating user interface SFX for games and apps.

MicroTron: Tape 3 For LiVE KONTAKT LOGiC

Team AudioP2P | 04-30-2010 | 121.05 MB+216.42 MB+279.70 MB

Tape 3 of the Microtron series brings another unique set of classic Mellotron patches to your sampler! It includes Clarinet, French Horn & Glenn Miller sounds.

Reel Tape Suite 8.0.3 TDM AS RTAS MAC

P2P | Feb 10, 2011 | 36.3 MB

Avid brings the unmistakable warmth and punch of analog tape into the digital domain with Reel Tape Suite™. This powerful collection of three plug-ins — Reel Tape™ Saturation, Reel Tape™ Delay, and Reel Tape™ Flanger — is designed to beef up your mixes and add that elusive magnetic vibe to your live sound, without the hassle of actually owning and operating a reel-to-reel tape machine.

Tape Drum Machines Vol.1 WAV

Team DYNAMiCS | June 2010 | 117.06 MB

10 Drum Machines & 4 Tape Machines. 1481 x 24 Bit drum samples Many hours recording classic and new drum machines onto tape has finally found the light of day… The first volume contains: Linn LM-1, MBase01, Roland TR-505, Boss DR110, Sequential Tom, 4 In The Floor, Yamaha MR-10, MRX-185, Emu Drumulator and MPC The Kit. The Tape machines used: Ampex valve 1/2 inch 2 track, Otari MX5050 1/4 inch 2 track, Teac A-350 Cassette Deck and the Hitachi 3 head Cassette deck. Plus a bonus set of Rom based TR-808 sounds also recorded on tape.

UAD ATR-102 Mastering Tape Recorder Explained TUTORiAL

SYNTHiC4TE | May 29 2015 | 488 MB

LET THE GOOD TIMES ROLL

Tape is back! In “UAD Ampex ATR-102 Explained,” studio guru Brock Jon gets inside the UAD plug-in recreation of the Ampex ATR-102 Mastering Tape Recorder and shows you how to get that highly desirable “tape sound” on your tracks! Beginning with an introduction to the Ampex ATR-102 tape machine and its place in music history, Brock familiarizes you with the Primary Controls of the plug-in. From there, he explains the secondary controls that let you go deeper under the hood and really customize the tape simulation to your needs. Next, for those who really like to get advanced, Brock covers manually calibrating the ATR-102 simulation for the most exact settings available. Continuing on, Brock shows you how to apply the ATR-102 to the song “Waiting Out My Time in Richmond” by Dave Keats. Brock then shows you how to apply the ATR-102 to the Drum tracks and open up and fill out the sound. Then you’ll see the ATR-102 applied to the Bass Guitar, enhancing the low end.