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Not only can they also use Tape as a standard plug-in, but it is also available as a MixFX plug-in called Tape Multitrack, with selectable crosstalk between individual tracks and control of all instances of the plug-in from a single interface. Realistic analog tape sound Three tape machine types. It includes three distinctly different tape machine types, and it offers the ease of use and low CPU strain that todays music creators rightfully expect. But Tape goes far beyond your average tape machine emulation. For Presonus Studio One users, there are some added extras. Softubes Tape plug-in adds cohesion and weight to your mixes. Tape is available as a standard plug-in that will run on any DAW that hosts AAX, AU, or VST formats. Users can control TAPE SPEED (which includes tape speeds that do not actually exist in the real world), as well as SPEED STABILITY, channel CROSSTALK amount, balance the DRY/WET signal, and access other unique features, such as the mastering-grade HIGH FREQ TRIM filter - which adds a smooth treble boost - and RUN STOP sound effects. Going further is, of course, perfectly possible with Tape. Sweeter still, load up one of the included presets from award-winning engineers, such as Joe Chiccarelli (Beck, Strokes, U2) and Howard Willing (Kris Kristofferson, Sheryl Crow, Smashing Pumpkins), and you’re good to go! In most cases, tweaking these self-explanatory controls are all it takes to soak tracks in analogue tape sweetness. Users need not necessarily look any further than simply selecting a tape machine TYPE, then adjusting the associated AMOUNT control to add COLOR to taste. First and foremost, it effectively displays three distinctly different tape machine characteristics in one plug-in: TYPE A is based on a classic Swiss high-end reel-to-reel design, generally known and admired for its precision and linearity TYPE B is a much more colourful affair - a transformer-based machine that adds weight and creaminess to the low end and TYPE C is based on a British tape machine with a visible vintage vibe. Of all the tape plugins Ive tried I would rank the UAD and Softube plugins at the top of my list.
SOFTUBE TAPE MIXFX PASSTHROUGH FULL
There’s also a full 20-day demo version to help you make up your mind.Softube’s Tape goes beyond existing tape emulation plug-ins in several ways. Softube Tape is another contender and I have been using it more frequently in Studio One as a mixFX multi-track, it sounds great.
SOFTUBE TAPE MIXFX PASSTHROUGH MAC OS
It supports VST, VST3, Audio Units and AAX Native, is available in 32-bit and 64-bit flavours for both Mac OS and Windows. Tape is available now at an introductory price of $79, which goes up to $99 later. Softube’s Tape weighs in at a reasonable 99 USD and it also includes a ‘MixFX’ version for Presonus’ Studio One owners that allows the plugin to ‘CROSSTALK’ across multiple channels. This makes the amount of crosstalk selectable per track, which sounds like a nice option to have. On top of the normal single instance of the plug-in, users of PreSonus DAW will find an extra Tape Multitrack mode that integrates with Studio One’s MixFX feature.
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Softube have also implemented a neat feature for Studio One users. You can get into more detail, though, by opening a menu and jigging about with the tape speed, speed stability, crosstalk amount and a couple of other parameters. If that’s too hard for you, you can just call up a preset provided by some successful old white men. Just crank up the Amount knob to “soak your tracks in analog tape sweetness”, Softube say. Tape will not bamboozle you with loads of options. Type C emulates a British tape machine “with a distinct vintage vibe”. Type B is described as “much more colourful”, adding more “weight” and adding more thump in the low-end frequencies. Type A is based on a Swiss reel-to-reel machine, by which I take it they mean a Studer, and gives “precision and linearity”. Tape includes three emulation algorithms, giving you three different tape machines that are influenced in different ways by speed and volume controls. A listen to the sound examples below, however, suggests that Tape is a potentially valuable tool that certainly sounds the part. I try to avoid putting too much stock by nice interface graphics, because I suspect that we’re often more influenced by some flashy visuals in terms of what we perceive as “good” sound than we like to admit. What are the specific merits of this latest product in the tape saturation genre? Softube say that Tape goes easy on your CPU, which is good news, because you’re going to want to run a lot of instances of this to use the built-in crosstalk capability. Only the other day we covered a ELPHNT’s tape emulation Rack module for Ableton Live, while Overloud’s TapeDeck was another recent foray into the emulation arena. One look at the market suggests that we must be nearing some kind of saturation point.