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Each filter can be deactivated by turning their parameters to their “OFF” position.ĭirt: The Dirt parameter controls wow, flutter, drop-outs and crosstalk levels.ĭirt also adds color based on tape degradation caused by lower tape speeds. The Low Cut filter cuts off frequencies starting from 10 Hz up to 2,000 Hz and the High Cut filter cuts frequencies starting from 20,000 Hz down to 200 Hz. There are two filters, Low Cut and High Cut in the loop filter. Higher settings will result in increasing levels of tape distortion. Just try it and you’ll figure it out.ĭrive: Sets the amount of input gain. Upon release, a faster opposite tape speed effect (from higher pitch back down to neutral) is achieved.Ī lot of words trying to describe fun sound effect. It creates a tape speed decrease warble effect that (upon holding) slowly goes back up to neutral pitch ( Up does this faster than Down). Tape Glitch: Is used to create tape glitch effects and warbles. This setting is for keeping all the mojo but not having to deal with any echo-/es. All settings, for example, Dirt, Drive and Reverb, will be kept active and intact, but Number of Echo Taps will be forced to 0/zero and delay will be set to the shortest time setting possible. Tempo Sync: The delay time depends on the DAW’s BPM and is indicated and set by the note values under the delay time slider.Īt the leftmost position there is a Just Dirt setting.
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Softube tape echoes free#
Tempo Sync/Free: Synchronize the echoes with the DAW’s BPM set in your project (see Delay Time for more information on sync settings).ĭelay Time slider: The delay time depends on whether the plugin is working in Free or in Tempo Sync.įree: The delay time is indicated by the values on top of the delay time slider. Clicking Tap Tempo will automatically change the Free/Tempo Sync parameter to Free. Tap Tempo: Click repeatedly to manually set the tempo of the echoes. But if reverb is located in parallel with the echo circuit, it will be heard. Also note that as a consequence of this, if the reverb is located before echoes (a setting found at the Imaging parameter) you won’t hear the reverb unless Echoes = On. This means that echoes that have already entered the echo circuit will not be affected and still ring out. It’s fun and sounds great!)Ĭlick here to view the full-sized image in a new tabĮchoes On: Gives you the option to turn off the signal entering the echo circuit. (Oh, make sure to automate the Delay Time control. There’s not a ton of knobs, but a ton of character. With a dual-mode stereo algorithm you can use it to widen the track and turn the Delay Time all the way to “Just Dirt” to get … just the dirt. You can use it as normal tape echo, or you can abuse it with feedback, glitches and drop-outs. With Tape Echoes you get more dirt than necessary, but of course a possibility to dial it back. So this is an amalgam of tape echo goodness. Others had tons of mojo in the tape heads, but the reverb didn’t quite cut it.
![softube tape echoes softube tape echoes](https://www.gearjunkies.com/wp-content/uploads/gj2/inximg/12725_uad_ep34_ss_hq.jpg)
Some had an amazing feedback sound, but were a bit too stable and predictable. When we were listening to all those vintage tape delays we were searching for all of that, but we didn’t find a single unit that had everything. It’s the mojo, the gritty-ness, the ability to use and abuse it to create weird effects, and definitely for cranking up the feedback so that you get thick never-ending echoes that eventually turn into a sweet mush. It has any flavor of tape you could possibly need and the special fx are worth the price alone. This is tape, done perfectly.When you’re looking at that second-hand tape delay unit and thinking of buying it, it’s not because you are looking for a pristine sound replicator, it’s something else that you’re after. Tape is one of those tools that almost any pro-engineer will likely be happy to rely upon to help smooth the spackle and glue a producer’s song into a warm, cohesive product. Artists and labels employ engineers for a reason – because when they’re done with a track it just sounds better. Its sound and bias response is so subtle that under congenial operating temperatures and without critical listening experience or aptitude you’ll wonder if it’s even on. Tape is the perfect example of a plugin that you can buy from almost any manufacturer yet you should probably consider Softube’s version to be the yardstick.
Softube tape echoes software#
They imbue their software with a high level of charm and the sound quality is always undeniable. Time and again Softube release plugins that have been done to death by other devs but end up proving the adage that you can never have enough of a good thing.