![]() ![]() ![]() 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.
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