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Tape Emulation Free Vst

Tape Emulation Free Vst Average ratng: 8,7/10 2830 reviews

The exact effect a tape machine has on a track depends on a number of settings. Tape Machine Type. Before DAWs were popular, tape machines were the primary method for recording audio. Typically, studios would use multichannel tape machines for recording and then bounce the final mix to a 2-track master tape. Each of these machines effected the. Size 0.18 MB Ferox is a tape saturation modeller. It has separate controls for saturation and hysteresis effects. Feedback with variable tape speed is provided to simulate vintage tape echos. VST 4 FREE - Free Audio Plug-ins and Archives Mystique is a free Tape simulator plugin developed by Cana San Martin Instruments Effects MIDI Hosts. Free VST downloads: OuraPhat LE (Sound phattener by Ourafilmes) - VeeSatEQ (Multi band tube saturator / de-mudder by Viper ITB) - TuPRE (Tube line amp by Analog Obsession ) - WOW & FLUTTER (Vintage playback simulation by Interruptor) - Ferox (Tape simulator by Jeroen Breebaart) - TAL-Tube (Tube saturation by Togu Audio Line) - Grease Tube (Tube.

Lots of people are obsessed with the ‘warmth’ of analog studio gear. Sure—it sounds fuller, more human, more present.

This is a Windows only VST with a Routable Modular Signal Chain, HP & LP Mix Filters, alongside your classic 4 Band Parametric EQ and a versatile Mix Bus Compressor. Onboard Saturation, Stereo, Phase, Pan & Limiter controls to boot. The Free version has oversampling, HP & LP Filters disabled ($9.99 otherwise). A lot of tape emulations I have found are aimed at simulating high quality tape recorders that are well setup and maintained. This is designed to do the exact opposite! COMMENTS ( 37 ). I have Softube's TAPE, Steven Slate's VTM, and ToneBooster's TB ReelBus v4 I was able to achieve the best sound on TB ReelBus v4 I used Slate's VTM as a reference point, then used TB ReelBus v4 to improve on it.

But these days, modeling technology has become really good at simulating the effects of analog circuitry. Our computers and DAW apps are powerful enough to handle these VST workhorses.

So forget about spending tons of money on analog gear.

Here’s 7 VSTs (for both PC and Mac) that will give you that sweet analog warmth.

  1. SGA1566 Tube Preamp
  2. TDR Slick EQ
  3. Ace Amp
  4. Molot Compressor
  5. Voxengo Tube Amp
  6. MJUC jr. Compressor
  7. Softube Saturation Knob

What’s all the analog fuss about?

Ok, so what does analog circuitry do to your sound? What’s everyone so obsessed about?

What people like about analog sound are the quirks and imperfections.

So when people talk about ‘warm analog sound’ they’re referring to:

  • Subtle distortion and drive
  • Harmonic distortion
  • Tape Saturation
  • Vacuum tubes
  • Preamps

What these processes do to your sound is often hardly noticeable. That’s what the magic’s about—you won’t hear them, but they’ll make a huge difference in how your track sounds and feels.

The cumulative effect of analog processes is what people are gushing about.

1. SGA1566 Tube Preamp

Shattered Glass Audio’s SGA 1566 gives you a single channel vintage tube preamp. The whole circuit is simulated in real time to get you that authentic analog sound.

Use the SGA 1566 as a saturation compressor to boost the warmth of your track. Or add a bit of grit with the tube overdrive.

The newest version is also lighter on your CPU––so no computer freak outs!!

Download the SGA 1566 for free here.

2. TDR Slick EQ

“This little guy sounds amazing” –Dave Pensado

The TDR Slick EQ is a sleek easy-to-use three-band EQ that gives you amazing sound—like all Tokyo Dawn Records plugins.

Warm up your sound by choosing a non-linear option under Output Stage. That’ll add subtle harmonic distortion and texture.

Download the TDR SlickEQ for free here.


3. Ace Amp

Ace Amp—another Shattered Glass Audio creation—is based on classic 1950s style tube amps.

Free Tape Machine Vst

Control the input, volume, feedback, output. Choose between three resampling options.

This amp plugin has simple controls and doesn’t eat up your CPU.

Hot Tip: Try it on vocals for a cool aesthetic effect.

Download the Ace for free here.

4. Molot Compressor

Vladg’s Molot is a compressor with character. Even the vintage Soviet look is on point.

Molot will give your sound interesting color. I recommend reading the manual to learn how to tune it properly—it’s worth the read.

Download Molot for free here.

5. Voxengo Tube Amp

Voxengo’s Tube Amp gives you warm overdrive, fuzzy distortion and everything in between.

It imitates tube overdrive in the style of single-tube mic preamps.

Hot Tip: Use the low-pass filter to imitate the texture of lower-quality tubes.

Download Voxengo’s Tube Amp for free here.

6. MJUC jr. Compressor

Klanghelm’s MJUC jr. compressor is simple and elegant.

Use it for smooth compression or a heavier pumping effect. MJUC jr. is based on vintage compressors of the 1960s––it even looks like one.


Flip the ‘Time Constants’ switch to choose between slow, fast and auto. This changes the attack and release time. It affects other parts of the circuitry too, giving you interesting analog-style saturation.

Download the MJUC jr. for free here.

7. Softube Saturation Knob

This Saturation Knob is one the best free analog emulation plugins out there. Even Dave Pensado gives it two thumbs up!

Use it anywhere to add some character and distortion. Drag it on your vocal track to add shimmer.

The great thing about this one is how simple it is: literally one knob and a switch. Change the switch setting to choose between the kind of distortion you’ll get.

Download the Softube Saturation Knob for free here.

Fake It Till Ya Make It

These effects are the missing ingredient in your digital sound.

The key with analog emulation is to avoid overdoing it. Bring in the effect until you hear it, then dial it back a notch. It’ll still make a huge difference. Your sound will be fuller and warmer.

Use these plugins and people will be asking for your studio secrets in no time.

Make sure to grab the whole LANDR-approved free VST plugin collection:

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Modern engineers are spoiled. We have keyboard shortcuts for making edits, crossfading and even quantizing. But back when engineers still routinely recorded to tape, they needed a pair of scissors and special tape to make cuts.

While most engineers don’t miss the hassles that come with using a tape machine, we all miss the sound. Tape machines impart a unique combination of equalization, compression and saturation to audio signals. The exact effect a tape machine has on a track depends on a number of settings.

Tape Machine Type

Before DAWs were popular, tape machines were the primary method for recording audio. Typically, studios would use multichannel tape machines for recording and then bounce the final mix to a 2-track master tape. Each of these machines effected the sound in different ways.

Generally speaking, fewer tracks requires a smaller tape size to maintain fidelity. So, 2-track mastering decks typically used 1/4”, 1/2” or even 1” tape. However, 8-track, 16-track and 24-track recorders typically used larger 1” or 2” tape. Each tape size has its own unique sonic characteristics.

Tape Speed

The speed of the tape also affects the sound. All tape machines offer a “head bump“, or frequency boost in the low end. Which frequency, and how much boost depends on how fast the tape is spinning. Tape speed is measured in inches per second, or IPS.

Generally, faster speeds offer higher fidelity, less noise and more high-end. Slow speeds tend to roll off the high-end and boost the lows and low-mids. Slower speeds also add more saturation but tend to be noisier. Common speeds include:

  • 30ips: Typically considered more “hi-fi”. Low midrange boost around 200Hz. Slightly extended high-end.
  • 15ips: Low-midrange boost around 100Hz. Slight midrange boost for more “bite.” More saturation and “attitude”, but more noise. Favorite for rock.
  • 7.5ips: Typically considered more “lo-fi”. Significant high-end roll off and boosted low-end.

Tape Types

Of course, the tape machines themselves aren’t the only variable in this equation. The type of tape you use has an impact on the sound as well. Each tape type has “different frequency response, compression, and distortion characteristics.”

Tape types are defined by the amount of input they can handle before distorting. Early tape types offer more color and thicker low-end response in exchange for more noise and distortion. “Modern” tape types tend to sound punchier, have extended headroom and less noise/saturation.

Although each of these tapes has a suggested “calibration level,” most tape machine plugins let you adjust them. Calibration levels determine how loud the incoming audio signal can get before distorting.

Generally, the lower the calibration level, the higher the signal level needs to be to cause saturation. Here are the most common tape types, and their default calibration level.

  • 250 (+3): Distorts early. Highest noise floor. Highs are noticeably rolled-off. Big low-end boost.
  • 456 (+6): “Colorful.” Thick low-end.
  • 900 (+9): Punchier. More definition.
  • GP9 (+9): Minimal distortion. Least noise. Flattest frequency response. Minimal coloration.

Fine Tuning

The great part about tape machine plugins is that they offer many of the luxuries of analog recorders, with almost none of the drawbacks.

For instance, one of the worst parts about working with tape (aside from editing) was dealing with all of the noise. Many plugins simply offer a Hiss and Hum controls to reduce or remove the noise entirely.

As an added bonus, many plugins feature group controls. Which allow you to try a variety of settings across multiple channels. Instead of, you know, shutting down the session for an hour while you swap the heads and tapes on two machines. Don’t forget to recalibrate every channel when you’re done!

Here are the most common “fine tuning” controls seen on tape machine plugins.

  • Over-Bias: Introduces an ultrasonic signal to help prevent artifacts. Some plugins offer Normal/Over-controls. Over-Biasing adds an extra 3dB of the ultrasonic signal, which many engineers prefer.
  • Low/High Bias: Other plugins offer Low/High Bias controls, which causes the low-end to distort when set to Low, and the high-end to distort when set to High.
  • Flux: Flux is another control that dictates when the signal will distort. Higher flux settings mean you can drive the input harder before causing distortion. Low flux settings mean distortion will occur earlier.
  • Wow: Fluctuations in frequency below 4Hz caused by movement in the tape machine.
  • Flutter: Fluctuations in frequency above 4Hz caused by movement in the tape machine.

Signal Flow

Most tape machine plugins allow you to monitor the signal at different parts of the signal path. They’re typically broken down into four options:

  • Thru: Monitors the original signal. Bypasses the plugin entirely.
  • Input: Monitors the signal after passing through the tape machine’s circuitry, before it reaches the tape. Great for analog vibes without the effects of tape.
  • Sync: Monitors the signal after passing through the record (sync) head, but before reaching the playback head. Minimal tape effects.
  • Repro: Monitors the signal after passing through the record and playback heads. Maximum tape effect and maximum vibes.

Tape Emulation Plugins

Over the years, many different companies have modeled a variety of different machines from all over the globe. They each have their own unique sounds and shine in certain situations. Here are the most popular tape machine emulations:

  • Satin: U-He “Tape Construction Kit”
  • Slate Digital: Virtual Tape Machine (Studer A827 2” 16-Track Multichannel Tape Machine, Studer A80 RC ½” 2-Track Mastering Tape Machine)
  • Softube: Tape (Studer, ATR, EMI)
  • UAD: Studer A800 Multichannel Tape Recorder, Ampex ATR-102 Mastering Tape Recorder
  • Waves: J37 (EMI 4 Track 1” Multichannel Tape Machine), Kramer Master Tape (1/4” Tube-Powered Machine)

Tape Plugin Vst

Tape – Softube

Modern engineers are spoiled. We have keyboard shortcuts for making edits, crossfading and even quantizing. But back when engineers still routinely recorded to tape, they needed a pair of scissors and special tape to make cuts. While most engineers don’t miss the hassles that come with using a tape

Most of these plugins offer a range of options, so it’s easy to dial in the sound you’re looking for. Just be warned, once you hear the effect tape can have on your tracks, you might have a hard time going back!

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