Re: Gs 201 Tape Echo Keygen Torrent
Onofre Alamillo
Based in Australia, Echo Fix is an audio company manufacturing tape echo machines and studio grade effects pedals for customers worldwide. The company began as a provider of repairs and spare parts for the Roland Space Echo & Echoplex tape machines.
All of the electronics and tape behavior have been closely matched: from tape hiss, wear and wow and flutter to AC line hum (selectable among US and UE voltage); with these controls the Tape Echo can be used as a standard analog delay, when set accordingly, or pushed to the extremes, where the use of the Wow and Flutter, preamp gain and tape wear turn it into a wild effects generator.
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Stardust 201 Tape Echo is a hot-rodded interpretation of the classic Roland "Space Echo" tape echo effects of the 70s and 80s. Compared to earlier tape echoes, they represented a giant leap in reliability and sound quality. With solidly built tape-transport mechanisms and the inclusion of a spring reverb and chorus effects in some models, the Space Echo was truly groundbreaking with its fantastic variety of sound colors.
Stardust precisely recreates the limited fidelity and stability of audio tape, providing a natural rolloff of bass and treble frequencies for super-warm tonality and minor speed variances, lending an organic chorusing quality to repeats. Cranking the intensity knob overloads the circuit, generating the signature other-worldly runaway echoes and feedback that only a tape echo can produce.
Cherry Audio's Stardust 201 Tape Echo includes features from the original RE-201 and RE-301 Space Echo units, and we've added some of our own to create a great-sounding, super-flexible, ideal tape echo effect that never breaks down and never needs demagnetizing, all for less than the price of a Space Echo replacement audio tape loop!
macOS Requirements: 10.13 or above. macOS 13 Ventura supported. 64-bit required. Native Apple M1 or greater processor support, including Ultra. 3.4 GHz Quad-Core or M1 CPU with 8GB of RAM recommended.
I ask this because I can make the most basic "clean" patch on my PodHD, say a Bassman with a Tape Echo behind it and the Tape Echo makes a fizz or splat sort of sound when strumming chords no matter what tweaks I make. Only Tube, Tape echos (clean or dry) do this. The Analog or Digital delays do not do this and sound great so that's what I've been using.
Hi Eudoxia, In the early years, 50, 60's, they have to put the echo, tape or drum in front of the amp, because amps had no effectsloop, so, they maybe use stompboxes, ( no compressor, ( stompbox) i think they did'nt excist in that period ) then to the echo unit, and then to the front of the amp, also these echoes on its own have a specific sound in they'r pre-amps, so, maybe line6 modelled these echoes that way, to put them before an HD, or real amp, you can try the dry versions of these echoes, they do not have that virtual echo-pre anp modelled, i hope someone who does know more of this, can confirm this. Huub.
I must admit this had me wondering. First off, what brue58ski says is of course correct. But... does anyone know if, during the early days of Rock & Roll, echo was actually used live at all? Or for that matter, if a tape echo was placed in the signal chain before the amp in the studio? I was under the impression that live it was just lots of reverb and in the studio the echo was added later in production rather than being in the signal chain in front of the amp.
That sounds to me as though the Channel Volume on the B-man is too high and causing the TE to clip. Have you tried turning it down to about 45% to see if the fizz and splat goes away? It might be worth a go.
The final point is that *if* echo was only added to these classic early R&R and country tones later in studio production, then you will need to position the echo after the amp to get as close as possible to the original tone.
The thing to remember, is that there weren't as many "mixing" options in the early days like we have today. A lot of what you hear on record is what was played in the studio. They didn't even record tracks one at a time. Entire bands (and entire harmony vocal acts) recording everything at the same time, almost like it was a concert.
I was curious about echo during live performance and carried on looking. You are correct, at least from the late '50s onwards, when (just about) road-rugged portable TEs appeared - first, Charlie Watkins' Copicat and then from 1959 through the '60s, Ray Butts' Maestro Echoplex. Prior to that, echo does seem to have been a studio effect (along with reverb). So if eudoxia is trying to recreate a *studio* tone, the exact placement of the TE remains moot. There's a plausible case that it should be placed after the amp rather than in front of it, but we can leave that to his ears :-)
More so than a "historically accurate" tone, I was just trying to put together a nice tone I could play from gritty Brian Setzer to Cliff Gallup kinda stuff. I didn't like the tape echo's in front of the amp because I couldn't get that nice "pop" of the muted strings.
I think I need to calibrate my SPDIF output because the original tone I uploaded sounded nice and clean and then I played your tone through SPDIF it sounded funky, the echo sounded like "air being let out of a tire".
The Timefactor has a filter function for Tape Echo, but it seems to be a LPF where a BPF would probably have been better for the task. The last thing you want is tons of low end rumbling around in your reverbs or delay, but that is exactly what the Tape Echo does. When saturation is applied, it gets worse. The filter cuts the highs and mids extremely, while leaving the lows (or even boosting them) which is not what one wants in a delay, even a tape echo. With no tweaking, this sounds like just a normal clean delay, but when you start tweaking the various functions, it can result in HUGE low-end rumble, not something that you want or that is a defining characteristic of tape echo. I realise the attempt here is to sim running past a tape head, but I would strongly urge Eventide to replace the LPF with a BPF. As things stand, the Vintage Delay is much better for simulating tape-distressed sounds/ dirty dub delays IMO.
Spent a lot of time recently with the vintage and tape delays.. I found that if you set the mix 100% wet, and set one of the delay times to zero with no FB and mix the other delay off.. you can easily A/B the effect of the filters VS the dry sound by flipping the delay off and on while playing the same passage.
I learned a lot about how the Vintage Delays' filter works. It has an effect even on zero, then starts trimming out body as you rotate it CW.. when you get to 90% it then starts trimming out highs with a lot of different resonant tones coming in.
On the tape delay, however, I didn't hear much going on. At zero it sounded pretty much like the digital delayl, then it started dropping highs as you turn the filter up. At the extreme end, it also seems to boost bass. I noticed that the digital delay didn't sound that different from the tape delay, except that it seems to not have the additional bass boost at the end, and of course lacks the wow and flutter controls. it seems that a lofi bandpass thing that more closely emulated tape might be more useful, as suggested already.
No kidding. Eventide? As it stands, this is a near pointless option to have on the box. I find it hard to believe the designers ever actually heard a real tape echo. Tape echo is such a cool effect, and really enjoying a revival these days, I wish Eventide had come up with a better model.
God yes this is desperately needed. As a user of a couple of Roland tape delays I can confirm that even without using the high/low boost, tape echoes remove a proportion of the lowest and highest frequencies and gradually middle-out.
Why do the tube and tape echos distort SO MUCH! Even with the mix set to zero the original signal is distorted when the effect model is turned on. These are almost useless with clean amps. Do I have a problem with my hardware or is this the same for all HD500s?
The first piece is the Tape Echo Dry - you can hear the clean tone from the Black Face amp and a Treadplate V30 cab with the 67 condensor mic. The depay trails are all distored and there does seem to be a parameter to adjust or fix it. The end of the sample has the second delay - Tape Echo. Everything is distorted. I even switched the delay off and on a few times in the recording to show the clean sound and then the delay. No distortion pedals in the patch so I'm not accidentally kicking on a distortion pedal (as evidenced by the beginning of the patch).
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