Abbey Road Tape Plugin
Tarja Hempton
When trying to find a great tape plugin, Waves audio has been a go-to for many engineers. They offer 2 affordably priced and widely used plugins - the J37 tape emulation and the Kramer tape emulation.
Starting from the left of the plugin we notice 3 tape formulas, the 888, 811, and 815. The 888 is the most aggressive in its distortion - with the 811 and 815 progressively becoming less distorted. Use the 888 from more lo-fi projects, and the 815 for a more subtle effect.
The speed can be switched between 7.5 inches per second and 15 inches per second. 7.5 is better for a warmer sound with attenuated highs, whereas 15 is better suited for a cleaner full-spectrum sound.
In the middle of the plugin are the input and output levels, which can be linked or controlled independently. Waves Audio recommends that your signal peaks around 0dBVU to get the best effect, so keep an eye on the meter below to achieve that.
Bias is to the right and ranges from +1.5dB, +3dB, and +5dB , which is an ultrasonic frequency used to reduce tape hysteresis. When it comes to a plugin, this function will subtly increase your high frequencies and can lead to some distortion at higher levels.
In the bottom left-hand corner, we have the modeled tracks section, which can be switched between the 2nd, 2nd plus 3rd, and the 3rd. Think of this kind of like a crossover effect in which the left and right channels bleed into one another.
Wow Rate and Depth control the amount of frequency modulation to the signal, in conjunction with the tape speed. Depth will control the amount of modulation and the rate will control the frequency range of the modulation.
Flux is an interesting feature, as it allows you to control how much of the signal is imparted onto the tape. If we were to compare this feature to the j37, this would be a lot like the Saturation rotary.
Like the J37, Kramer tape can introduce delay, but with simpler controls. The delay type can be switched between slap and feedback, and the delay time is affected in milliseconds without the option to sync the time to your BPM.
Still excited? Well, so am I because I am not using a rickety old reel-to-reel, but something made to sound like it. Be aware this does a lot of stuff to your audio. Take a look at the frequency analysis, for instance. You sound will change! The harmonic distortion is sweet and more subtle than most tape plugins.
My PC-MIXBus preset. Less push around 2-3kHz and more (but not really audible) distortion. I like this on the mix bus, and feed into it with the Kramer Tape on the channels. You can get my presets here.
Tape deck emulations seem to be very much in fashion at the moment. Over the past few years, we've seen all kinds of machines and many types of tapes mimicked in software, and the quality of some of these has been nothing short of astounding.
Waves' latest is unique in the fact that it emulates the first ever Studer multitrack tape machine, built for - and subsequently modified by - Abbey Road Studios in 1965. If you know your recording history, you'll appreciate the significance of this particular unit, which recorded many a classic record, including The Beatles' seminal Sgt Pepper's Lonely Hearts Club Band.
The audible differences between the three tapes are pretty subtle (especially on the cleaner 15ips mode, and even more so if you don't drive the input level), but that's reflective of the real thing. And this is, after all, a plugin more suited to the tone connoisseur than the casual producer just looking for a quick, obvious fix.
Exploring the presets makes it obvious that the delay section is one of the most valuable parts of the J37, expanding the sonic palette on offer from gentle saturation and colouration to wild delay effects. In this respect, the J37 reminds us of Waves' Kramer Master Tape, which features a similar variety of presets - although the J37 is certainly a lot cleaner, brighter and harder-sounding than the Kramer.
In fact, the plugin has a nice general tone to it, regardless of which tape formula is selected. It does a good job of making whatever you run through it sound slightly firmer and more present. Sometimes it can be quite hard in the upper-midrange in a way that we haven't heard in other tape plugins.
And it's a sensitive beast: push it even a little too hard and the resulting effect can be quite irritating - but then hard, driving distortion wasn't a desirable mix characteristic in the 60s, hence the Bias settings for reducing the level of distortion.
J37 Tape probably isn't an effect you'll want to splash all over every channel unless you're specifically emulating a 60s-flavoured mix - in which case you'd better have a pretty fast computer, since it demands more CPU power than other, similar plugins.
Having not worked in Abbey Road Studios in the 60s, it's hard for us to judge how closely it replicates the nuances of the real thing, but we can say that, applied lightly, J37 Tape definitely evokes at least some of the essence of the classic records that were recorded with its hardware ancestor.
Choose 15 ips for the best high-frequency response and lowest distortion, along with a slight bass emphasis at 100 Hz. Or choose 7.5 ips, with bass emphasis around 50 Hz, for low-frequency sounds like kick and bass.
For individual tracks, choose the saturation characteristics that move tracks closer or further back in the mix. For masters, use the speed, tape type, and track model controls to create a big, open stereo image.
Before digital delays were invented, tape machines provided a warm lush delay effect. The J37 plugin incorporates the different types of delays used with tape (slapback, feedback, ping-pong), all with that classic tape sound.
I just started my first project with the Apollo 8P. My workflow speed has increased significantly with this interface and the associated plug ins that came with it. It took me a long time to save for it but it's felt well worth it. I'm only a couple of weeks in but the new-gear honeymoon might last awhile longer with this thing.
I love it. I already owned a few of the emulation plugs and can a/b them with the UAD version. The SSl channel has much more depth, and the Comp is now usable. The box is great.: the sound of the pres, conversion (both ways), the hardware (switches, metering), the software (no driver issues).
The only issue is the lack of routing, specifically ear cues. My previous box (an RME unit) allowed one to send any ins to any outs. I (ignorantly) assumed a new technology like the UAD would by default include such a feature. Discovering a 4- cue max was quite a shock, almost enough to return the unit. I track larger bands, and not being able to have dedicated mixes for each player is a big problem.
After many years using interfaces from the likes of Echo, MOTU, RME, Focusrite and such, I overhauled our studios with a whole bunch of Apollos. They are now used heavily for both tracking and mixing on a daily basis. These are the best sounding interfaces I have ever used. AD/DA is superb, the latency free plugs on console a godsend, and the unison pre-amps are a very handy addition for shaping tone.
Am particularly loving the Unison Neve 8816 and 1073 Channel strips. If you cant afford a Neve console from the 70s, get one of these instead. Next best thing. :D
I've made music since the days of OMS and OS9.
I have owned and used Avid, Motu, Apogee and many other brands of Audio Interface but have found my experience with UA a pleasure, not only the product but the service. The sound of the interface is amazing, transparent and flexible when necessary. The bonus of plugins running on the hardware, and their absolute quality made the Apollo an easy choice over other products on the market. The UAD was recommended to me as i was using Avid HD setup. After a few sessions with one, i wanted one!
As a vocalist, my main concern is a clean and warm line IN. Together with my Neuman TLM103 i was blow away by the sound i was able
to record. I very gd buy!!! I'm not getting paid to say this either lol
I used the silver face version Apollo a few years ago and loved it. Haven't had many "wow" experiences that rivaled that - mostly because I was upgrading from a Digi 002. A huge leap and sonic upgrade. Alas, I didn't stick with it because I came to realize the hidden costs of UAD DSP. In my next round of upgrades I decided to try the Antelope Orion Studio. A great machine, tons of I/O and crystal clear conversion, but man does that console app suck. Workflow killer. The digital menu was a subtle pain too. I returned it and went for the Apollo 8p. I couldn't be happier. I'm making more music. The console app is an A+, everything has a manual knob, and I've learned to limit my DSP expectations. It's a tease b/c UAD plugs are hands down best!
A UAD interface is and should be the very first investment for anyone who is serious about doing music and/or audio professionally.
The quality of the hardware and software are unparalleled and remains unmatched till date. As someone who has used Neve 99RS, Euphonix System 5 and many other desks in the past, I find the quality of Apollo interfaces to be simply stellar.
My only 'complaint' so to speak is that I somehow imagined, expected getting more plugins for a quad processor.
History. Play/d in bands/write for other people/spiritually guide folk. Recorded all over the world from pissy basements to abbey road. Love tape/shitty mics/busted guitars. Budgets disappear,no more abbey road more coronation street.[For my U.S. friends thats no more Silverlake but more The valley]. Still fuck em,i can make music from dustbins cause I'm different,I'm not like the rest of you on this forum, so I'm happy.Must think. UAD 8p arrives. No more compatibility charts for months/there's knobs/switches/sounds cool/easy to use. More time for making art and less gawping@a screen/more time to look into artists eyes and suck there best work out of them. For 3g's job done. I don't need UAD, they don't need me,but we are good together
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