![]() ![]() And that begs the question: if tape machines are so inherently imperfect, why do we like the way they sound? The audio path in a tape machine is surprisingly complex, and sophisticated though the later tape recorder designs were, they still suffered compromises and technical limitations that gave them a distinctive sound. So why so much fuss about modelling a tape recorder? Surely a bit of distortion, a touch of compression and some EQ would do the trick? Well, no. VTM turned out to be Fabrice's greatest challenge so far, and we're told it took around a year of optimising, listening and tweaking to get it to the point where they were happy to allow it out to the world. ![]() Apparently, Steven told Slate Digital's Chief Technology Officer Fabrice Gabriel that unless the end result was indistinguishable from the real thing, he wasn't prepared to release it at all. Slate sought out two particularly good-sounding tape machines to base their emulation on: NRG Recording's 16-track, two-inch Studer A827 machine and Howie Weinberg's two-track Studer A80 RC half-inch mastering deck. In fact, Steven Slate tells us that their Virtual Tape Machines is the most complex plug-in they've ever coded. Slate Digital's VTM is the most detailed attempt yet to capture these in digital form.įew companies are brave enough to try to model the behaviour of a professional analogue tape recorder in software. The sound of magnetic tape stems from a hugely complex set of interacting factors.
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