Mastering Tape Suite

Start with the downstream EQ and dynamics neutral or disabled. Compare speed and formula on a representative phrase, then adjust Input Gain and Calibration for the amount of tape colour. Use Output Level to make the comparison fair.

The Output tab has its own Drive. That control belongs to the later output saturation and limiter path; it is not a second tape-input knob. Keeping the two jobs separate makes it easier to hear which stage is softening a drum hit or thickening a bass line.

Try the three speeds on a bass or drum stem before reaching for more low-frequency EQ. Speed influences the head response and emphasis; Formula changes the magnetic behaviour and operating headroom. Formula does not select a different emphasis standard.

Head Bump at zero retains the model's intrinsic speed-dependent response. Its control adds or subtracts from that response. At 30 ips, NAB and CCIR both resolve to AES, so the Emphasis selection is inactive. There is also a fixed 30 Hz high-pass ahead of tape to consider on sub-heavy sources.

On a sustained electric piano, guitar or pad, start with Wow and Flutter off and bring in only enough movement to give the held notes a useful instability. A short, muted part may need a different amount from a long chord because the pitch movement has more time to reveal itself.

For a contrast section, automate the transport controls on the instrument stem rather than applying conspicuous movement to the entire record. Hiss is optional: its minimum position is Off. Return to the surrounding bars to decide whether the texture supports the transition.