researching tape modes and plotting frequency curves was fun. the information, values, and how to accurately plot them wasn’t too difficult; that information is all over the internet. getting the next part right is what will either make or break the sound of this pedal.
learning about how tape heads work
as tape heads wear they make less contact with the tape, which means they produce less bandwidth range. worn heads also tend to compress at specific frequencies and output. what’s important is when and where the compression takes hold.
like the frequency curves, the information exists, but how do I do that in code?
digital compression at specific ranges is also a very well-trodden road. there’s lots of opensource code and examples out there to learn from (the norns community has been a god damned… uh, god send).
opening my mind to digital signal processing
the more I learn, the more I’m realizing just what’s possible for emulating analog circuits with surprising accuracy. technology and processing power have come a long way since the zoom 505. artists and recording studios are relying more and more on digital effects chains and plugins, and honestly, playing around with emulated preamps and cab sims in the last year has really opened my mind.
if you haven’t seen them before, check out Jim Lill’s videos on YouTube. specifically this one which touches on digital preamps and just how accurate they can be if done right.
several sweeps later
I’ve been through each of the profile modes several times in the last week, adjusting the tests and analysis with each pass.
each profile will provide a “range” that’s specific to the combination of tape player and wear mode (clean, worn, or trashed). from there, the user can dial in specific characteristics, but only within the range for that combination. for example, if I selected the Olympus Pearlcorder L150, worn wear mode, but then turned compression and saturation way up, I’m not going to get a final signal that sounds like an overdriven 424 or tube amp.
do people want real in their digital effects pedals?
IDK, honestly, but this specific pedal design interests me, and I believe artists should make things they’re excited about. I’ll still make weird as fuck pedals that do weird as fuck things, but I also really like, nay [1], love tapes, so this is what I’m making.
there are still several passes to do on each profile as I tweak them closer and closer to the plotted spec. and yes, I’ve had to adjust the plotted spec too; hopefully not too far once this is all said and done, but we’ll see.
[1] nay is for norses. but to be honest, I left this subreference in place when I copied over the template, then didn’t feel like deleting it. so there you go you get this subreference and all it cost you was everything.