Air-G Taped
User Manual
Version 1.0
Tape saturator based on TapeHack2 by Airwindows.
Original source code published under open license by Chris Johnson.
User Manual
Version 1.0
Tape saturator based on TapeHack2 by Airwindows.
Original source code published under open license by Chris Johnson.
Air-G Taped is a tape saturator based on the TapeHack2 algorithm by Airwindows. Unlike the other plugins in the family (Velvet, Pulse, Pop!), it is not a level compressor: it does not reduce dynamic range or clamp the signal’s volume. Its job is different — to add the warmth, cohesion and high-frequency control characteristic of a tape recording.
The TapeHack2 algorithm is also part of ToTape9, Airwindows’ full tape processor, which is the functional basis of Air-G Tape, the sibling plugin in this line. That relationship is where its name comes from: Taped shares the tape lineage of Tape, but focused on saturation.
Nor is it an emulation of a real tape machine: it is a digital hack that reproduces two characteristic tape behaviors by means completely different from analog ones. It does two things at once:
The result is warmth, cohesion, and softer, less fatiguing highs without losing definition. Because the high-frequency energy feeding the system changes, the way the rest of the mix breathes also shifts subtly.
“Is it a clone, or emulation? No, not even slightly. It’s totally different, not like a tape at all, but now it does two tape behaviors as hard as it can: softclip like a tape, but ALSO stop highs from getting louder, also like a tape — except you’re not remotely a tape.”
Air-G Taped interface.
Determines how hard the signal hits the tape. It is the main control of the effect: the higher it goes, the more saturation and more high-frequency control. The neutral point (0 dB) is at the center of the knob; to the right it adds up to +20 dB of drive; to the left it attenuates down to silence.
In MID or SIDE mode, INPUT controls only the amount of saturation of the processed component: its volume is compensated internally so as not to unbalance the stereo image. In STEREO mode, INPUT acts as both drive and level, just like the original algorithm.
Output level of the plugin, applied to the entire reconstructed signal (it is a post-mix master volume). The neutral point (0 dB) is at the center; to the right it adds up to +12 dB; to the left it attenuates down to silence.
When saturating hard, the overall level may change. OUTPUT lets you recover or adjust the volume without altering the character of the saturation.
Leave INPUT and OUTPUT at the center (0 dB) and raise INPUT gradually until the warmth and high-frequency control are what you want. Compensate the level with OUTPUT if needed — or use LINK to do it for you (see next page).
Blend between the processed (wet) and original (dry) signal. At 100% you hear only the tape signal (the original TapeHack2 behavior); lowering it blends in more and more dry signal.
Lowering MIX allows parallel saturation: the transients and body of the original signal are preserved, with the warmth and cohesion of tape underneath. Very useful on drum bus, bass and 2-bus when you want character without losing punch.
Links INPUT and OUTPUT as a mirror. With LINK on, if you raise INPUT by a certain amount of dB, OUTPUT drops by exactly the same amount — and vice versa, because the link is bidirectional (moving either one moves the other). This way you change how much saturation you add without changing the perceived volume.
When LINK is on, both knobs switch to a symmetric range of −18 to +18 dB (the center remains 0 dB), so that each knob movement always has its exact mirror on the other. Turning LINK on or off causes no volume jump: the knobs reposition themselves to keep the current dB.
On: to explore how much saturation to add while keeping the level constant — ideal for a fair A/B comparison, without the volume fooling you. Off: in MID/SIDE modes, where INPUT no longer controls level but only saturation, and the OUTPUT mirror would lower the volume unnecessarily.
Selects how the stereo signal is processed. It has three positions that snap as you turn the knob: SIDE, STEREO and MID. In all three modes the output is always full stereo; what changes is which part of the signal passes through the tape.
In MID and SIDE modes, the meter of the channel that is not working dims to show at a glance which component is being processed.
MID mode is ideal for adding cohesion and warmth to a master without narrowing the stereo image. SIDE mode lets you, conversely, work the sense of width. Used with a small amount of INPUT, they give a more glued and warm master without obvious artifacts.
The two meters show how hard the tape stage is working in real time. Since saturation can only attenuate the signal (never amplify it), the comparison between input and output accurately reflects how much attenuation the tape is applying to the peaks and highs. This is not gain reduction in the compressor sense — it is a readout of how hard the effect is acting.
The routing depends on the mode:
Simple activity indicator: it glows when the plugin is processing audio and turns off when the DAW bypasses it or stops passing signal. It does not pulse or blink — it just shows that the plugin is active.
Two behaviors: when the output approaches the limit (above -0.8 dB), the LED begins to light up gradually, following the signal in real time. If the output exceeds 0 dBFS, the LED latches at full brightness and stays lit until you click on it to reset it.
The two reels spin in sync with the DAW transport: they move while the project is playing and stop when it stops. A click on either one pauses or resumes the animation, in case you prefer to keep them still.
MODE STEREO, INPUT rising from the center, MIX 100% (or lowered for parallel). Adds warmth, cohesion and softer highs to the full mix. Because it smooths high-frequency energy, the mix tends to sound less digital and easier to listen to at high volume.
Moderate to high INPUT. Tames harsh cymbals and hi-hats and adds punch to kick and snare. Lower MIX for parallel saturation if you want to keep the original transient attack.
MODE MID. Adds warmth and density to vocals, bass or any element in the center of the mix without affecting the stereo width of everything else. INPUT to taste; LINK off in this mode.
Bright synths, sharp samples, programmed hi-hats: Taped is ideal for removing harshness and aliasing, rounding the highs and giving them body. Try it in STEREO with medium INPUT.
The heart of the plugin is two effects working together: the sine-like saturation on the peaks, and the high-frequency control via averaging filters that engage dynamically depending on the high-frequency energy. To appreciate the second, try a source with plenty of brightness (cymbals, synths) and raise INPUT: you hear how the highs reach a ceiling and stop growing, instead of getting brighter and harsher. Compare with the plugin bypassed to hear how much harshness was removed.
Air-G Taped was developed by Air-G Audio as part of the line of plugins based on the work of Airwindows.
The TapeHack2 algorithm is the work of Chris Johnson (Airwindows), whose original source code is published under an open license at github.com/airwindows. Air-G Taped is a reimplementation of the original algorithm with its own additions: M/S processing mode, LINK function, animated reels, activity meters and clip detection.
To Chris Johnson for his tireless work at Airwindows and for sharing decades of audio processing research completely openly.
Air-G Taped v1.0 — Air-G Audio. The TapeHack2 algorithm is the work of Chris Johnson / Airwindows and is used under the terms of its open license.