SoundFonts it GS-201 Tape Echo v1.0 英文正式版(模擬器，用於模擬日本早期生產的磁帶機Echo軟體)
內容說明:
GS-201 是一款模擬器，用於模擬日本早期生產的磁帶機Echo
英文說明:
Tape echo effects were invented towards the end of the
fifties. Presumably the very first tape echo machine was
invented by Charlie Watkins of London, England, in 1958. It
was based on a small loop of 1/4" tape onto which audio was
recorded by a magnetic head and then read by three
separated heads. What was read from the tape was amplified
by the internal all-valve circuit and eventually recorded
back to the tape, creating the feedback or "sustaining"
echo effect. The delay time of the unit was determined by
distance of the write head from the read heads, in
conjunction with the speed of the tape. Many manufacturers
of this era produced their versions of echo machines,
mostly based on the magnetic tape system. The famous Binson
Echorec was based on a circular drum head with a metallic
magnetic stripe. It was used by Pink Floyd at the time of
their album "Echoes". Another famous tape echo machine was
the Maestro Echoplex, heavily used by pianist Herbie
Hancock. Other notable units were the Selmer TruVoice Echo,
the Dynacord Echocord, along one of the most famous and
widely used from 1973 to present day: the Roland RE-201.
This particular model has a tape loop about 4 meters long
which is recorded, read and erased continuously. It
consists of one erase head, one write head and three
pick-up heads, which when combined with the variable speed
DC capstan motor allows many different delay
configurations. This machine also offers a reverberation
effect based on a spring reverb tank. The combination of
echo and reverb gives an "ethereal" ambience effect which
ventually inspired the
Engineers so to name it "Space Echo".
Nowadays these machines are very sought after but quite
rare to find on the market, and their evaluation increases
year after year. There are many aspects that make the tape
echo stand out from a modern digital delay. Here are a few
of the main features:
1) the unpredictability. A capstan motor is never perfect
like a digital clock signal, resulting in slight variations
of the delay times and pitched sound.
2) the frequency response and dynamic range. A magnetic
tape is not as clean and flat as a digital recording.
Especially a loop of tape which is cyclically erased and
re-recorded many times in a short time lapse.
3) noise, hum, distortion. Defects that a digital system
shouldn't have, sometimes are wanted and can become
"musically acceptable".
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