How to dial in a great tape delay in Axe-FX III

Tape delay is an interesting thing that seems to describe a distinct combination of multiple elements that impact the delayed signal. EQ filtering, saturation, tape engine modulation, tape malfunctioning artifacts like crinkling, etc.

To me the best element of any tape delay is the wow and flutter effects of the natural modulation in a non-uniformly spinning tape motor that gives everything a vintagy, nostalgic vibe that comes from small unstable pitch variations over time. To me nothing has really captured this effect like the Strymon tape delay algorythms. I'm not the biggest fan of Strymon's tape delay overall because it feels like a caricature of an actual tape delay, and most specifically I think the high cut control has WAY too steep of a db/octave curve which makes the control sound a bit synthetic or bucket brigadey, but I have to say the way that algo handles modulation is something else.
 
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Use can use modifiers on the delay modulation rate and depth and mess with the modifier curve and/or use the random LFO wave to cause a bit of weirdness in the modulation.
 
Yea, the worn tape delay sounds great. Also enjoying the Zephyr delay.

I've been playing a bunch with a real tape delay in the loop of my axe lately, and I think a lot of the vibe of the real deal is the preamp- the echo is definitely unique, but the preamp changes the game quite a bit. TBH, using the delays in the Axe is a pretty clear sound- even the tape delay models, even with a bunch of realistic modulation thrown in- but the real tape delay drives quite a bit, and changes the EQ in a way that kind of darkens it up, and makes it really chewy and gritty. If I was going for clarity, I'd probably stick with the Axe delays. The real tape delay certainly adds some murky atmosphere to the overall tone, and a bit of gain, depending on where you set the preamp levels. It makes for a pretty awesome drive unit straight into an amp.
And, of course, it's analog, which means there is a pretty distinct noise floor to contend with, which isn't a problem in the Axe Fx models.
 
Yea, the worn tape delay sounds great. Also enjoying the Zephyr delay.

I've been playing a bunch with a real tape delay in the loop of my axe lately, and I think a lot of the vibe of the real deal is the preamp- the echo is definitely unique, but the preamp changes the game quite a bit. TBH, using the delays in the Axe is a pretty clear sound- even the tape delay models, even with a bunch of realistic modulation thrown in- but the real tape delay drives quite a bit, and changes the EQ in a way that kind of darkens it up, and makes it really chewy and gritty. If I was going for clarity, I'd probably stick with the Axe delays. The real tape delay certainly adds some murky atmosphere to the overall tone, and a bit of gain, depending on where you set the preamp levels. It makes for a pretty awesome drive unit straight into an amp.
And, of course, it's analog, which means there is a pretty distinct noise floor to contend with, which isn't a problem in the Axe Fx models.

Have you tried dialing in the drive and EQ of the delay in the Axe-FX to sound similar to your tape delay? I imagine the compander settings might also help get the tone closer.
 
Have you tried dialing in the drive and EQ of the delay in the Axe-FX to sound similar to your tape delay? I imagine the compander settings might also help get the tone closer.
I haven't attempted yet, but I'm going to try when I can get a couple of hours to set down with it. I'd love to be able to get it dialed in- if I can get satisfactory results, I'll post back here.
 
I've never ventured into the tape echo territory and you have my interest piqued.

Wonder if you could post a clip of some of that oscillation and swirliness you mention (maybe w/ & w/o dry over the top)?

Of the Echoplex??
 
Yea, the worn tape delay sounds great. Also enjoying the Zephyr delay.

I've been playing a bunch with a real tape delay in the loop of my axe lately, and I think a lot of the vibe of the real deal is the preamp- the echo is definitely unique, but the preamp changes the game quite a bit. TBH, using the delays in the Axe is a pretty clear sound- even the tape delay models, even with a bunch of realistic modulation thrown in- but the real tape delay drives quite a bit, and changes the EQ in a way that kind of darkens it up, and makes it really chewy and gritty. If I was going for clarity, I'd probably stick with the Axe delays. The real tape delay certainly adds some murky atmosphere to the overall tone, and a bit of gain, depending on where you set the preamp levels. It makes for a pretty awesome drive unit straight into an amp.
And, of course, it's analog, which means there is a pretty distinct noise floor to contend with, which isn't a problem in the Axe Fx models.

Yes! Great post! Thank you for saying this. :)

I was trying to make a similar point earlier in this thread that something (or a lot of somethings)
must be going on in those preamps to alter the perceived character of the repeats and it seemed
to have missed the mark when I mentioned that. :)

I feel the same way about the Electro Harmonix Deluxe Memory Man and it's pre-amp. Or even the
Catalinbread Belle Epoch Deluxe and its preamp.

Like you also mention, though, sometimes in a live situation that murkiness and vibe may not translate
all that well. I preferred a meager Boss DD-5 live for many years because it just seemed to sit bettter
playing in rooms that had a lot of wash and their own reflections going on as well.
 
Have you ever used a real tape delay or just pedals that are marketed as "tape delays"? Most pedals marketed as tape delays are caricatures of the real thing with exaggerated modulation, excessively narrow bandwidth and, often, companders in them to improve SNR. A well-tuned tape delay exhibits none of these characteristics. It seems the pedals are trying to replicate a tape delay whose cartridge is 40 years old and capstan is worn down to a nub.

If you want that faux tape delay sound use the Mono Tape type. Set the Low Cut to about 80 Hz, High Cut to around 1.8 kHz. Increase LFO 2 Rate to about 20 Hz and Depth to about 50%. Turn on the Compander for some grunginess. Adjust the parameters to taste.
Thanks for this I love those settings.
 
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