Outer Space v1.1.0 WiN MAC

Team R2R | 25 Dec 2017 | WiN: 15.1 MB | OSX: 87.8 MB

VST VST3 AAX x86 x64

Outer Space is a faithful emulation plugin of a famous vintage tape echo made in the early seventies. As the original unit, Outer Space features a tape echo section with three playback heads and a spring reverb tank. We have modelled three different tape frequency responses and saturations, along with all the analog imperfections of tape recording/playback. We’ve also modelled the ballistic response of the delay rate (repeat rate) which can create eerie pitch shifts (due to the Doppler effect), one of the classic tape echo-based sound effects

Vandelay v1.0.0 WiN

Team V.R | Dec 22 2017 | 1.71 MB

(Win32/64; VST3, VST)

Vandelay provides three separate delays in as many frequency regions. Each delay has an LFO that modulates the pitch of the audio stream. Together with tempo based delay times and feedback control you can create a very rich sound from almost any source. Sporting a clever, responsive and intuitive user interface, Vandelay is easily controlled and you will almost certainly get the hang out of it in minutes!

How To Use EchoMelt TUTORiAL

SYNTHiC4TE | Oct 15 2017 | 446 MB

A look at How To Use Echomelt, Psychic Modulation’s new multi-FX unit designed for adding character, texture and warmth to your sounds. This intelligent plugin, that won’t break the bank, can create warbling “VHS” tape snagging effects, swirling choruses, dubbed-out space delays, lo-fi saturated distortion and everything in-between. Over these two videos we firstly go through the user interface checking out each of the controls before we look at EchoMelt in use, adding the plugin to a bass, pad and lead section of a track to see how it can transform and improve the sounds.

Learn the Delay (Echo) Effect TUTORiAL

ilfsn | 02.10.2017 | 30 Mins | 536MB

Are you interested in Music Production, Songwriting and Making Music on your computer? Well the Delay Effect is one of the most essential for Music Production, whether you want a tight and focused sound, or a big, wide and spacey production.

Polaris v1.5.0 VST AAX WiN

Team R2R | 19 Apr 2017 | 4.7 MB

Polaris is an echo/reverb plugin inspired by early hardware digital reverbs of the late 1970s and able to provide echo, ambience and reverb out of a single multitap delay line. When hardware digital reverbs came out to the market they were really expensive. Most manufacturers were already exploiting chains of comb and allpass filters (smoother reverbs, but expensive in both resources and chips), there were other techniques involving the use of a single multitap delay line to create a reasonable reverb while keeping the cost affordable. That idea is so simple yet powerful: you mix a bunch of unmodulated taps (Early Reflections) with the remaining modulated taps (Diffusion) to create a cheap but convincing reverb.

Alter Echo v1.1 for Ableton Live v9.7.1 ALP

SYNTHiC4TE | April 05 2017 | 59 MB

Alter Echo is a Max For Live delay on steroids.

AlterEcho is a supercharged delay effect which can add complex rhythm and tone to your sounds. It is transport-synced with step-based parameters, enabling powerful control of your sound over time. Alter Echo specializes in creating rhythmic delays. It allows you to take high-level control of how echo behaves over time, so you can create and experiment with complex rhythmic movement. You can apply Alter Echo to your existing clips and sequences, or process incoming signals by dropping it on an Audio Input. It’s great for turning an ordinary drum loop into a spaced-out new rhythm, or for taking a pad, synth or instrument line and making it move and pump in time. On a live input the step based delays can provide inspiration for new grooves and melodies for live performers.

GS-201 Tape Echo v1.2.0 VST WiN

R2R KGN | 15/10/2008 | 5 MB

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 hich 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 eedback 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 sd of the tape.