Recording January 2022 - 68

-Review by Bill Stunt
BABY Audio TAIP
An artificially intelligent take on
the sound of tape
Tape emulations abound. To coax out the nuances of a
vintage reel-to-reel tape recorder, TAIP from BABY Audio
employs a combination of machine-based learning and
clever DSP. The stated goal: deliver a tweakable analog
tape machine vibe based on the ideal emulation.
Reelin' in the years
The minimalist BABY Audio design aesthetic is on full display.
A modern, graphic representation of spinning tape reels dominates
the proceedings. The Drive reel controls the input level,
with higher values producing more saturation. The Output reel
controls output volume; an auto gain tab conveniently keeps
the output level consistent. If you forego auto gain, you can
drive the output levels into a brickwall limiter at the end of the
signal path-effective on the two-bus or in a mastering chain.
There is also a mix control for using TAIP in parallel mode.
Hiss and flutter...WOW
For all its charms, analog tape presents several sonic challenges.
Though it can be masked by careful attention to levels,
noise is endemic to the format. While tape hiss is part of the
nostalgic charm, here a Noise slider lets you dial in the amount
of 'charm' that best suits your needs. Interestingly, the noise is
only present when there is signal. For example, you can hear
the noise cut off with a gate-like effect on a percussive source
after the transient. Note that BABY Audio lists this as an effect,
and you only notice it when you emphasize it with the mix
control and your source is intermittent.
Wow and flutter, usually the result of a worn or dirty capstan,
introduces a woozy detuning effect. As with Noise, TAIP
allows you to introduce as much of this sonic degradation as
you choose via the Wear slider. If you use the Mix function and
combine Wear artifacts with the dry signal, you'll get a pleasing
phasing or chorus effect.
A gentle squeeze
The natural, warm compression of analog tape is also captured
nicely in TAIP, and the Glue function sets the amount. It's
decoupled from the Drive setting, so you can nicely achieve
more compression without pushing the drive and saturation.
BABY Audio achieves this by adding a supplemental DSPbased
compressor to the signal path whose algorithm is based
on tape compression characteristics. This means the effect stays
true to the paradigm of the plugin.
68 RECORDING January 2022
The highs and lows
Analog tape typically rolls off a bit of the upper-mid and
high frequencies-that's why aural exciters and enhancers
were invented. On TAIP, a Presence function gives you complete
control over those frequencies. You can boost them for
more clarity or attenuate them for a warmer sound. Traditionally,
driving analog tape hard can significantly alter the
frequency response. For this reason, TAIP adds Hi and Low
Shape filters that adjust the dry signal pre-Drive to help you
preserve those frequencies that might get lost or accentuated
when overdriven. You can also use these Shape tools to emphasize
the distortion.
Baby, I love your way
I used TAIP extensively on a recent mix project. I found it to
be really effective on the drum bus, where it added character
and weight to some well-played but slightly sterile-sounding
drum tracks. I also used it subtly on the mix bus to good effect,
nicely enhancing the whole song. Though I have been around
long enough to have an ingrained aversion to tape hiss and
wow and flutter, I found that adding a bit of Wear to a Hammond
organ part lifted that track from out of the weeds and into
prominence in the mix.
Is it tape, or is it TAIP?
I've had a Studer B-67 in my studio for the past few months
for a digitization project. My ears are very tuned to the sonic
subtleties that tape imparts. I can confidently report that the
AI baked into TAIP did a fantastic job emulating the nuances
of the format. TAIP nails the complexities and subtleties
of tape, and with its added flexibility and enhancements, it
delivers on the promise to make it work beautifully in the
modern context.
Price: $69
More From: babyaud.io
http://www.babyaud.io

Recording January 2022

Table of Contents for the Digital Edition of Recording January 2022

Fade In
Fast Forward
Soundware Showcase: Toontrack Fields of Rock SDX
A Family of Microphones Compared: The AKG P Series
Austrian Audio CC8
Stewart Copeland: Don’t kill the talent with the technology…
Akai MPC Studio Controller and MPC 2 Software
Soundware Showcase: Boz Digital Labs Claps, Stomps and Snaps Bundle
Inside the Box with Joe Albano: Drum Plugins and Processing
Avantone Pro: Gauss 7 Two-way Powered Reference Monitor
Plugin Outlet: PSP Audioware Saturator
Inside the Studio with Mark Hornsby: The Memphis Drum Sound
Soundware Showcase: Spitfire Audio Hammers
API Select T12 Tube Mic Preamp
Session Log: Frank Kimbrough tribute recording session
Audio-Technica AT2040
Plugin Outlet: IK Multimedia T-RackS TASCAM Tape Collection
Readers' Tracks
sE Electronics V Pack Arena Drum Microphone Package
Plugin Outlet: BABY Audio TAIP
Fade Out: Both Sides of the Glass Things
Recording January 2022 - Intro
Recording January 2022 - Cover1
Recording January 2022 - Cover2
Recording January 2022 - 1
Recording January 2022 - 2
Recording January 2022 - 3
Recording January 2022 - Fade In
Recording January 2022 - 5
Recording January 2022 - 6
Recording January 2022 - 7
Recording January 2022 - Fast Forward
Recording January 2022 - 9
Recording January 2022 - Soundware Showcase: Toontrack Fields of Rock SDX
Recording January 2022 - 11
Recording January 2022 - 12
Recording January 2022 - 13
Recording January 2022 - A Family of Microphones Compared: The AKG P Series
Recording January 2022 - 15
Recording January 2022 - 16
Recording January 2022 - 17
Recording January 2022 - 18
Recording January 2022 - 19
Recording January 2022 - 20
Recording January 2022 - 21
Recording January 2022 - 22
Recording January 2022 - 23
Recording January 2022 - Austrian Audio CC8
Recording January 2022 - 25
Recording January 2022 - Stewart Copeland: Don’t kill the talent with the technology…
Recording January 2022 - 27
Recording January 2022 - 28
Recording January 2022 - 29
Recording January 2022 - 30
Recording January 2022 - 31
Recording January 2022 - 32
Recording January 2022 - 33
Recording January 2022 - Akai MPC Studio Controller and MPC 2 Software
Recording January 2022 - 35
Recording January 2022 - Soundware Showcase: Boz Digital Labs Claps, Stomps and Snaps Bundle
Recording January 2022 - 37
Recording January 2022 - Inside the Box with Joe Albano: Drum Plugins and Processing
Recording January 2022 - 39
Recording January 2022 - 40
Recording January 2022 - 41
Recording January 2022 - Avantone Pro: Gauss 7 Two-way Powered Reference Monitor
Recording January 2022 - 43
Recording January 2022 - Plugin Outlet: PSP Audioware Saturator
Recording January 2022 - 45
Recording January 2022 - Inside the Studio with Mark Hornsby: The Memphis Drum Sound
Recording January 2022 - 47
Recording January 2022 - Soundware Showcase: Spitfire Audio Hammers
Recording January 2022 - 49
Recording January 2022 - API Select T12 Tube Mic Preamp
Recording January 2022 - 51
Recording January 2022 - Session Log: Frank Kimbrough tribute recording session
Recording January 2022 - 53
Recording January 2022 - 54
Recording January 2022 - 55
Recording January 2022 - Audio-Technica AT2040
Recording January 2022 - 57
Recording January 2022 - Plugin Outlet: IK Multimedia T-RackS TASCAM Tape Collection
Recording January 2022 - 59
Recording January 2022 - Readers' Tracks
Recording January 2022 - 61
Recording January 2022 - 62
Recording January 2022 - 63
Recording January 2022 - 64
Recording January 2022 - 65
Recording January 2022 - sE Electronics V Pack Arena Drum Microphone Package
Recording January 2022 - 67
Recording January 2022 - Plugin Outlet: BABY Audio TAIP
Recording January 2022 - 69
Recording January 2022 - 70
Recording January 2022 - 71
Recording January 2022 - Fade Out: Both Sides of the Glass Things
Recording January 2022 - Cover3
Recording January 2022 - Cover4
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