#analog-tape-delay

[chris-ostkreuz]

How Digital Effects Turn Analog Into a Glorious Mess

In an age where music production often teeters on a fine line between pristine clarity and chaotic imperfection, digital effects have emerged as the architects of this curious juxtaposition. Gone are the days when analog sounds were cherished solely for their warmth and character; now, modern creators infuse these classic tones with a kaleidoscope of digital embellishments. This article explores…

[benjamindehli]

Lo-fi "synth pad" sound with Korg CX-3, multiple delay pedals and a SCF

Making some ambient lo-fi "synth pad" sounds with the Korg CX-3 organ, 4 delay units and a TC Electronic Stereo Chorus Flanger.

Instrument:

Korg CX-3 

Effects: 

Fulltone Tube Tape Echo

Boss DM-2 Delay

TC Electronic SCF Stereo Chorus Flanger

Electro-Harmonix Deluxe Memory Man

Diamond Memory Lane 2

[guitarbomb]

Unleash Classic Echoes with the NA 501 Chorus Echo Plugin by Nembrini Audio

Welcome to the world of impeccable sound where the past and present collide beautifully. Introducing the NA 501 Chorus Echo, a state-of-the-art plugin by Nembrini Audio, engineered to resurrect the legendary Roland RE-501 Chorus Echo’s hallmark sound. This modern digital marvel offers a seamless blend of nostalgic analog warmth and contemporary functionality, catering to today’s diverse music…

[tmbgareok]

I've always loved the dreamy, spacey guitar (?!) solo of "I'm Gettin' Sentimental Over You" and have wondered how you recorded it. Is the delay/echo done with tape? It seems like the song was recorded before digital delay (The song's from 1983? Boss' DD-3 came out in 1984).

JF: In the first years we only had a couple of effects, and we would print them onto the tracks on a regular basis. The delay you hear on almost everything super-early (including vocals usually with a very tight, chorus-like effect) is the Ibanez Analog Delay guitar pedal which I purchased on 48th St. days after it was available I believe in '83 (funny to think of something so completely noisy and essentially funky as "emerging technology" but that is kind of our story). Later we got a DD-3 and used it in very similar ways, but my suspicion is Sentimental is the Ibanez. To be candid, while the digital box was much much cleaner, our recording techniques were so tape-saturated and mossy sounding in general it is very hard to distinguish between the two on the finished product.

I don't think we had anything that actually made reverb (only delay, phase and chorus from pedals) so if you hear reverb it probably came from mixing (or recording) at Studio PASS which started happening in '84 I believe.

[soraka-in-warhammer40k]

I'm always fascinated when someone at the club rants about "how they just invented T'au to cash on them anime weebs", completly oblivious to the time and culture of their creation. So T'au came out first in 2001, and were obviously conceptualized some years prior, which puts them into the late 90s in their original design. This is slowly hitting "the majority of the populance has no relevant internet access whatsoever" levels of "barbaric analog ages".

So imagine where GW sits in the late 90s - its a small studio somewhere in England barely coming to touch with the first elements of the internet, with the most dominant medium being television which... is not really about "exotic" shows from the other end of the world? Those get ported over when they have proven to be a hit in their own country mostly.

And without the internet as we know it today, the anime community just... did not exist. You have to understand that the whole concept of online anime culture centred around piracy, fansubs, fanart, and the creation of the term "weeabo" was a mid-to-late 00s thing, and it took almost another decade before "weeb" was somewhat reclaimed and no longer an online-slur.

There was a whole generation that grew up with (often horribly localized) japanese shows on TV (Pokemon, Dragon Ball, Sailor Moon) which came over with some delay to their release in Japan. By the time this generation came to congregate into online spaces and form any sort of fan-identity and culture, the T'au and their battlesuits had already been a design over a decade old.

"But wait isn't Gundam from the 70s"? Yes, that is totally correct. However, this is the one glaring mistake people make: you cannot compare modern day media content circulation around the globe to the analog ages. Those of us who remember these barbaric analog times know how it was: you just did not know stuff existed. If it was not in the newspaper or on the telly, it might as well not exist unless you knew a guy who knew a guy who knew a guy.

Sure, the Internet was slowly becoming a thing that found widespread use, but it would still take a while - not to mention the technical limitations. No streaming episodes. You start the download (if you can find someone who hosted the file of a series you had to know even existed first) somewhere around lunch, to hopefully get something to watch in the afternoon. Oh and also that blocked the household's phone-line and if the download cancelled for whatever reason then it was back to square one. Under such conditions, the online community we know today could simply not exist, as the alternative was importing stuff from the other end of the world for quite the money, or hoping a really shoddy localized VCR-tape ended up at your Blockbuster-equivalent.

Of course there was anime before that time, even those regarded absolute classics in the west, but those mostly achieved that rank over here in retrospective. When in the late 00s people wanted to watch stuff and had the ability to do so they shared what was considered "the classics" first (shared to the best of their ability with one episode cut into 5 parts on youtube with sometimes very questionable subtitles).

So even if we assume there was someone at GW in the 90s who was a total "proto-weeb" and Gudam-fan, there was literally no reason to "make knock-off Gundams" because the miniscule western wargaming audience SIMPLY DID NOT KNOW THE STUFF.

You can't make a marketing ploy to reference something your average consumers have never heard off. If anything, the creation of the T'au as a robotic-centred faction was inevitable: they needed a design that could hold their own in the setting, but Necrons hogged the full-robot niche, Imperials were weird cyborgs, Orks the "madman-scrap-tech", and Nids the "biotech". The only thing left here was "not full robot but also very clean and efficient" - and just like that, the Battlesuits and Drones were born.

It was only in later years when the Internet had come into full swing where they decided to go full-suit with releases such as the Riptide, but if we talk about the OG design of T'au and the first decade? Nothing to do with anime or "fishing for weebs". The fish would not be coming to that spot for almost a decade, and it would take a bit more before their numbers were plentyful enough to make it worth casting a line out.

[we-are-houseguest]

"did you grow up lonesome and one of a kind? were your records all you had to pass the time?" ~ the queen of lower chelsea, the gaslight anthem

welcome back, y'all.

first off, i'm stoked to tell you (if you haven't already heard) that you can actually hear what we recorded with all of this instead of just reading about it when our debut ep,

cry about it

is released on january 31st!

(and if you're in/near vancouver, you can come see us at our release show the night before! rumor has it there'll be merch and new songs 👀 (there'll be merch and new songs, it's not a rumor))

now. let's talk about mj's guitars, shall we? he used a LOT more guitars than i did this time around, so let's dive in.

this is mj's fender noventa stratocaster, one of his two main guitars, and hot damn. this thing is unbelievable. i'm not usually a strat girl but changing the standard design is a good way to pull me in and this thing sounds incredible. the p90s are a fender custom design and they really are fantastic - i'd love to see fender making more guitars with these pickups. the thing weighs nothing and has such tonal variety that mj plays it on big aggressive tunes and the quietest, softest parts (this is the only rhythm guitar on pink power ranger, for example). if you find one of these, i really cannot recommend it enough. mj keeps this guitar in his half open c tuning, CGDGBe; something you may notice is that mj, rach and i often play in wildly different tunings. does my baritone sit more neatly with this weird tuning because of a natural eq curve? is this completely psychosomatic and it just sounds good and i'm overthinking it massively?

... moving on! he uses .10-.52 ernie ball skinny top/heavy bottom strings on it!

this is mj's other main guitar, the fender vintera 70's telecaster deluxe. what is there to say about a telecaster in 2025? hopefully lots. this thing is surprisingly light, given that it's just a big beefy slab of wood, and the wide range pickups sound fantastic. still very versatile, but when he goes absolutely nuts on taurus, for example, that's where these humbuckers shine. this thing is fantastic and comfy as hell (tummy cut forever!). he's got one of those d'addario auto locking straps on this thing and WOW is it ever comfortable. hell of a guitar, truly. he keeps this in e standard (for now; i see d standard in the future, though) and uses the same string set.

(fun fact I - this was my DREAM guitar when i was like 14-18 years old. I always wanted to like sg's but they never seemed like they suited me but then i saw THIS and that was that. it was my absolute dream to own one of these because justin pierre from motion city soundtrack played one and i was (and still am) just such a huge fan. maybe one day i'll use one, too.)

mj lives in the land of actual pedals as opposed to my digital utopia, but i digress. his pedal board includes:

source audio soundblox 2 dimension reverb

southampton pedals fifth gear (nasty, NASTY little motherfucker, so good)

boss cs-3 compression sustainer

source audio nemesis delay (an incredible delay, this thing is so versatile and powerful. it's like a time machine)

boss ph-3 phase shifter (i actually don't think he's ever used this but i'll check)

mxr analog chorus

ehx linear power booster

dunlop crybaby wah (there's definitely something funky with the switch on this one, hence the AM I ON? reminder tape)

boss tu-2 chromatic tuner (tu-2 forever!!!!)

and the fulltone ocd autism pedal (for the record fuck this guy and fuck his company; as of the time of writing, we've got it (tentatively) replaced with a boss ms-3 multi effects switcher (this thing is very cool. surprised there aren't more multi fx/switcher combos out there))

mj is one of the most creative guitar players i've ever heard and he can coax ANYTHING out of this board (which you'll see when our next songs come around). Big weird spacey things, heavy, nasty distorted things, beautiful math-y things... he gets it. he's got The Pedal Touch.

mj plays all of this through a fender tone master deluxe reverb. you might be wondering, why the tone master model? well.

a) you would never know that this is not a tube amp listening to it. never never never.

b) it weighs HALF and that's honestly a big swing right there

c) digitally recording it is not a compromise the way it was way back when with digital amps

d) built in attenuator??? hell yeah. it's not 1985 anymore, baby. the days of diming an amp to get "the best tube breakup" are dead!

as expected, given that it's emulating one of the most legendary amps of all time, it sounds fantastic, takes pedals incredibly well and can do... essentially anything.

now for the studio only guitars! (all three of which belong to rachael, incidentally - out of all of us, she's the guitar collector for SURE.)

mj played this epiphone sheraton ii on a couple tracks just for some tonal variety - different scale length, different strings, different pickups, semi-hollow... really brought a lot to the table for some tracks. these things are ENORMOUS - mj was less than pleased haha.

(fun fact II - i used to own one of these in black with gold hardware and i LOVED it and i miss it all the time)

we currently have this fender strat in half step down to facilitate some of our new stuff, but mj used this on the ep for some really chime-y cleans on re-run. we used it hyper specifically, but it really did the trick.

i used this prs se soapbar II for some kind of like. extra guitarwork, weird noise stuff, guitar pad-style sounds. not super frequent, but a good jack of all trades instrument that served us well! (plus it's a prs without those fuck-ugly bird inlays so that's a big point in its favour haha)

THERE YOU HAVE IT. all instruments have been revealed. in the next week or two i'll do a quick breakdown of what we used mic wise and in the box to record, as we did this whole thing ourselves, but 'til next time:

au revior/arrivederci/auf wiedersehen/adiós/etc

~ elizabeth

[pedaloftheday]

Today, we're looking at a now-discontinued piece of gear, and one of my favorite pedals EVER, The Wave Dual Delay Reverb Modulation from Foxpedal! Classic, vintage sounds echo from within this one, with some added options to help create unique and inspiring tones...head to YouTube to check out the demo video now, cheers!!

[8ractured]

ECLIPTIC | VOL. 07 | OCTOBER 2024 ISSUE “Sound Without a Source: An Interview with Jiang Yeqing” interview by rena sohn | photography by elias moon

ABOUT

Jiang Yeqing (b. October 31, 1997) is a Chinese musician, audio restorer, and drummer of Last Light, the cult-followed rock band whose sudden rise in 2023 became just as abruptly shrouded in silence. Their breakout moment came after a fan-edited scene from the 1997 horror classic Eat Your Heart Out went viral with the band’s track “picture to burn”, launching them into a major-label deal and securing their involvement in The Mask of All Hearts, a long-troubled film adaptation already infamous for its production delays and eerie reputation.

Though Last Light’s role in the project was limited to soundtrack contributions, studio tradition required all collaborators to visit the set at least once. Yeqing, it’s rumored, visited more than that—though he’s never publicly said why. When filming abruptly ended and the movie was shelved in early 2024, the band’s unreleased tracks were left in limbo, and with no official disbandment or release, Last Light quietly slipped out of view.

Since the shelving of the film, Yeqing has remained quietly active—focusing on analog restoration, experimental production, and the occasional collaboration that slips beneath the mainstream radar. His 2022 production work on Kwon Sera’s “glassbell” earned praise for its breathless percussion and ghostlike atmosphere, while his 2023 solo release no ghosts / only echoes sparked a wave of speculation. The fractured track, stitched together from corrupted tape and backwards-layered whispers, was rumored to contain pieces of Last Light’s unreleased material—though Yeqing has never confirmed this, and likely never will.

INTERVIEW

ECLIPTIC: There’s been a lot of speculation about Last Light. No official disbandment, but no new music either. Can you clarify where things stand?

YEQING: (quietly) We never said we were done. We just… stopped speaking at the same frequency. Maybe we're still tuning.

ECLIPTIC: Is there a possibility of a comeback?

YEQING: It depends on what you mean by “come back.” Some sounds don’t return the same way. Sometimes they just… bleed in. Unexpected. Half-recognized.

ECLIPTIC: The Mask of All Hearts soundtrack was never released. What can you tell us about it?

YEQING: There are pieces that exist. I’ve heard them. Some are unfinished. Some feel… wrong. I don’t know if they were meant to be finished.

ECLIPTIC: Can we expect to hear them?

YEQING: (a beat) Maybe. If they resurface, it won’t be in the form people expect.

ECLIPTIC: And your own work—there’s talk of a solo mini-album. Can you confirm?

YEQING: (long pause) I’ve been recording. A lot of what’s coming out feels less like writing and more like remembering. Like the songs already existed. I’m just pulling them through.

ECLIPTIC: Is it connected to what happened on set? Or after?

YEQING: I don’t know. I’m not sure the separation is that clean anymore.

ECLIPTIC: What does this new project sound like?

YEQING: Like echoes you thought you’d stopped hearing.

[ekssperimental]

INTRODUCING 𝗖𝗵𝗮𝗺𝗽𝗶𝗼𝗻 𝗘𝗳𝗳𝗲𝗰𝘁𝘀 𝗕𝘂𝗻𝗱𝗹𝗲

A Rack Extension Effects pair with a lot of vintage vibes!

𝐂𝐡𝐚𝐦𝐩𝐢𝐨𝐧 𝐒𝐩𝐫𝐢𝐧𝐠 𝐑𝐞𝐯𝐞𝐫𝐛𝐞𝐫𝐚𝐭𝐢𝐨𝐧 𝐔𝐧𝐢𝐭 𝟔𝟑𝟔

𝘉𝘳𝘪𝘯𝘨 𝘵𝘩𝘦 𝘭𝘦𝘨𝘦𝘯𝘥𝘢𝘳𝘺 𝘴𝘰𝘶𝘯𝘥 𝘰𝘧 𝘷𝘪𝘯𝘵𝘢𝘨𝘦 𝘴𝘱𝘳𝘪𝘯𝘨 𝘳𝘦𝘷𝘦𝘳𝘣 𝘵𝘰 𝘺𝘰𝘶𝘳 𝘙𝘦𝘢𝘴𝘰𝘯 𝘳𝘢𝘤𝘬 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘊𝘩𝘢𝘮𝘱𝘪𝘰𝘯 𝘚𝘱𝘳𝘪𝘯𝘨 𝘙𝘦𝘷𝘦𝘳𝘣𝘦𝘳𝘢𝘵𝘪𝘰𝘯 𝘜𝘯𝘪𝘵 636. 𝘐𝘯𝘴𝘱𝘪𝘳𝘦𝘥 𝘣𝘺 𝘢 𝘤𝘭𝘢𝘴𝘴𝘪𝘤 𝘶𝘯𝘪𝘵 𝘵𝘩𝘢𝘵 𝘩𝘢𝘴 𝘣𝘦𝘦𝘯 𝘢 𝘴𝘵𝘢𝘱𝘭𝘦 𝘪𝘯 𝘥𝘶𝘣 𝘱𝘳𝘰𝘥𝘶𝘤𝘵𝘪𝘰𝘯 𝘴𝘪𝘯𝘤𝘦 𝘪𝘵𝘴 𝘪𝘯𝘤𝘦𝘱𝘵𝘪𝘰𝘯, 𝘵𝘩𝘪𝘴 𝘙𝘢𝘤𝘬 𝘌𝘹𝘵𝘦𝘯𝘴𝘪𝘰𝘯 𝘰𝘧𝘧𝘦𝘳𝘴 𝘭𝘶𝘴𝘩, 𝘳𝘪𝘤𝘩 𝘳𝘦𝘷𝘦𝘳𝘣 𝘵𝘰𝘯𝘦𝘴—𝘱𝘦𝘳𝘧𝘦𝘤𝘵 𝘧𝘰𝘳 𝘢𝘥𝘥𝘪𝘯𝘨 𝘥𝘦𝘱𝘵𝘩 𝘢𝘯𝘥 𝘢𝘵𝘮𝘰𝘴𝘱𝘩𝘦𝘳𝘦 𝘵𝘰 𝘺𝘰𝘶𝘳 𝘵𝘳𝘢𝘤𝘬𝘴.

· 𝗔𝘂𝘁𝗵𝗲𝗻𝘁𝗶𝗰 𝗩𝗶𝗻𝘁𝗮𝗴𝗲 𝗦𝗼𝘂𝗻𝗱: Crafted with high-quality impulse responses, this reverb unit captures the rich, resonant tones that are a hallmark of classic dub and reggae productions.

· 𝗦𝗶𝗺𝗽𝗹𝗲, 𝗘𝗳𝗳𝗲𝗰𝘁𝗶𝘃𝗲 𝗖𝗼𝗻𝘁𝗿𝗼𝗹𝘀: Shape your sound effortlessly with intuitive controls for Input Level, Gain, Dry/Wet Mix, and Output Level. The Gain knob specifically emulates the warm saturation of vintage analog preamps, enriching your mix with authentic vibes.

𝗖𝗿𝗲𝗮𝘁𝗶𝘃𝗲 𝗠𝗼𝗱𝘂𝗹𝗮𝘁𝗶𝗼𝗻: CV input jacks for Input Level, Gain, and Mix allow for dynamic modulation and automation, perfect for creative sound design.

𝐂𝐡𝐚𝐦𝐩𝐢𝐨𝐧 𝐅𝐢𝐥𝐭𝐫𝐚𝐭𝐢𝐨𝐧 & 𝐃𝐞𝐥𝐚𝐲 𝐔𝐧𝐢𝐭 𝟑𝟔𝟑

𝘈 𝘱𝘰𝘸𝘦𝘳𝘧𝘶𝘭 𝘢𝘯𝘥 𝘷𝘦𝘳𝘴𝘢𝘵𝘪𝘭𝘦 𝘮𝘶𝘭𝘵𝘪 𝘦𝘧𝘧𝘦𝘤𝘵𝘴 𝘵𝘩𝘢𝘵 𝘤𝘰𝘮𝘱𝘭𝘦𝘮𝘦𝘯𝘵𝘴 𝘵𝘩𝘦 𝘊𝘩𝘢𝘮𝘱𝘪𝘰𝘯 636 𝘙𝘦𝘷𝘦𝘳𝘣 𝘙𝘌 𝘱𝘦𝘳𝘧𝘦𝘤𝘵𝘭𝘺. 𝘋𝘦𝘴𝘪𝘨𝘯𝘦𝘥 𝘢𝘴 𝘢𝘯 𝘪𝘥𝘦𝘢𝘭 𝘤𝘰𝘮𝘱𝘢𝘯𝘪𝘰𝘯 𝘵𝘰 𝘢𝘯𝘺 𝘳𝘦𝘷𝘦𝘳𝘣, 𝘵𝘩𝘪𝘴 𝘶𝘯𝘪𝘵 𝘤𝘰𝘮𝘣𝘪𝘯𝘦𝘴 𝘢 𝘧𝘭𝘦𝘹𝘪𝘣𝘭𝘦 𝘥𝘦𝘭𝘢𝘺, 𝘵𝘢𝘱𝘦 𝘦𝘮𝘶𝘭𝘢𝘵𝘪𝘰𝘯, 𝘢𝘯𝘥 𝘧𝘪𝘭𝘵𝘦𝘳𝘪𝘯𝘨 – 𝘰𝘧𝘧𝘦𝘳𝘪𝘯𝘨 𝘢 𝘸𝘦𝘢𝘭𝘵𝘩 𝘰𝘧 𝘤𝘳𝘦𝘢𝘵𝘪𝘷𝘦 𝘱𝘰𝘴𝘴𝘪𝘣𝘪𝘭𝘪𝘵𝘪𝘦𝘴 𝘧𝘰𝘳 𝘺𝘰𝘶𝘳 𝘱𝘳𝘰𝘥𝘶𝘤𝘵𝘪𝘰𝘯𝘴.

· 𝗔𝗱𝗷𝘂𝘀𝘁𝗮𝗯𝗹𝗲 𝗗𝗲𝗹𝗮𝘆: Offers delay times from 10 to 750ms, with sync options from fast 1/128 steps to long 2/2 cycles, perfect for creating anything from tight delays to expansive echoes. The delay can be bypassed by turning the knob all the way down, or by using the dedicated flip switch.

· 𝗧𝗮𝗽𝗲 𝗘𝗺𝘂𝗹𝗮𝘁𝗶𝗼𝗻: The signal is passed through a tape emulating stage for warm, analog-style sound. Adjust tape clipping (Soft, Medium, Harsh) and stability (0-100%) to add character and texture, emulating the imperfections and character of classic tape machines even when the delay is set to bypass.

· 𝗗𝘆𝗻𝗮𝗺𝗶𝗰 𝗙𝗶𝗹𝘁𝗲𝗿𝘀: Featuring gentle resonant 6dB/Oct high-pass and low-pass filters placed in the feedback path, each delay repetition can be subtly shaped to create unique textures and evolving effects. Perfect for adding movement and dimension to your delays.

· 𝗩𝗲𝗿𝘀𝗮𝘁𝗶𝗹𝗲 𝗘𝗤: Two-band parametric EQ with frequency control and a unique gain/attenuation knob that narrows the Q value when boosting, giving you precise tonal shaping.

· 𝗘𝘅𝘁𝗲𝗻𝘀𝗶𝘃𝗲 𝗠𝗼𝗱𝘂𝗹𝗮𝘁𝗶𝗼𝗻 𝗢𝗽𝘁𝗶𝗼𝗻𝘀: With ample CV connectivity and breakout jacks for custom feedback routing, the Champion 363 allows for endless experimentation.

𝘞𝘩𝘦𝘵𝘩𝘦𝘳 𝘺𝘰𝘶’𝘳𝘦 𝘤𝘳𝘢𝘧𝘵𝘪𝘯𝘨 𝘥𝘶𝘣 𝘵𝘳𝘢𝘤𝘬𝘴 𝘰𝘳 𝘥𝘦𝘭𝘷𝘪𝘯𝘨 𝘪𝘯𝘵𝘰 𝘯𝘦𝘸 𝘴𝘰𝘯𝘪𝘤 𝘵𝘦𝘹𝘵𝘶𝘳𝘦𝘴, 𝘵𝘩𝘦 𝘊𝘩𝘢𝘮𝘱𝘪𝘰𝘯 𝘌𝘧𝘧𝘦𝘤𝘵𝘴 𝘉𝘶𝘯𝘥𝘭𝘦 𝘪𝘯𝘧𝘶𝘴𝘦𝘴 𝘺𝘰𝘶𝘳 𝘮𝘶𝘴𝘪𝘤 𝘸𝘪𝘵𝘩 𝘷𝘪𝘯𝘵𝘢𝘨𝘦 𝘤𝘩𝘢𝘳𝘢𝘤𝘵𝘦𝘳 𝘢𝘯𝘥 𝘴𝘵𝘢𝘯𝘥𝘰𝘶𝘵 𝘴𝘱𝘳𝘪𝘯𝘨 𝘳𝘦𝘷𝘦𝘳𝘣 𝘵𝘰𝘯𝘢𝘭𝘪𝘵𝘺.

[fuzzkaizer]

scientificguitarist - Don't Tell Ray - PT2399-Based Oil Can Delay

DIY oilcan delay kit

"When it comes to delay, we are all aware of the tape, analog, digital, and even magnetic drum style delays like the Echorec. However, there is one design that has been almost lost to time, and that is the oil can delay. Invented by the founder of Tel-Ray, the oil can delay operates by using a spinning magnetic disk with carbonized rubber read and write heads. The disk spins in a can of special oil that helps to keep the rubber heads lubricated and to help prevent the leakage of the magnetically stored data.

In the guitar pedal world, there has been a small resurgence of interest in the oil can delay due to its unique, murky sound. Old Blood Noise Endeavors and Catalinbread both have digital emulations of them, but as far as I could tell, no DIY designs existed. I decided to see what I could do with the ubiquitous PT2399. Over the course of a few months, I spent hours reading and watching everything I could find on them, detailing things like delay time ranges, RPM, methods of degradation, etc. so that I could take them into account as best I could. While I don't claim this circuit to be an exact emulation, it does a great job of getting some of that super old school vibe in a DIY-able circuit. And because it's supposed to mimic a Tel-Ray, I have decided to call it Don't Tell Ray."

cred: scientificguitarist.wixsite.com

[brandywyne]

UrbanSpooks; Comprehensive Summary & Critique

I've been thinking about the series a bit since I first watched it. I decided to write up a comprehensive summary of each episode full of (most) images and information pertaining to each person within the series.

Warning, it is a horror series that artistically uses graphic content and paintings.

I wanted to go over it and give some opinions on what I think the series is doing well in, could use improvement on, some (hypothetical) ways that I think could improve the series, and perhaps a rambling or two.

Having said that, come hang out, get a little Cognac, ginger syrup, and sparkling fruit juice, and chill out. Just remember to drink responsibly!

Warning: This is a series that deals in...well...most everything you could imagine. For this reason, I will put an obligatory, Proceed with Caution for users who come into contact with my post. I will be discussing the paintings, the murders, etc so be warned.

I have a conclusion and critique at the bottom in case that's all you might be interested in, too!

Preface:

So, to start off with. Analog horror is a genre of "found footage" horror that often takes its shape from old VHS recordings, old recordings of government training videos, or old shows/locations that "existed" in the past but have been long since forgotten. It's akin to the modern age of Slenderverse/ARGs, in a way. ARG, or Alternate Reality Game, is a type of interactive interface creators use to engage their audience. It will utilize concepts of mixed media to its followers and give them pieces of a story spread out across websites, links, QR codes, IRL locations, and more. It's a way to keep the community interested and drip-feed content over time to keep fans interested. It's a useful way to keep an audience engaged and discuss your work, even if you're in a position where big pieces of media are unable to be released due to WIP or delays.

Having said that, it brings us back to "Analog Horror". What makes something "Analog" Vs. "ARG"? Analog by itself doesn't incorporate ARG concepts. Analog is often just the series or general footage created by the administrator of the series and doesn't utilize other websites, clues, mysteries (that the audience can solve outside videos), etc. UrbanSpook is a series that follows the "Analog" route as shown by the creator in the description of the series.

Episode One - FACES

(Original) (Archive)

The first episode of the series opens with the explanation that as of six months ago, police discovered three paintings stored away in an abandoned storage "area".

Each of the three paintings was titled after recent murders in the area. As we go through each batch of victims, I labeled them each by their own "Batch" to keep track of all reveals as they happen throughout the series to keep a concise order.

With these, we can begin building a timeline of events, victims, etc.

In Batch One, we learn of the first three victims of the killer.

Throughout FACES, we are presented with a series of victims, some identified and others unknown. A killer is established from the start, introducing us to "Mona" through her first self-portrait/reveal of the series.

From here, we can start developing a simple timeline to follow. I am going to use the details of the first reported murder as the starting point of the timeline. As of this moment, we do not have a year/month listed so improvisation will be made.

Since the first victim of the series is introduced to be "Carla Grey", I am going to refer to the starting point as the "Dawn of the Grey Era" or "D.G.E" for short.

I do want to mention the video's description again. "I found these in the basement of my apartment complex". As a member of the audience, we do not know when the killer operated or when the man in the series who found the tapes began converting them.

The fact that the tapes are on VHS and need to be converted to digital implies that the killer operated in the past (or that the story takes place in an alternate reality, but I doubt it).

VHS was introduced by JVC in 1976. The format saw a decline in the mid-2000s due to the rise of DVDs and digital media, and the last known manufacturer of VCRs ceased production in 2016.

This means the Killers were active (at a rough estimate) between 1976 (earliest) to 2016 (latest).

Another fact to consider is that DNA evidence was discovered in 1984 by British geneticist Alec Jeffreys. He developed a technique called DNA fingerprinting, which became a groundbreaking method for identifying individuals based on their genetic makeup.

In the past, brutal killings were easier to get away with due to the lack of this information at the time. Due to the lack of information we have on the killer throughout the series, I do wonder if the series is set between 1976 and 1984 when it would've been less of a hassle to properly handle the victim's remains, thus allowing for the ten victims in two separate batches of timeframes to pursue their victims and take their lives. (Episode two utilized DNA testing. This means it takes place post-1984.)

Due to being random tapes, they could also be out of order so timings of murders are hard to pinpoint.

Episode Two: THE LIGHTHOUSE

(Original)

In The Lighthouse, it is discovered that a police officer for an unknown county named "Bill Collins" and his family went missing. The date they went missing is unknown as well.

At some unspecified point, Bill Collins finds the "Self Portrait" of the killer Mona within his home, but can not recall its origins.

The police will go on to investigate his case, leading them to his home and finding his 2-month-old infant deceased and hanging in the attic.

His car will be found partially submerged in [an] ocean, another unnamed location.

A few miles from the submersion, an old, unused lighthouse that has been abandoned for "several" years is investigated.

When inspected, the door of the lighthouse reveals a red abstract painting of a face that loosely resembles Bill Collins.

Upon entering the Lighthouse, the corpse of "Daniel Williams" is discovered. A sequence of underground tunnels are found as well.

This leads us to Batch Three (left) and further elaboration of past victims (right). I will extend on each character's C.O.D. (Cause of Death), locations, times of disappearance, etc as they're released to keep each episode consistent minus a few minor details here and there. This is simply to keep the narrative going and reveal pieces as the artist intended.

The photos scattered around the barrel are said to be the "Collin's family moments before death" and include another picture of the Killer. There isn't much to say about it for now.

Updated timeline & minor corrections included.

Episode Three: IN THE WALLS

:( (Original)

The most distressing episode, I'm afraid.

I included the summary within the image to make it easier to follow. This episode works to develop victim(s) seven instead of introducing new victims. We're also introduced to our first (semi) named location, "Tiger Lake". It is also worth noting that the area code for the phone number is situated in Louisiana, giving us a rough location for the murders.

A few events occur within this episode to expand the timeline. I'm doing months at a 31-day increase, thus the change from 3 months/21 days into 4 months. This is also where I'm going to say that the timeline is likely NOT accurate. I'm following as best I can, but without explicit dates/time frames/key events the best I can create is a rough idea of how long the Killer has been active.

Also, remember that the narrator isn't always being truthful. There is a chance these tapes are out of order or perhaps killing times overlap with each other. Since the narration box states "open" phrases such as "several months", "Several days", "a few days", etc with no dates, it's hard to track when events are taking place. I treat each tape as a new "start" instead of a new continuation.

Episode Four: THE CLUE

(Original) (Archive)

Batch Four only contains one victim, [Investigator Sean Kane] and we obtain further elaboration on Batch Two's Tom [Harris].

A detail of note is the third arm found within Tom's waxy tomb.

Here, connections can start to be made.

I do want to mention as well that the "Perpetrator" may not be a painter himself, or that the only painting of his might just be "Man in the Pipes".

Since Killer 2 seems to dislike direct attention, there is a chance he was the one who painted Man in the Pipes and Victim3J (Jimmy/Jackie/James) since those three photos/paintings are untitled/sent in without titles. (Note: These could also just be pictures of the victims before death, but they also look like paintings so it's hard to say with certainty.)

Sean Kane goes missing one week after the discovery of Harris. It is unknown exactly when Harris' body was discovered, so at this point, the timeline is not accurate. It's hard to piece details together/move names around because we aren't really given much stability.

Episode Five: WITNESS

(Original) (Archive)

Batch five is introduced. We learn the murders take place on the West Coast and Stryker's remains are yet to be found.

Tina is the first victim to survive the encounters.

Episode Six: PIGS

(Original)

Batch six is introduced, the Ford family. It is implied that the killers laid low here for some time.

A painting of Tina is revealed.

The Perpetrator's identity is slowly being built.

In the muddied footage, we can observe the Perp engaging in Morse code where he tells us "I AM BILL COLLINS".

Bill collins was said to have had DNA found in the meat barrel with the rest of his family in the lighthouse. He was portrayed with the long white skinny face "moments before death". However, I don't believe that was actually Bill Collins.

If you look to the image above, we can clearly see the long face as one of the meat masks the Perp owns. However, he is not wearing it in the scene he announces his identity in. He appears to be wearing a face that strongly resembles Jack Stryker (who remains unfound).

The long face looks closer to the painting of "Scream Maggie Scream" and might actually be a ruse to have others believe Bill Collins himself is dead.

Due to Bill Collin's past connections as an officer, he'd be well-equipped in combat, forceful entry, homes of fellow officers, and inside information that could benefit Mona.

Bill Collins is also the only character revealed thus far who has the same eyes as the Perp, the shape of the faces fitting atop each other perfectly.

For whatever reason, I believe Bill Collins framed his own murder with the photo of "Maggie", skinned her face to hang upon the barn wall, left his previous life/family behind, and began working with Mona.

He also has a painting strongly resembling himself painted on the door of the Lighthouse. In it, he looks abstract, as though he had his own flesh removed in the unnamed painting.

Episode Seven: FAMILY

(Original) (Archive)

Episode Eight: MEAT

(Original)

A few interesting details are revealed in this episode. Unknown barking from dogs can be heard, though neither victim owned a canine.

And with that, that covers all the major points I wanted to cover within the series in my post.

Opinions & Critique:

I don't want to cover details everyone else has already stated, (Cory, dramatic murders, ethics, etc, others have covered this topic and I have no unique perspective to add to those discussions. I'd like to focus on the narrative itself and suggestions for improvement)

That took a lot longer than I thought, lol. Now I can actually talk about it!

UrbanSPOOK is a horror series that follows two killers and their shenanigans of mischief and murder. It's not bad for what it is, but I do feel like there is ample room for growth and development from a creative standpoint.

I'd say my biggest complaint with the series on a narrative level is that it offers a lot...but also not much.

When writing a story, one of the most important parts is pacing. Drip feed your audience information at a steady pace so that they can recall the information afterward and be able to discuss it. When you reveal too much information too quickly, it tends to go in one ear and out the other.

As of now, there are 33 victims in the series within eight episodes. To Recap: Batch One: Carla Grey, Jackie Gramm, James Miller

Batch Two: Tom Harris, Lisa White, Jimmy, Cory/Margaret, Daniel Williams, Jennifer White, Maggie

Batch Three: Angel Collins, Collin's wife, Collin's daughter #2, Bill Collins

Batch Four: Sean Kane

Batch Five: Tina Rosenberg, Flora Rosenberg, Jack Stryker

Batch Six: Mae Ford, Ian Ford, Fiona Ford

Batch Seven: George White, Jigsaw Baby, Zeke, Isabelle Jackson, Bruce Jackson, Janice, Fred Baker, Paul, >PIPES<, Polly Pocket,

Revealing so much information can be challenging to remember, even with multiple watches. One thing I'd like to suggest is possibly slowing down a bit on releasing new victims and focusing on some of the characters we haven't touched on.

Touch on each character bit by bit and take it slow and steady. Make the Painters the main course that we can be excited by. Have them be the dessert we try to rush through dinner to get to quicker. There is so much content to work with just from what's been established thus far.

Humanize the victims more. We obtain so much information about all the terror the Painters are reigning, but how is the town responding? Maybe consider a little bit of world-building within the story. Flesh out the town(s) the story takes place in (Houma, Louisiana).

What are they saying in the news? Who is covering it? Are they making it a political issue or something else?

What precautions are people beginning to take?

How have the Painters affected people on a wider scale?

Isabelle was a teacher, how are her students reacting to her demise? the parents? Faculty?

The police are losing many of their own, how are they reassuring the public during these difficult times?

Consider showing us some news feed, maybe a weatherman discussing the onslaught of murders. Maybe some news clippings or children hosting a memorial at their school for their lost classmates (Zeke, Cory, Margaret, etc). Maybe write some obituaries or funerals?

Who was Carla Grey? Who was she to the community? Who mourns her loss?

Maybe focus on designing some missing posters for the people still unfound? Include a picture, height, weight, skin color, clothes they last wore, etc to fit the theme of police reports.

Perhaps consider adding a date (even if just Month/day if you don't want to reveal the year just yet) for those of us wanting to build a timeline of the Killer's activities?

How is the town's economy handling all of this? Are people moving away? Are people staying out late at night like they used to since the Painters became active? Do kids treat the Painters like a silly urban legend they use to scare each other with? Are there kids trying to dress like them on Halloween and upsetting victims?

What are the parents of victims like Cory/Margaret doing? Are they standing up themselves and trying to get a movement going in their small town? How are they coping with the grief?

2. incorporate more direct language. When police tapes discuss events going on, they tend to use very direct language.

Refrain from phrases like "Several days passed", "A few days passed since the last murder", etc.

When asking the public for information about victims, they'll usually try to be as direct as possible and give any information they feel is safe to give. This ties back into what I suggested VIA missing person's reports and general descriptions of the victims.

3. Another narrative detail to consider is what exactly are the Painters doing? Are they progressing the story by killing a certain person? Why are they targeting the people they are? For example:

Was Isabelle Jackson killed because the Painters were targeting Zeke and his family only for Isabelle to catch wind? Did she teach Zeke and learn that he saw something he wasn't supposed to see?

What are the Painter's motives for each victim? Are they targeting police officers to thin the herd? Does Bill Collins want revenge against them for some reason?

Use the murders to progress the story.

Cause = effect.

One of the quickest ways to annoy an audience is to lead them on and give the impression of development while nothing, in particular, is changing. Since the first murder of Carla Grey to Wet Skin George, what has changed? What have the Painters caused long-term in the lives they've ruined? Who can we (as the audience) root for?

Try to have things happen for a reason. I know it can be easy to go for the next hella cool brutal kill in the story, but it hits so much more when it happens for a reason. Are people killed in personal ways that maybe affected Mona/Collins in the past?

For example, did Mona know Jackie Gramm sometime in the past? Maybe Jackie was a skilled swimmer who spoke down to Mona for her body (Jackie is painted quite beautifully. Probably the prettiest painting of them all.) Maybe Mona painted it like this because she was envious of her looks and skill in sports? She could've drowned her to make her "ugly" via the bloating of the water once she was killed. She could take pride in stripping that beauty and athleticism from her. Jealously taken to its final straw. It would especially be interesting since Mona seems to really love showing herself in her paintings and fearlessly showing her face. This is just one way she could be humanized in a way that wouldn't make us forgive her, but be more sympathetic to her and add a layer of depth. Make her and Collins complex, have us understand her, not agree with her.

5. Don't be afraid of giving your characters flaws. How have Mona & Mr. Collins managed to go as far as they have? Do one of them have medical knowledge?

Do they have low stamina? Are they weakened/emaciated from lack of steady food/clean water?

6. What is their endgame goal? All killers have a motive in one way or another. Does Mona hold anger towards those who didn't support her artistically? Does she aim to kill and paint everyone who told her she'd never get anywhere with her art? Does she aim to kill as many as she can and gain infamy that way as a means of coping? Is this her way to "get back" at those she deems did her wrong? (P.S. This isn't information you have to reveal to the audience btw! This is info that's good to have just to keep your character on track)

7. Don't be afraid to pull in details and inspiration from real killers/ stories/research. It can help add depth to your story and add twists for the watchers to catch onto and unveil.

Conclusion:

Overall, I'd say UrbanSPOOK has a lot of potential. It's far from perfect, but everyone has to start somewhere for their story. It's clear to see that Slug is pouring a lot of heart into the story and really trying to make something good. There is an attempt at development, it just seems to me like Slug needs a good nudge in the right direction.

The Painters are an interesting concept. There are so many ways that Slug could take the series and develop both the victims and their abusers. Even if the story progressed in a way similar to the Mystery Flesh Pit and we got glimpses into the Painter's depravities through newspapers, newscasts, etc it would add so much. It's what makes the Isabelle Jackson call and the animated porch scene so lovely to the series. It's distressing, but it gives us a very real reaction to the characters interacting in their environment. I would LOVE for UrbanSpook to continue in that direction. If we could just get some character development, I'm sure many more people would enjoy the series. Instead of having things happen for the sake of happening, maybe sit with a cup of coffee for a bit and clear your mind. If you were in the Painter's position, what would be your motivation for doing what you're about to do and what would you hope to achieve from it? The series is still so young and filled to the brim with potential. Even if we took the first eight episodes and used them as a season one, that could be used to set the foundation for the narrative itself and build upon it! Leaked phone calls from police/distressed citizens, revolts in the city, anger, sorrow, resentment, there is sooo much that could be explored in the series.

I'd like to finish my little commentary on a good note and say what I think Slug is doing good on. The art for the series is beautiful. It's that perfect level of macabre and surreal. It's like the paintings pull you into the character's minds and show their deteriorating mental state. I love the inclusion of Mona's self-portraits and the twists with Bill Collins.

I loved the animation in episode eight, the mixed media of a real image and the characters interacting was really good! The phone call with Isabelle Jackson had phenomenal acting. The distance of the operator, the desperation of Isabelle. The fact she likely gave the wrong address on purpose because she was worried about Zeke and maybe caught wind of the Painters taking interest in him is emotionally enticing and speaks volumes for her character. The Painters are such a fun and unique set of villains that I'm sure are so fun to explore and develop while also showing off your artistic ability.

I look forward to seeing the next installment of the series. And I'd honestly love to know, what else would other people wanna see in UrbanSPOOK?

[chris-ostkreuz]

Dialing in Depth: Warmth from Analog Gear Without the Sweat!

In the world of music production, analog warmth has long been revered, almost like a holy grail for sound engineers and musicians alike. However, the traditional route to achieving that sought-after warmth often involves a convoluted setup of vintage gear, cables, and a level of sweat that could rival a summer day in the Sahara. Fortunately, we live in an age where the essence of analog can be…

[stark-d]

⚠️ CHARITABLE DRAW ⚠️

U$899.00 in Plugins, read carefully, see how to win and do good!

NOMMAD Media in partnership with Vintage Music Label and with the support of BABY Audio jointly promote a charitable action to help Rio Grande do Sul.

2 Synths and 9 Plugins, approximately valued at U$899.00, will be raffled off, and to win, simply pay attention to the following rules.

🔸 Make a minimum donation of R$25.00 to vakinha.org.br/sos-enchentes-2024

🔸 Send the donation receipt and your Instagram handle to info@vintagemusiclabel.com

🔸 There will be 11 different winners, each winning 1 plugin or 1 synth to be randomly drawn

🔸 The same person cannot win more than once

🔸 Donors’ names will be added to a spreadsheet

🔸 For R$ 25, your name will be included once.

🔸 For R$ 50, your name will be included twice.

🔸 For R$ 75, three times.

🔸 The results will be broadcast live on June 3rd at 10:00 PM Brazilian Time.

🔸 Synths and Plugins from Baby Audio to be raffled:

🔥 ATOMS (Physical Modeling Synthesizer)

🔥 BA-1 (Analog-Modeled Synth)

🔥 TRANSIT (Transition Designer)

🔥 CRYSTALLINE (Reverb Plugin)

🔥 SMOOTH OPERATOR (Signal Balancer)

🔥 SPACED OUT (Delay-Reverb Hybrid FX)

🔥 IHNY-2 (Compressor)

🔥 TAIP (AI-Powered Tape Saturator)

🔥 SUPER VHS (80s Nostalgic Channel Strip)

🔥 COMEBACK KID (Delay Plugin)

🔥 PARALLEL AGGRESSOR (Processing Suite)

DONATE.

YOUR HELP CAN MAKE ALL THE DIFFERENCE.

R$25.00 IS EQUIVALENT TO U$4.87.

IT MAY NOT SEEM LIKE MUCH, BUT IT MAKES ALL THE DIFFERENCE.

[josephthesnailshow]

FNaPF is now done, here's why.

You saw the picture, and you’re probably confused, and yes, Five Nights at Prototype Fredbear’s is done, but only as a game series, and this means the series will continue as an analog horror series to finish the lore for good.

I just don’t feel the need to continue this game series anymore, because all this series was just a stupid idea that a friend of mine and I made, and I just made 1 and 2 for fun. But I felt overworked and overwhelmed by this series, and I barely even know how to code at all. I was just draining my entire life into this series, and I don’t even think I will live that long to expand the series further, and the fact I was ambitious is the blame for this.

That’s why I was delaying this entire series because I don’t know what to do with this series anymore, the game series, because I actually made analog horror tapes of the games before. I also want to make actual original games, and this series was only to be contributed to the FNaF fangame community. I wasn’t even looking for popularity or wanting the series to be as good as possible.

Don't get me wrong, I’m happy that this series got attention, and I’m keeping the games up just for that. As for Five Nights at Prototype Fredbear’s 3 (yes, the one was planned due to being ambitious; it was planned to be familiar to Five Nights at Wario’s 3), it is now canceled; I won’t bring updates and make it.

Though, as for the Roblox roleplay game, it is still being worked on, luckily. But the mainline games are no longer being worked on and made, and I’m also not going to make other FNAF-related games since I gave up on being interested in the series.

For those who want to continue playing the games, go for it; I don’t care; record it or whatever; go for it, but please give my other content some attention too, like my stories on the Spiral Nightmares wiki (which is linked in my Gamejolt pinned post) and my other channel called JTS (where my reboot of my animated 2018 series called Joseph’s World is on).

Sorry for how random this post was, but it’s true: FNaPF will no longer continue; it will be an analog horror series, and yes, I will still post here, but the posts will be random. As always, bye.

Check out:

Spiral Nightmares 

JTS

[extraplugins077]

FabFilter – Timeless 3 Version full 100% free download

Plugin Overview: FabFilter Timeless 3

Version: 3

Developer: FabFilter Developer

Website: FabFilter

Format: VST, VST3

Bit Depth: 64-bit

Tablet: Cured (Install and Run) | FLARE

System Requirements: Windows 10, 8, 7, or Vista 64-bit VST 2/3 host

FabFilter Timeless 3 is a highly flexible tape delay plugin designed for versatile sound manipulation. From simple echoes to intricate modulations, it offers a range of features to cater to your creative needs.

Key Features:

Vintage Sound: Delivers a vintage tape delay sound, satisfying everyday audio processing needs.

Effects and Filters: The stereo delay signal passes through five unique effects and up to six analog sound filters before returning to the input with adjustable feedback.

Interactive Controls: Well-thought-out controls and interactive delay and filter displays make programming custom delays straightforward.

Modulation System: Unique drag-and-drop modulation system allows easy adjustment of effects like ducking, wah, flutter, dynamic diffusion, and more.

Versatile Modulation: Create new modulation connections effortlessly by dragging and dropping with the mouse.

FabFilter Goodies: Includes FabFilter's signature features - perfectly tuned knobs, MIDI Learn, intelligent parameter interpolation for smooth transitions, interactive tooltips for help, CPU optimization, and more.

Ultimate Sound Processing Machine: With its unique effects, filters, patterns, and unlimited modulation possibilities, Timeless 3 can transform into the ultimate sound processing machine.

Verdict: If your plugins folder has been missing a delay effect, FabFilter Timeless 3 is the perfect solution. With a verdict of 10 out of 10, it's praised for its vintage sound, versatile modulation system, and the inclusion of FabFilter's signature features. Whether for simple echoes or intricate modulations, Timeless 3 is a highly recommended addition to your plugin arsenal.

[musicysound]

136 BPM. A pure techno construction reconstructed from analog fragments of the past. Classic pads, gated snares, arpeggiated bass lines, and processed vocal loops.

Melodic yet relentless: this reworking takes the '80s to a late-night warehouse session.

Vocals shine through the tape delay. The bass hits with modern precision.

This is pure techno, accelerated by memory.