Remanence

Tape saturation, modeled as a system.

Remanence runs the complete reel-to-reel signal chain: input gain, record equalization, head magnetization, playback EQ, and gap loss. Each stage interacts with the others the way they do on real tape — not as isolated color added at the end, but as a chain that shapes the signal from the moment it hits the heads.

Choose a formula. 456 is thick, saturating, and noisy — the sound most people mean when they say “tape.” SM900 is linear and quiet, useful when you want the behavior without the character. GP9 and 499 sit between them.

Set the speed for the bandwidth and EQ curve you want. 15 IPS is the reference. 7.5 gives you more low-end emphasis and HF rolloff. 30 IPS opens up the top end and lowers the noise floor.

The Bias trim shifts what the heads hold onto at high frequencies. Over-biasing progressively erases short wavelengths — a physically grounded way to pull density out of bright sources without touching an EQ.

Put it on a vocal for warmth that doesn’t announce itself. On drums for the way tape glues a kit without a compressor. On a mix bus for cohesion that sounds like the track was recorded well, not processed.