Pulsar Modular's P821 MDN Tape is a remarkable sounding approximation of the Stephens 821B tape machine. Let me be clear; this is not another they-got-the-rights-to-sell-a-tape-machine-so-they-did-a-pretty-GUI-on-top-of-a-cookbook-EQ-with-variable-delay-some-hiss-plus-distortion-plug-in. This release is worthy of its heritage.
A man of remarkable technical aptitude, John Stephens [Tape Op #54] spent part of his career working at NASA's Jet Propulsion Laboratory [JPL]. Many requirements in the space and military fields necessitated the invention of brand-new technologies. He would later use his experiences questioning groupthink and even the assumptions of physics as he developed his products. The result was that Stephens' tape machines were as unique as they were rare. From the tape path, transport alignment, power supply, tape tension, and input/output, just about everything going on in a Stephens machine broke accepted conventions. Consequently, a high-level understanding of these differences matters to get the most out of this plug-in. I became interested in Stephens' designs when I bought a 3M Series 79 16-track. Instead of navigating a gauntlet of guides, rollers, and tension sensors found on a Studer, Ampex, or MCI, 3M used only two rollers. Another studio owner said it looked like a Stephens. I knew he was talking about a machine responsible for Pink Floyd's The Wall, Steely Dan's Aja, and many other classic albums. Artists such as The Grateful Dead, The Cars, and Fleetwood Mac recorded on these and often purchased their own. But I didn't know much about the why. While both 3M and Stephens valued a low torque, simplified tape path, they soon diverged on just about everything. After modifying Series 79 machines for a few years, Stephens realized the only way to improve major systems was to start from scratch. The resulting breakthroughs directly impacted the sonics of his machines and, in turn, the Pulsar Modular's plug-in.
So, what were some of the main differences, and why did it matter to the sound? Removing the gauntlet of guides and rollers reduced tension so much that heads lasted significantly longer. Stephens also ensured that tape passed over the heads totally square and ruler flat, taking head wrap concerns out of the equation. Once aligned at the factory, the head assemblies stay in place, removing the need to adjust azimuth and zenith in the field. His first crystal-based timing circuit was superior to standard designs (later, he would shift to a gear solution that made the finest Swiss watchmakers smile). These choices led to another astonishing benefit: Almost no wow and flutter (0.03% average, worst case 0.05%). Stephens removed all transformers and/or tubes, opting for a clean I/O. His power supply, with positive ground, increased signal to noise. Meanwhile, the simplified circuits (many not listed here), lower torque demands, and minimal I/O significantly reduced overall power consumption. That translated to less heat and less operating noise. The Stephens ran so quietly that some studios kept them in the control room rather than a distant machine closet.
Many of those advantages matter if you happen to own a machine, but how does it affect a plug-in? It makes the tape choice more significant. Counting cassette variants and freeware, I own over 22 “tape” plug-ins. With many of them, settings like bias and even tape formula have negligible or minor impacts on the sound. Some simply apply a different EQ curve to the signal and call it a day. However, changing tape stocks is very noticeable with the Pulsar Modular P821 MDN Tape. Other than with my Ampex ATR using the Merrill Audio Pure Tape Head Preamp, this plug-in is one of the only times I've really appreciated tape itself, or at least to this degree. The P821 MDN Tape has two formulas, 456 (gold reel) and 900 (blue), and can run at 15 or 30 IPS. And remember what I said about bias? Don't ignore it here, where under and overbiasing opens up a way to manipulate transient and high and low frequency response. Maybe Pulsar Modular will include additional tape stocks in the future, but don't worry; these two cover vast sonic territory, especially if you're willing to tweak a little.
I found three main ways to use this plug-in: On individual tracks and/or submixes, across a full mix, and unexpectedly, as a creative effect processor. P821 MDN Tape really shines in the mixing stage. This is not only from the Stephens component but also from other elements. A feature common among Pulsar's titles is a Stage Focus control. It's a subtle effect on a full mix that imparts a finished vintage vibe or a more articulate modern sound. However, used on submix buses, the vintage feel placed on non-lead elements can smooth them into a cohesive soundstage, while employing the contemporary focus on vocals and lead guitar can bring them slightly forward. If you've worked with consoles and analog gear, you know that the gain staging choices can all but mix a record, and that's before you touch the first fader. Pulsar Modular invokes that experience for me. However, Alex Pasco (Adele, Foo Fighters, Robert Jon & The Wreck) might be a better judge. Last week, he relayed his experiences with P821 MDN Tape: "I had a mix that was 90% done, I threw the P821 plug-in on all of the group submasters... I increased the input gain, auditioned a few different tape/speed combinations, and then A/B'd it with my previous mix and it was an immediate improvement. The mix had more depth and width, and I immediately fell in love with whatever magic the plug-in was doing under the hood." Many of us get to the almost done part and search for that last touch that puts a bow on everything. In the right circumstances, this plug-in can do that.
In my daily work, I often deal with full-mix decisions. I confess I was testing the P821 MDN Tape and lost track of time. There are so many good things going on. The interface uses stacked VU meters, meaning each channel has two different colored needles: Black for the input signal and red for the output. Now I want that feature everywhere. Combined with control linking for in and out, it's easy to keep tabs on the sound without falling for the louder is better trap. Even with the default settings, a usable sound is never far away. Opening the virtual control panel reveals many tweakable controls. For me, the Lo and Hi Bias controls were a wonderland. With the Lo Bias at default, you get a very even frequency response, minimal distortion, and gently controlled dynamics. Counterclockwise gives more round lows at the expense of some articulation; going clockwise starts to feel like adding too much salt to a dish. A little is fine, but things start to break up and get fuzzy the farther you go. Hi Bias is slightly different. At twelve o’clock, it provides a balanced response but counterclockwise smooths everything. I initially thought of it as going back in time through the ‘70s the further I turned to the left. Moving to the right traveled into the ‘80s with a more sharp, clinical, square, new wave aesthetic. Even if none of these appeal to your situation, I want to point out that at least the controls do something on this plug-in. And you have to ask yourself, “If a company went into all the effort to crawl into the bias circuits, what care must have been put into the bigger items?” It's impressive.
I did little with the creative sound effects aspect of this title. But get ahold of the wild stuff you can do. There is a Lo-Fi button that boosts the mids and cuts the tops and bottoms. It's like an old Dictaphone machine. They added Wow and Flutter controls, which is funny when you consider the original Stephens machines were almost immune to those issues. Many plug-ins include high and low frequency shelves to rein in or boost after the tape. Here, a Pre toggle allows you to use those controls before the tape's saturation and compression. You can drive lows or highs (or mids if you cut both) to focus saturation on one area over the others. There are many other options, such as Hiss, Tape Delay, and a Flange effect driven by the Wow and Flutter Settings.
Pulsar Modular is on to something here. No other plug-in highlights the interplay of signal hitting tape the way P821 MDN Tape does. On individual tracks and submix buses, it does more than impart analog signature; it blends elements in an organic, cohesive way. On a full mix, it can gently shape transients and even nudge the EQ profile of a track, all without infringing on the intent of a mix. I'm very cynical about plug-ins claiming to be exact replicas of the original hardware. But I'm extremely impressed with the Pulsar Modular P821 MDN Tape plug-in. Beyond the tape, somehow, it can provide that intangible sense of “finished” when you need it. Sometimes, that can be all the difference.