Max for Live device — the Tape — delivers the sound and character of the tape recording with no hassles that come with the actual tape recording process. Although it’s not trying to match the profile of any specific deck, it captures the tone, feel and vibe of the generation deck represents. Each model has its saturation curve and authentic frequency responses at two speeds — 15 ips and 30 ips. They are measured from the actual decks, but slightly exaggerated to invite more sonic exploration.

Different tape formulations further imprint signal with a particular character.

When people refer to the "tape sound", they're typically alluding to the distinct characteristics imparted to audio when it's recorded on magnetic tape, especially in comparison to digital recordings. These characteristics have been deeply associated with some of the golden eras of music, making them nostalgic and often sought-after in modern music production.

Although there are many aspects of the character tape that usually imprint onto the sound, the device is focused on a few most important ones.

One of the most distinctive attributes of tape is its natural compression and soft clipping, which results in a type of saturation. This adds harmonics, particularly in the lower frequencies, leading to a warm and fuller sound.

A820 has the most headroom and starts saturating only when a signal reaches around -2 dBFS, A80 has a slightly softer saturation curve with a little bit less headroom. C37 on the other hand, being an older desk has a much softer saturation curve with a lot more compressed character which boosts the quieter parts, but rolls into saturation sooner than the rest.

The magnetic particles on the tape have a saturation point. When pushed beyond this limit, the tape naturally compresses the signal, which can smooth out transients and add cohesiveness to the mix. This is very different from compression you may get from dynamic processors such as compressors or limiters as it happens not through deliberate dynamic adjusting circuits, but rather comes from the physical phenomenon of the way tape recording works.

The tape and amplification/equalization circuits in decks can subtly shape the frequency response of a recording. Usually within ±3 dB range depending on the model and how well the deck is calibrated. The low end can feel more pronounced or rounded, and the highs might be slightly rolled off, adding to that warm characteristic. However, this can vary based on the tape speed: for example, higher speeds generally give better high-frequency response while losing a bit of low end. This is reflected in the Tape device and why it provides so much variability with just a few settings.

These refer to the minor speed inconsistencies during playback. "Wow" is a slower fluctuation while "flutter" is faster. These imperfections can add a unique, organic modulation to the sound, making it feel more "alive."

The mechanics of a tape deck play a pivotal role in maintaining the integrity and quality of the sound. Worn-out mechanics introduce a host of irregularities and imperfections such as increased wow & flutter, tape and drive slips — which result in tonal fluctuations, and uneven frequency response — all combined while sometimes problematic, can also be harnessed creatively to impart a distinct, nostalgic character to recordings.

A background noise is inherent to tape recordings. While often seen as a drawback and something to be minimized, some artists and producers enjoy the nostalgic and "live" feel it imparts. You can adjust the amount of tape hiss in your recording with a dedicated setting.

All of these aspects combined imprint your sound with a unique character reminiscent of the old tape recordings