Waves Audio J37 Tape User Guide
WAVES / ABBEY ROAD
J37
USER GUIDE
2
TABLE OF CONTENTS
Chapter 1 – Introduction ........................................................................................................................... 3
1.1 Welcome ......................................................................................................................................... 3
1.2 Product Overview ............................................................................................................................ 3
1.3 About the J37 .................................................................................................................................. 3
1.4 Concepts and Terminology ............................................................................................................. 4
1.5 Components .................................................................................................................................... 5
Chapter 2 – Quick Start ............................................................................................................................ 6
Chapter 3 – Interface and Controls ........................................................................................................... 8
3.1 Interface .......................................................................................................................................... 8
3.2 Controls ........................................................................................................................................... 9
Chapter 4 – The WaveSystem ................................................................................................................ 14
4.1 The WaveSystem Toolbar ............................................................................................................. 14
3.2 Preset Handling ............................................................................................................................. 14
4.3 Interface Controls .......................................................................................................................... 16
4.4 Waves Preferences (Pro Tools only) ............................................................................................. 18
Abbey Road Studios and their associated logos are trademarks of EMI (IP) Limited.
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User Guide
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Chapter 1 – Introduction
1.1 Welcome
Thank you for choosing Waves. To get the most out of your Waves processor, please take the time to
read this manual.
We also suggest you become familiar with the resources available to you at waves.com
find an extensive Answer Base, the latest Tech Specs, detailed Installation guides, new Software
Updates, and up-to-date information on Activation and Registration.
. There you will
1.2 Product Overview
Waves and Abbey Road Studios present the J37, a tape saturation plugin that is a precision model of
the very machine used to record many of the masterpieces of modern music. With a variety of useradjustable controls—including Tape Speed, Bias, Noise, Saturation, Wow, and Flutter—the Waves /
Abbey Road J37 faithfully recreates the unrivaled sonic signature of the original machine. In addition,
three exclusive oxide tape formulas have been modeled. Specially developed by EMI during the ‘60s
and ‘70s, each formula has its own unique frequency response and harmonic distortion behavior.
The Waves / Abbey Road J37 tape emulation plugin brings stunning analog warmth to your digital
recordings, delivering a level of hardware realism never before experienced “in the box.”
1.3 About the J37
The original J37 was a one-inch 4-track recorder designed by Swiss recording pioneer Will Studer. It
was Studer’s first multitrack—a true technological breakthrough that embodies versatility, functionality,
and simplicity in what was then a state-of-the-art machine.
In 1965 Abbey Road Studios purchased four new J37s, which were used on almost all of their
recordings until 8-track recorders were introduced to Abbey Road Studios in 1969. Before adopting the
J37, Abbey Road had used a 4-track Telefunken tape recorder, a large and cumbersome machine that
required a separate machine room. Since the producer and tape operator were in separate spaces,
communication problems were common, which complicated and prolonged the recording process. In
contrast, the J37 was small enough to be placed directly in the control room, opening up the creative
potential for multitrack recording.
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Following the rigorous testing process required by EMI of all equipment used at Abbey Road, a few
modifications were made to the J37s. Wheels were added to make the units easily transportable. A
Bulgin 3-prong socket was installed to enable connecting an oscillator, which was handy when using
the machine at non-standard speeds. A reverse switch was added to the back of the J37 to enable
easy playback of tapes recorded on the old Telefunken recorders, since these machines wound the
tape with the oxide facing outwards. Finally, the EQ preset switch, which originally offered the option of
NAB (American) or CCIR (European) broadcast curves, was locked to CCIR, the EMI-approved curve.
The frequency response of the J37 was outstanding, with a nearly flat response up to 18 kHz. This,
along with its 52 vacuum tubes, enabled it to produce a rich spectrum of tonal colors. During the ‘60s
and ‘70s, Abbey Road Studios developed a distinctive sound. This was partly due to special tape
formulas developed by EMI for exclusive use in its studios: EMI TAPE 888 (early ‘60s), EMI TAPE 811
(mid to late ‘60s) and EMI TAPE 815 (early ‘70s). Each formula had its own unique frequency response
and harmonic distortion behavior, which lent a distinctive timbre to the recordings for which they were
used.
While the J37 was used on many famous recordings, it is perhaps best known for its innovative use on
“Sgt. Pepper’s Lonely Hearts Club Band.” Producer George Martin utilized the machine not only for
recording but also as a creative production tool, bouncing tracks between two J37s and creating layer
upon layer of sound to achieve groundbreaking sonic textures.
1.4 Concepts and Terminology
An understanding of the following terms will help you achieve the best results using your J37 plugin.
• Wow refers to frequency modulation caused by speed irregularities of the tape machine motor.
The J37 plugin includes controls for both Wow Rate and Wow Depth.
• Flutter refers to amplitude modulation caused by movement of the tape in relation to the
machine’s recording heads. The J37 plugin includes controls for both Flutter Rate and Flutter
Depth.
• Bias refers to the inaudible ultrasonic high frequency tone (usually a sine wave ranging from 40
kHz to as much as 100 kHz) that’s added to improve the fidelity of analog magnetic recordings.
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Magnetic tape has a nonlinear response at low signal strengths, so the bias increases recording
quality by pushing the signal upward into the linear zone of the tape's transfer function. The J37
plugin includes a Bias level control.
• Speed refers to the speed at which the tape moves across the heads. The J37 lets you choose
between 15 ips (inches per second), which delivers better high frequency response and less
THD (Total Harmonic Distortion), and 7.5 ips, which delivers somewhat tighter low frequencies
at the price of reduced high frequency. .
• Tape Formulas refers to the chemical structures of the different tape media developed by EMI
and modeled for the J37 plugin.
o EMI TAPE 888 (early ‘60s) – Considered “lo-fi” and “grainier” compared to the other
formulas, with more distortion between 1 kHz and 8 kHz.
o EMI TAPE 811 (mid to late ‘60s) – Offers better high frequency response and slightly less
distortion than the 888 formula.
o EMI TAPE 815 (early ‘70s) – Delivers flatter high frequency response and less distortion
than the 811. Recommended when minimal coloration is desired.
These tape formulas were developed during the 1960s and 1970s, when recording levels were
considerably lower than they are today, so pay attention to the levels at which your signal “hits the
tape.” In general, average input levels of -3 – 0 VU will ensure proper gain structure within the plugin.
1.5 Components
WaveShell technology enables us to split Waves processors into smaller plugins, which we call
components. Having a choice of components for a particular processor gives you the flexibility to
choose the configuration best suited to your material. J37 includes the following components:
• J37 Mono
• J37 Stereo
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Chapter 2 – Quick Start
The most common use of the J37 is to add character to a dull track, and compress the audio without
using compressor. The “tape compression” that the J37 introduces has no time constants and thus no
pumping or other unwanted artifacts common to conventional compressors. Use it, for example, to
smooth transients or harsh high frequencies of an acoustic guitar. For a dirtier feel try going to the older
formulas (888/811) and lower speeds. Increasing saturation can give a cleanly recorded electric guitar
a creamy, mildly distorted sound. It can help shape kick drums to a very 60s sound, and enrich samples
and make them more real.
The possibilities with the J37 are vast. A good way to get to know it is to go over the presets supplied
with the plugin; they will give you a good idea of what you can do with it.
Use the Input level control (in its linked state) and the VU meters to adjust the input level. Make sure
the peak program material does not exceed +1VU – +2VU. These are good recording levels for the
virtual analogue “tape.”
The J37 default setting is: Formula 815, 15 ips, NOM Bias, which is the “flattest” possible setting. Try
changing the formula to experiment with more pronounced effects.
In general, use 15 ips for program material that requires more sensitive handling of high frequency
(acoustic guitars, vocals, strings, brass, etc.).
Use 7.5 ips for program material that is more oriented toward the low frequencies (kick drums, bass
guitars, celli, electric guitars).
For a dirtier sound switch to the 888 Formula.
Experiment with the linked Level control and listen to the differences in harmonic distortion and
compression effect—the higher the input, the more compressed/distorted the result, the lower the input
level, the clearer it gets.
In the Stereo mode, the default processing uses Modeled Tracks 2+3. This gives a wider stereo image
and better reflect what would happen with a stereo track recorded to Tape. If this effect is too severe,
Waves / Abbey Road J37
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