Audio Damage Traverse v1.0.0_WIN-GTA

磁带效果器/延迟插件Audio Damage Traverse
VST插件格式：
VST3/AAX/CLAP

Audio Damage Traverse是一款集低保真磁带模拟与立体声延迟于一体的插件，内置磁滞模型、哇音颤动、噪声与拼接系统，可营造复古质感与独特氛围。

翻译：
Traverse 是一款集低保真磁带效果和立体声延迟于一体的插件。磁带部分运行一个基于磁滞模型的磁带引擎，带有驱动、抖晃、颤音和倾斜均衡音调控制。延迟部分则具备延迟效果器的基本功能——时间、反馈、宽度、同步和乒乓延迟。后置延迟路由切换开关可以让你交换两者的顺序，因此你可以将其用作磁带风格的延迟效果器，或者用作内置延迟的磁带效果器。

此外，它还包含一个用于程序化音频中断的四控制拼接系统，以及一个具有九种风格的程序化噪声生成器——嘶嘶声、噼啪声、灰尘声、风扇隆隆声、60Hz 嗡嗡声、50Hz 嗡嗡声、白噪声、粉红噪声和 Califone 读卡器噪声。噪声会进入磁带路径，因此你设置的其他参数都会影响其输出。

使用中……
鼓组总线显然是最佳目标——只需几圈“驱动”和一些“哇音”，就能将干净的鼓组音色变成一种年代感十足的失真效果。人声效果也不错，尤其是在提高本底噪声的情况下；“嗡嗡声”和“嘶嘶声”可以让你获得类似调幅广播的房间氛围，而无需实际录音。我们通常将其用于合成器音垫，并提高拼接率，同时开启读卡器噪声音效，营造出设备故障的效果。如果你将其连接到单个吉他和弦上并按下“反馈”按钮，循环就会自饱和，形成一个你可以随意操控的持续音。最后一个效果是我们最喜欢的。

功能：
磁带引擎，采用磁滞磁带模型——在预加重和去加重滤波器之间封装了状态相关的非线性磁滞方程，并在饱和器阶段进行过采样。嗯，听起来就像一台磁带录音机。内部增益补偿可确保在整个“驱动”扫描范围内输出电平保持一致。

驱动 – 从干净的新磁带状态逐渐过渡到完全驱动状态，去除氧化铁。磁滞曲线会根据信号历史做出响应，这使其区别于静态饱和曲线。

抖晃和颤动 – 两个独立的深度旋钮分别控制磁带的慢速音调漂移（抖晃）和快速调制抖动（颤动），每个旋钮都由各自的低频振荡器 (LFO) 驱动，并叠加噪声成分。每个声道的调制赋予立体声图像一种自然的磁带抖动效果。

音调 – 位于磁带信号流中的双极性倾斜均衡器。左侧较暗，右侧较亮，中间平坦。一个旋钮即可实现高低频搁架式均衡。

反馈回路中的磁带模拟器 – 每个重复信号都会经过驱动、音调、抖晃和颤动处理。推高反馈旋钮，重复信号会逐渐饱和；拉低反馈旋钮，则会产生两到三种不同颜色的回声。

时间 – 立体声延迟时间，自由模式下为 20 毫秒至 10 秒；启用同步后，延迟时间将与宿主速度的节拍划分（直拍、三连音、1/32 拍到两个全音符）同步。

反馈 – 循环量，有上限限制，即使将驱动设置为最大值，循环也不会失控。

宽度 – 连续乒乓控制。正值会将第一个回声发送到右侧并交叉馈送通道。

拼接系统 – 程序化磁带拼接模拟器，包含四个交互控件。“时间”设置事件速率（事件间隔 0.5 秒至 1 分钟，旋钮行程集中在关键的快速端）。“深度”设置拼接量。“音高”和“幅度”切换每次中断的音高啁啾和幅度下降分量，因此您可以设置从干净的磁带到磨损的磁带的各种效果。

精选噪声生成器 – 九种程序化噪声：嘶嘶声、噼啪声、灰尘声、风扇隆隆声、60Hz 嗡嗡声、50Hz 嗡嗡声、白噪声、粉红噪声以及 Califone 读卡器声。选择一种噪声，设置其强度，噪声将直接输入到磁带路径中，并在每次重复播放时像输入信号一样进行塑形。

门限噪声 – 启用后，当输入静音时，噪声基底将比“噪声”设置低 20 dB，因此房间音仅在音轨播放时出现，并在乐句之间消失。

后延迟路由切换 – 关闭（默认）为 Space-Echo 模型：磁带优先，延迟次之，反馈信号通过整个磁带链返回。启用后，顺序反转，磁带仅处理延迟尾音，使 Traverse 成为具有更传统磁带风格的延迟效果器，并具有干净的输入路径。

混合 – 标准干湿信号混合，默认为全湿信号，因此插件从加载之初即可作为效果器使用。

无咔嗒声旁通 – 平滑的 50 毫秒交叉淡入淡出，适用于现场 A/B 对比和现场演出。
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原文：
Traverse is a lo-fi tape effect and stereo delay in one plugin. The cassette side runs a hysteresis-modeled tape engine with Drive, Wow, Flutter, and a tilt-EQ Tone control. The delay side does what delays do — Time, Feedback, Width, sync, ping-pong. A Post-Delay routing toggle lets you swap their order, so you can use it as either a tape-flavored delay or a cassette effect with a delay built in.

Layered on top: a four-control splice system for procedural dropouts, and a procedural noise generator with nine styles — Hiss, Crackle, Dust, Fan Rumble, 60Hz Hum, 50Hz Hum, White, Pink, and the Califone Card Reader. The noise routes into the cassette path, so whatever else you’ve dialed in shapes it on the way out.

In Use…
Drum buses are the obvious target — a couple turns of Drive and some Wow take a clean kit and age it down to a generation-loss dub. Vocals respond well too, with the noise floor up; the Hum and Hiss voices give you AM-radio room tone without having to record anything. We tend to use it on pads more than anything, with the splice rate up and the Card Reader noise voice running, for the broken-equipment thing. And if you park it across a single guitar chord and push Feedback, the loop self-saturates into a drone you can ride. That last one is our favorite.

Features:
Cassette engine with magnetic-hysteresis tape model – State-dependent nonlinearity hysteresis equations wrapped between pre-emphasis and de-emphasis filters, with oversampling at the saturator stage. Errr. In English, sounds like a cassette deck. Internal gain compensation keeps output level consistent across the full Drive sweep.

Drive – Sweeps from clean new tape to fully driven, shedding iron oxide. The hysteresis curve responds to signal history, which is what separates this from a static saturation curve.

Wow and Flutter – Two independent depth knobs for the cassette’s slow pitch drift (Wow) and faster modulation jitter (Flutter), each driven by its own LFO with a noise component layered in. Per-channel modulation gives the stereo image a natural cassette wobble.

Tone – Bipolar tilt EQ sitting inside the cassette signal flow. Darker to the left, brighter to the right, flat at center. One knob does the work of separate high and low shelves.

Tape emulator inside the feedback loop – Every repeat is re-processed through Drive, Tone, Wow, and Flutter. Push Feedback and the repeats bloom into a self-saturating wash; pull it back for two or three colored echoes.

Time – Stereo delay time from 20 ms to 10 seconds in free mode, or snapped to host-tempo beat divisions (straight and triplet, 1/32 through two whole notes) when Sync is engaged.

Feedback – Recirculation amount, ceiling-limited so the loop cannot run away even with Drive at maximum.

Width – Continuous ping-pong control. Positive values send the first echo to the right and cross-feed the channels.

Splice system – Procedural tape splice simulator with four interacting controls. Time sets event rate (0.5 seconds to one minute between events, knob travel packed at the fast end where it matters). Depth sets the amount. Pitch and Amp toggle the pitch-chirp and amplitude-dip components of each dropout, so you can dial in anything from a clean spool to a worn-out shoebox tape.

Curated noise generator – Nine procedural noise voices: Hiss, Crackle, Dust, Fan Rumble, 60Hz Hum, 50Hz Hum, White, Pink, and the Califone Card Reader. Pick a voice, set the amount, and the noise feeds straight into the cassette path where it gets shaped on every repeat just like the input signal does.

Gated noise – When on, the noise floor drops 20 dB below the Noise setting whenever the input is silent, so the room tone speaks only when the track does and disappears between phrases.

Post-delay routing toggle – Off (default) is the Space-Echo model: cassette first, delay second, with feedback returning through the full cassette chain. On flips the order so the cassette processes the delay tail only, turning Traverse into a more conventional tape-flavored delay with a clean input path.

Mix – Standard dry / wet blend, defaulting to fully wet so the plugin reads as an effect from the moment it loads.

Click-free Bypass – Smoothed 50 ms crossfade for live A/B comparisons and live performance use.

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