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Software » Windows
Plugin Alliance SPL Machine Head v1.0.0 Incl Patched and Keygen-R2R screenshot
Team R2R | 2025.01.23 | 30.3 MB
SPL’s Machine Head is the finest digital tape saturator ever built. With the tone of tape becoming so popular in pro production circles, this discontinued hardware is in demand. Many plugin developers have tried and failed to capture the magic of its code, until now.

Nothing sounds closer, nothing sounds better
With the help of the latest advancements in hardware modelling, SPL and SoundArt worked together on the original code for Machine Head. The result is this very special plugin – nothing sounds closer to the studio hardware.

An essential tape processing plugin
Whether you're mastering tracks, enhancing mixes, or adding depth to individual instruments, Machine Head delivers authentic analog warmth, increased perceived loudness, and enhanced tonal richness, with easy controls and studio quality.

The authentic analog tape sound
Add those smooth harmonics to any signal minus the drawbacks of tape: no crosstalk, no noise floor, no fluctuations in motor speed. Get the sonic richness of tape, in a clean, controlled digital package.

Make tracks louder and warmer
SPL Machine Head adds power, punch, and warmth to digital sources while reducing harshness. With the ability to increase perceived loudness by up to 10dB, it’s ideal for boosting penetration and clarity. Use it on entire mixes and masters, as well as specific instruments like guitars, bass, drums, loops, and samples.

Features
Exact 1-to-1 replication of the original code from the iconic SPL Machine Head hardware
Authentic analog tape sound: precise models of analog tape saturation
Ultimate Mode: enhanced clarity, spatiality, and frequency control for modern workflows.
Low Frequency Adjust: Compensates for head resonance and tape speed artifacts.
High Frequency Adjust: Fine resolution for precise tonal adjustments.
Drive Parameter: Doubled resolution for detailed saturation control.
Selectable Tape Speed: Choose between 15ips and 30ips
High-speed recording simulation
Warmth and character without crosstalk, pre/post echoes, noise floor,
Dynamic Tape Compression



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comments

  Member 29.08.2015 73
+45
So, the question is: this or the MixHead?
  Resident 15.11.2020 2 936
+263
Both are nice pieces of software, I guess that in this case no one could resume your own ears. Also guess that u'll use both, for different scenarios of course.
  Resident 25.06.2021 1 526
+281
I'm curious as well but honestly I don't feel like installing it, so many distortion/tape plugins being released on a monthly basis... I might be wrong tho. With MixHead I actually conducted a blind test with other tape plugins and Satin won every single time (at least to my taste).
be kind :)
  Member 28.11.2016 966
+345
It's great, way better than mixhead. I hated Mixhead and deleted it fast. Your loss.

BTW you should think about layering plugs, not everything is a direct replacement for other things. You don't just take one tape sim then remove it and use this... keep whatever tape sim you like best, add small nuanced bits as you go with other plugs. This one is great on the mix bus.
  Resident 5.09.2017 167
+111
Discourse about this is still very muddied. In terms of accuracy, the SPL is the real thing, it's 1:1 since the machine is fully digital, including inputs and outputs. The MixHead is a very good approximation of the original, but there are conflicting discourses online: some people are saying that MixHead doesn't match settings with SPL (which makes total sense since MBS didn't have the original code like SPL does), while I have also seen people saying that they own a Machine Head hardware and the MixHead nulls better compared to the SPL (and they left it at that, no proof, nothing really).

Having tested both, I like the SPL better, it clicks better with me for some reason. But I have been using the MixHead all this time with no issues either. Both are good choices. SPL uses only 1% CPU while MixHead uses 0%, so there's that as well if it matters to you.

Since it's free here, just give it a try. Try doing two separate settings, one for each, and then match and see which one you like better. Since they seemingly don't sound the same at the same settings, you might find better settings on one faster than the other.
  Member 4.05.2021 498
+249
is it correct if I say that "for mixhead the input level is not affecting the sound" and with this PA SPL the input drive is very important? At least this is my first impression

Also, comparing the "serban preset" they sound a bit different, which is ok

That said I tested the mixhead all these months, but at the end it never gave me that "WOW", I am starting to test this PA SPL now and lets see after 6-7 projects what comes up for me
  Resident 25.06.2021 1 526
+281
How did you recreate that preset with the SPL plugin? Did you copy everything but left the IPS setting at 15 (which is the lowest setting)?
be kind :)
  Resident 28.08.2014 446
+190
In Serban's chain, Mixhead is gaining 1 dB of headroom and a bit of tightening (because it's a waveshaper) - even his atmos partner admitted that he didn't used the hardware for atmos mixes and he could find a replacement (before the plugin was out).

In the same chain there is compression, saturation, imaging, multiband dynamics, limiting. Surely trying any of the above on their own will not give you a WOW. They're put together like a neat puzzle, where every piece is doing its part.
  Resident 5.09.2017 167
+111
The input in MixHead *should* be affecting the sound since Make Believe is on record (there's a YouTube video) where they address how complex is actually the hardware. They are fully aware of the waveshaping introduced by the input knob. How close they got is another story, though.
  Member 17.12.2023 9
+1
I've drived the hell out of it on both plugins and this sounded better, mixhead sounded like the transients driven messed all up. I like mixhead tho because of the 3.75 IPS setting which is amazing
  Member 25.01.2020 116
+30
My ears like this one better...
  Member 28.11.2016 966
+345
THIS! Mixhead is crap.
  Member 21.03.2024 23
0
What have YOU done for People? In my opinion, you are crap...
Stop Complaining and Stealing - Go Pay Both Companies for Their Amazing WORK!
  Resident 29.11.2020 29 3021
+3073
Machine Head has high shelf boost (a lot like Air band boost, for how the curve going straight up. on its default setting, and it's there all the time unless you dial down the HF Adjust. What is that ? It's the High Frequency limiter make up gain added by default. Also to compensate the pre-emphasis boost (Dolby trick) pre saturation. It's old tech so maybe program dependent auto-makeup code wasn't a thing back then.

The plugin/hardware has a HF limiting going on to tame down the high frequency, or make the high end smoother, mimicking a tape machine response on the high end. It's another interpretation of managing high frequency:

1. some tape machine plugin maker believe the high frequency was rolled off (bandlimited) which translated to low pass filter in plugin land. Most tape machine plugins do this.

2. some believe they are also modulated at high speed, can be seen in u-He Satin, Slate VTM, IK Multimedia's and few others, I think the control is "Flutter". (personal favourite)

3. some believe it's limited/clipped that results in flattening/smothening of high frequency with a little loss in volume, perceived as natural roll off on the high end. (SPL Machine Head, Mixhead, Cubase Magneto that also coded by the same team/guy that made Machine Head)

Back to the make up gain on the high end, why we need to be aware of that :

1. It will make your mix sounds "better" in every ON/OFF comparison ever unless you drive it harder, so more high frequency getting limited equal to the amount of default make up gain added. The odd harmonic generated will emphasized it more.

2. It will make it sounds brighter in every matched level comparison with MakeBelieveStudios Mixhead. As all of us already knew, brighter will be perceived as "better" by our brain in matched level comparison. MBS Mixhead apparently doesnt compensate the lost high frequency due to the HF limiting. Otherwise MakeBelieveStudios Mixhead roughly matched everything else despite having a little different (older) method of waveshaping (generating harmonics). Made me doubt SPL is 1:1 code because it's using PA's generic single harmonic generator seen in their AMEK's plugins.

In my opinion MBS Mixhead is a good emulation, they tried their best and got real close assuming the SPL is 1:1 code (havent read the manual). I'm yet to win my Grammy, so I think I'll stick with Gold preset. Not because it sounds good, it doesnt have to be. I have 10000 EQs for high shelf boost and TDR Limiter No.6 with superior, unbeatable HF limiting. Imma read the manual of the SPL now.
  Resident 11.08.2012 16 242
+601
It needs to be noted that the high shelf boost is not always there; it is level dependent. The lower the input signal is, the lower the shelf. At 15 IPS, at -18dBFS and below, there’s not high boost, and anything above -18 starts to be brighter progressively.
Come back, on the fonky track
  Resident 1.04.2015 202
+119
Dang that was fast.
This gives us the opportunity to compare on our own with the Metric one.
Did not follow the history with the releases and not even knew about the hardware. Seems quite praised and important in the mixing practices history.

But, really, with what we have today with stuff like Satin, UAD, and IK Tapes, what's the benefit of having this port which seem to be a very fine-tuned eq+compression+harmonics+multiband formula ? There's an evident value for recalling a workflow using this equipment, learning different ways to process, but I kind of question the relevance in terms of pure "sound quality" processing.

Yeah I don't know shit about this piece of hardware lol
  Resident 7.01.2016 3 612
+184
The marketing about this is bc Serban uses it.

And yeah, that's all.
  Resident 31.05.2010 4 2301
+552
One of very few P.A plugins that doesnt work on win 7
  Member 19.01.2023 96
+12
Thanks a lot funtime & R2R
  Resident 14.04.2010 121
+29
I'm on Reaper, Win 8 and can't seem to be able to run the plugin. Is there perhaps a way to make it run on Win 8? Anyway, Big thanks to R2R and the Audioz community.
  Resident 19.01.2016 294
+112
Change to win 10 LTSC and thank me later
  Resident 3.01.2016 2 897
+307
Blue cat Patchworks will get it working let us know.
  Resident 7.01.2016 3 612
+184
I stand by what the developers themselves said.... ‘The "Ultimate" version is taking advantage of the benefits of today's technology’. I appreciate the control on the low end. I don't want to go into too much detail as this decision is 100% based on my ears.
  Resident 2.03.2019 9 682
+716
anyone see any difference between BuBBiX and R2R releases? Seems to be the same thing afaict...
  Resident 5.09.2017 167
+111
Bubbix is pre-patched, R2R is keygen.
  Resident 2.03.2019 9 682
+716
In the real world a DIGITAL Tape machine doesn't induce the same kind of "analog warmth" that an actual analog tape machine does. Whatever "warmth" is gleaned from a DIGITAL Tape machine will be ONLY from the analog record/playback electronics and not the tape/head transfer. When recording to analog tape both the record/play electronics AND the head/tape transfer are what makes the complete package as far as "warmth" is concerned. Hence these so-called digital tape emulations are an oxymoron. Mostly what this thing here and others of its ilk boil down to is simply just adding digital filtering, wave shaping, eq, phase, and distortion parameters to an input signal rather any addition of true analog harmonics and characteristics. Some have mentioned boosts in high end and such... This is completely uncharacteristic of analog OR digital tape emu altogether. If your analog (or digital) tape machine is producing a high-end boost then that machine is probably in serious need of alignment.
  Resident 15.11.2020 2 936
+263
Absolutely agreed. Anyway... does not almost every plugin tryin' to replicate marvellous & simple things as *natural sound* employing extremely intrincated ecuations & and lying a little (sometimes too much... )? For now is just trial & error, some plugins are astonishing (for me at least). For the poors (like me) the only way to approach to some sort of *good sound* is through software, I'll never build my analog preciouss, not only 'cause money lack, but time lack too. Best of our chances are education, shared efforts & an open mind.
  Resident 2.03.2019 9 682
+716
Yep. You are correct. I worked in quite a few analog studios so I know first hand what "analog" sounds like. The algo's and prevarications perpetrated by almost every VST plugin dev out there proves that they really don't get it at all. Or maybe it's just that the plugin buying public, like you say, needs education. Every once in a great while a dev, whether by chance or on purpose, does manage to get it somewhat correct. But I have noticed especially with most of these "saturation/analog warmth" type plugins I have still yet to find one that truly does sound like an analog tape machine.
  Resident 29.11.2020 29 3021
+3073
the high end boost on the plugin is part of a make up gain for the pre/post emphasis EQ on mostly used hardware placed in front the tape machine in a signal chain for noise management, the Dolby unit. In the plugin the added gain after will only make sense if the plugin is pushed to a certain level that the same amount the high frequency is lost due to the tape natural compression on the high end. To code it there, static by default rather than automatic is unacceptable because AGC code these days are quite good. They don't bother to do it because there are more pros for their side (ie. things get brighter, sounds "better") than cons. It gives them a slight edge against the competitor because the majority of the users dont bother to check it or being fully aware of its existence. They win for this purely marketing bs.
  Resident 2.03.2019 9 682
+716
Of course your analysis is correct. But IF the dev's intent was to make up for artifacts tossed into the mix by noise reduction (e.g. Dolby, DBX, etc) then they should have included the matrix's for those NR's (and whatever else they intended) inside the plugin. In fact playback of an actual tape recording encoded with Dolby or DBX will sound way off in dynamics and freq response unless the proper decoding is applied to the signal. I don't think that is what is happening here with this plugin. They appear to be simply applying some preset processing signatures to the input signal in an effort to induce some sort of harmonic distortion ("warmth"). In fact there doesn't appear to be anything these plugins really do that couldn't be accomplished with a decent VST mastering chain.

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