Tapes and Low Frequencies...Saturation -> Overdrive

[hseiken]

I got a question for you people rocking tapes...I noticed on one tune I recorded to tape, it had some low frequencies that were almost inaudible, at least on my cans (Denon DN-HP1000). However, when I recorded it just a little hot to my tape deck, it got some really cool saturation and overdrive effects, almost sounded like the tape was falling apart as it played.

My question is...does anyone know the technical side to get this kind of effect in purpose? For instance, I was hoping I could run a square wave so low, that it's essentially a DC offset at a volume that would 'hurt' the entire sound rhythmically...is that possible? Also, would sine wave do it better? And what frequencies can I run in there that won't actually reproduce any bass but still destroy the audio and what volume ratios between the 'clean' audio and the 'sledgehammer' audio is best to achieve a good effect?

Any help is appreciate. I'm somewhat of a layman in terms of tape shit, so I'm trying to learn here. Thanks!

[Rabot]

Interested in the development of this thread.

[admbmb]

Ive done this with software. I side-chained extrememly low frequency sine wave samples to the main sample bus, so you had pumping but with no kick.

When you slam to tape (record in the red), the natural material of the tape works as a compressor. So, just as you would use vinyl sim compression, the tape will allow quieter elements to be louder, but have the loudest elements occupy the headroom when they hit (in this case the sub-sonic frequencies).

I suppose you could generate a sine wave on the computer, use a low pass filter to get rid of the audible spectrum of the sine wave (leaving maybe 40 HZ and lower). Sine wav is the best, because it has the least harmonics.

[LimpyLoo]

Sine wav is the best, because it has the least harmonics.

Theoretically zero harmonics, no?

Another semi-relevant detail is how tape speed affects low-end and harmonic content.

Theoretically--once again--higher frequencies are better represented at faster speeds, and lower frequencies at slower speeds. So if you somehow wanted to represent a bass that went down to 1hz--way past the human hearing capacity, obviously--but having a tape going INSANELY slow would be your best bet.

So it seems it would follow that the harmonic excitement of tape saturation would benefit from the highest possible speed. You know, for any of you SUPER lo-fi guys that record slow.

Too much coffee, I'll shut up.