$24.99+

Most delay devices reproduce repetition. Tape echo systems altered the signal itself.
The original RE 201 became iconic not because it was clean, but because every stage of its circuitry continuously reshaped the material passing through it. Transistor amplification introduced asymmetry. NAB equalization emphasized and softened different frequency regions at different moments in the signal path. Magnetic tape compressed transients long before obvious distortion appeared. Mechanical instability generated subtle motion that no static digital delay line could reproduce convincingly.
REcho approaches this behavior as a physical process rather than a cosmetic effect.

Built in Max for Live with a detailed Gen based architecture, the device models the interaction between recording amplification, tape saturation, playback coloration, head response, motor inertia, and spring reverb diffusion as a connected system. Instead of applying isolated “lofi” filters after the fact, the coloration emerges from the internal signal flow itself.
The result is not simply vintage tone. It is movement.
Low frequencies accumulate density in feedback loops without collapsing into mud. High frequencies soften with repeated passes in a way that leaves room for percussion and sub energy. Harmonics develop gradually across repetitions, creating the unstable depth associated with classic dub mixing and early tape based spatial design.
For dub, dubstep, future garage, experimental bass music, and degraded ambient textures, this behavior changes the role of delay entirely. Echo stops functioning as decoration and starts acting as an instrument layer inside the mix.
Several design choices inside REcho are responsible for this character:

The transistor stages are based on asymmetrical BJT style behavior derived from Ebers Moll approximations, producing uneven harmonic growth closer to hardware circuitry than conventional soft clipping.

The interaction between pre emphasis, de emphasis, tape compression, and head loss modeling creates repetitions that darken organically over time while preserving intelligibility.

Delay time changes are smoothed with inertia inspired modulation rather than abrupt parameter jumps. Small fluctuations accumulate naturally, closer to a mechanical transport system than synchronized digital timing.

Tape wear affects saturation response, noise floor, frequency rolloff, and low frequency resonance simultaneously. Instead of adding random degradation, the device behaves like a continuously aging machine.

The internal reverb section is designed around diffusion structures associated with classic spring tanks, producing reflections that feel physical and unstable rather than polished.
REcho is especially suited to producers searching for:
• Deep tape feedback textures
• Classic dub spatial behavior
• Saturated repeat structures for bass music
• Degraded ambient environments
• Lo fi rhythmic motion without artificial nostalgia
• Hardware style instability inside Ableton Live
This is not a transparent utility delay. Precision was intentionally sacrificed in favor of physical response, accumulated coloration, and imperfect repetition.
Over time, those imperfections become compositional material.
REcho is available now for Ableton Live and Max for Live.
All future updates are included free of charge. After purchase, simply log into your Sellfy account used for the order to access the latest version automatically.

v.6.0 ... Migrated to physical modeling.. (2026/5/8)
ver.5.0 ... Totally sound engine updated.
ver.2.0 ... Spring reverb added.
ver.3.0 ... UI updated, tone tuned.
ver.3.0.1 ... Initialize bug fixed.
ver.4.0 ... UI updated, echo algorithm updated, spring paralleled, Dry/Wet added.
ver.4.1 ... Echo tone bug fixed.
ver.4.5 ... Apple silicon, Live 12 support
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