Your Mix Is Too Clean.
Feed It A Dying Tape.
A real VHS transport and a bleeding CRT television, not a tape plugin with a nostalgia filter. Wow, flutter and dropout modeled from filtered noise so nothing ever loops, run through 10 real tape-head impulse responses, with the actual CRT flyback whine and head-switching glitch bled in — the half of VHS every other plugin forgets.
60 factory presets · 10 impulse responses · NTSC & PAL · VST · VST3 · AU · Mac & Windows
Get TVHS — $9.50
Modeled.
Not Sampled.
Wow, flutter and scrape come from filtered noise, not looping LFOs — so a pad never settles into a cycle, however long the note runs. Tape drive pushes a pre-emphasis stage into the curve and pulls it back after, leaving the harmonics behind. Breathe models the VHS Hi-Fi compander mistracking — the noise floor swells after a transient and sinks again, exactly the way a consumer deck never quite tracks itself. Dropouts fire on a true random process, so they clump and leave gaps instead of ticking on a grid, and no two are the same depth.
The Half Every
Tape Plugin Forgets.
A VHS drum carries two heads and swaps between them once per video field — on screen it's the torn band at the bottom of the frame, here it's a tick, a noise burst, and the two heads sounding slightly different from each other. Flyback bleeds in the line-transformer whine and mains hum that leaked from every CRT in every living room. Switch between NTSC and PAL and both the field rate and the hum frequency follow, because a real deck was always one standard or the other, never a mix.
One Knob.
The Whole Deck.
Tone sweeps the entire audio path from the wide AFM hi-fi track to the narrow linear edge track, and four things move together the way they do on real hardware: bandwidth narrows, a head-bump resonance grows in the low mids as the track narrows, azimuth error dips the presence region, and a broad upper-mid shelf falls away. Turning it up doesn't just remove treble — it adds the thick, boxy weight of a worn dub, because that's what actually happens to the frequency response.
Real Tape Heads.
Captured, Not Guessed.
Ten convolution impulses pulled from actual tape and video hardware — where the modeled effects give you behaviour, these carry the resonance and colour of a specific machine. Video Chrome, Magnetic Vision, Analog Scan, Signal Gold, Chroma Drive, Vision Grain, Tape Vision, Retro Signal, Broadcast Noir, Ghost Transfer. Pick one first and dial the knobs against it — the impulse changes the character more than almost any single control.
Every Knob
Talks To Your DAW.
Every control on TVHS is fully automatable — wobble a pad up over eight bars, slam dropout in for one hit, automate the impulse switch mid-phrase. Mix blends the full chain against your dry signal, so the character can stay extreme while you decide how much of it reaches the track. Twin circular meters read the output in real time, and every effect dims its own panel the instant it's bypassed — the whole plugin's state is readable at a glance.
Six Stages Of Decay.
Every preset is a complete snapshot — all eleven effects, the impulse response, the video standard, the mix and the output trim. One click reconfigures the whole deck. Run from Clean Transfer through Home Dub and Rental Copy, into Tracking Error and Degraded, out to the deliberately hostile Dead Channel. Every impulse response appears once in every category, so working through one is also a tour of all ten.
