Anderton
I’m always looking for ways to get the “tape flanger” sound

Thanks, cant say Im a big connoisseur on flanging, but Ill give it a try, Ive used your Tape Flanger effect chain, in the "Anderton collection" it seems to work quite well also. 
 
Cheers
John
 
 

I may have mentioned this before, but my introduction to tape flanging was the flanging setup Hendrix used on Electric Ladyland. Our sessions were booked after his at the Record Plant, so the flanging was still set up. It was a treat when his sessions ran over and I got to see him mix. A lot of times the guys from Traffic were there, too. So when I say I'm looking for the tape flanging sound, that's the specific one I want.

Cool, must have been an awesome experience, I guess you can answer, "Yes"  to "are you experienced" LOL, I can see why this sound would have stuck in your memory.
 
Cheers   

Cool!
Sounds like quite the experience 
All the best.

Week 148: How to Use the New Drum Exciter Plug-In
 
With all the hoopla about the 2017.05 release, most people have overlooked the “Drum Exciter” plug-in that was included for Professional and Platinum owners. It emphasizes transients and adds “sparkle,” making it very suitable for drums, hand percussion, and other percussive instruments.
 
Maybe one reason it’s gone unnoticed is because it’s included in the Adaptive Limiter’s MP3 Encoding Preview function. But you don’t have to take my word for it: There’s an audio example that lets you hear the Drum Exciter’s effect for yourself. So stop laughing, and keep reading... 
 
TRACK AND EXCITER SETUP
 
There are two ways to set this up. The more traditional option is to add a Send to your drum track, and insert the Adaptive Limiter in the resulting bus. I prefer to dedicate a track to the excited signal, so I  insert the Adaptive Limiter in a  drum track, assign the drum track Out to an Aux Track, record the excited sound in the Aux Track, and finally return the drum track output to the Master bus (or wherever it went previously) after the recording is complete.
 

 
In either case, set the Adaptive Limiter Threshold to 0.0 for the most natural sound (later on, you might want to experiment with limiting to make the exciter effect more drastic). Next, click on the Expert button, then click on the MP3 Encoding Preview and Artifacts buttons. Set Lookahead to minimum, and choose 320 for the Bit Rate. At this bit rate, very little data is thrown away other than high frequencies and transients—exactly what we want for an exciter.
 
One of the reasons I dedicate a track to the excited sound is so I can normalize it up, and then use the channel fader to bring it back down to something reasonable. But regardless of how you do your tracking, adjust the excited sound’s level to taste, and voilà! An excited drum track.
 
BUT WAIT—THERE’S MORE!
 
There are two fertile fields for experimentation. One is to actually do limiting with the Adaptive Limiter, however bear in mind that the artifact sound will still have a bit of that “swirly” MP3 sound so it might not be cool. Or it might…experiment!
 
The second option is what makes this really useful: Insert the PX-64 Percussion Strip in the excited audio track (or bus with the Adaptive Limiter in it). Enable the Shaper module; turn Attack all the way clockwise, and Weight and Decay fully counter-clockwise. This emphasizes the transients, while minimizing the other artifacts.
 
THE AUDIO DEMO
 
Okay, I know you don’t believe me—and I don’t blame you! So to confound the skeptics, I’ve posted an audio example at craiganderton.com in the Demos section, and you can hear the results for yourself. Note that this particular example uses the PX-64 as described above, so it’s a bit more subtle. The first two measures are the “excited” sound, the next two measures are without the exciter (it’s an “after and before” example!), while the final two measures isolate the excited sound by itself.

Hey Craig...what audio player are you using on the exciter demo on your website?

Whatever comes with Godaddy's "web site construction for idiots" package 

mr anderton you would have to be one of the most 'out of the box creative people' doing the rounds, some of the stuff you come up with is quite remarkable, definitely a boost to the cakewalk world. i really like this one, although i would most likely use a purpose built piece of kit, that and i haven't used sonar that much since i switched 2 and a half years ago, still . . . excellent, well done

The Grim
though i would most likely use a purpose built piece of kit

Well...here's the thing. This doesn't produce a sound like an Aphex Aural Exciter, BBE Maximizer, etc. I don't use those on drums, but I would use this. The reason why is when you add in the limiting itself, that changes the character considerably. Also It's possible not just to push the transients, but give a bit of a "tail."
 
Using "out of the ordinary" processing gives a distinctive sound. It's more of the analog aesthetic, where no two "anythings" sound alike. Back in the days of big studios, there was a sense of experimentation that came from doing crazy things to see what would happen. A lot of the most iconic sounds in recording came not from anything purpose-built, but by someone saying "What if..."
 
Then again, to avoid personal embarrassment I don't write up the epic fails as a tip of the week - just the ones that actually work 

Craig, you have given me ANOTHER great idea using plugs that we already own.  I am going to try it out over the weekend.  I have been looking for some time to get a certain sound for the drum kit and have not had any success.
 
Thanks so much.
 
Clint