Slate vcc 2 full#
Slate vcc 2 pro#
Slate vcc 2 trial#
Slate vcc 2 Offline#

I have found that, along with native plugs from Sam (both bus and 2-bus processors) these Slate processors make that final '10%' of the mix easier to navigate, and with nicer results than not using it. The FG 401 strip - which emulates a VCA-based SSL channel compressor, also has a 'transformer on/off switch', as well as 2 selectable 'circuit paths' one is punchy and hot, while the other is more transparent and 'smoother'.

There is also an added processor that you can add to the track - Revival - which is an harmonic enhancer for upper air/silk, and a thickness control, which does the same with the lower frequencies.

Slate vcc 2 trial#

I've also downloaded a trial version of the VMR collection - which is the Virtual Mix Rack - which gives the EQ and Dynamics sections modeled after desks like the Neve 8048, the SSL 4000, a FET compressor similar to an 1176 and a tube based C/L, similar to an LA2.

Slate vcc 2 pro#

( It also comes with a console 2-Bus processor for each of the consoles as well) and I'm happy with the sonics, the efficiency (it's not at all taxing on my CPU - which is an HP, AMD 3.2g Quad Core, 8 gig RAM, 2 TB HDD) and, perhaps most importantly after the sonics of course, is the seamless integration with Sam Pro X 64. I like the character that I can add to transparently recorded tracks, using various channel strip models from Neve, SSL, Trident, API and RCA Tube Consoles. I decided to give the VCC - which is Slate's Virtual Console Collection - a solid try, to see if it would be of any value to me. Like any other audio guy, I have also encountered various plugins that weren't effective, or didn't sound good, or, simply weren't worth the price. I know that many here are dubious as to claims made by manufacturers, and very often, rightfully so. Version 2.I finally broke down and bought an iLok this past weekend - actually my girlfriend bought it for me for Christmas LOL, along with Slate's VCC processor, which I've had my eye (ear) on for awhile now.

Slate vcc 2 Offline#

Real-time and Offline Oversampling Settings.

Global and Group Level Calibration Settings.

Includes two plugins that faithfully reproduce the signal path of the consoles channel and mixbuss.

Choose from 5 meticulously modeled analog consoles.

You can even push the DAW faders up to find each mixerР’Т‘s 'sweet spot.' Features The imaging and depth improves, instruments sit better in the frequency spectrum, and mixing becomes easier and more musical. When using the Virtual Console Collection, your DAW instantly takes on the personality of a real analog mixing desk. Virtual Mixbuss goes on the first insert of the master fader. Virtual Channel is applied on individual mixing channels. Each plugin allows the user to choose from one of five modeled consoles. The VIRTUAL CONSOLE COLLECTION consists of two plugins, Virtual Channel and Virtual Mixbuss. We meticulously modeled the entire circuit path so that we could recreate every subtle nuance that makes these consoles the legends that they are,' says Slate. 'Slate Digital CTO Fabrice Gabriel and I studied these consoles inside and out. The Slate Digital VIRTUAL CONSOLE COLLECTION brings the sound of 5 of the worldР’Т‘s top analog consoles into your DAW workstation. Now in 2011, Slate once again stirs up the analog summing world, this time in the digital domain. The FOLCROM continues to be one of the most popular analog summing boxes on the market, used by mixer Mike Shipley and other top names. In 2001, Steven Slate made his mark in the analog summing world by commissioning Roll Music Systems to design and manufacture a custom analog summing box that was later named the FOLCROM.

Slate vcc 2 full#

Over the past ten years, multiple audio manufacturers have produced simplified analog summing boxes that allow DAW users to get the benefits of analog mixing without having to use a full fledged analog desk. The separation and imaging from the analog summing is very apparent, especially when your track count gets high' remarks mixer Jay Baumgardner (Papa Roach, Evanescence). 'When you mix through an analog desk you get this life and body to the sound that just doesnР’Т‘t happen when you mix inside the workstation. Audio engineers rely on analog mixing to provide the nonlinear musical qualities that digital mixing does not produce. Despite the digital revolution in the audio industry, many of todayР’Т‘s top commercial albums are still mixed on analog consoles.