Another is that it was created through extensive measurement and analysis of specific hit‑making consoles. Slate Digital's Virtual Console Collection is available in all major native formats, and is worthy of special attention for a number of reasons, one being that its development was led by Fabrice Gabriel, the man behind Slate's remarkable FG‑X mastering processor and Eiosis's superb E2 De‑esser and Transienter. Sumthing SpecialĪll of which brings us to the product under review here, and the latest candidate for supplying 'glue' to DAW‑based mixes. And, like many modern plug‑ins, it's too demanding of system resources to use on every track in a large mix in any case. I don't find it makes mixes come together more easily, nor does it particularly help to 'glue' them together once mixed. It sounds great on bass and electric guitars, and occasionally I'll put it over the mix bus, but to me, its usefulness lies in the effect it has on individual sources. Take Universal Audio's Studer A800 tape emulation, for example. I've tried quite a few, but to my ears, even the best of them are often closer to special effects than to something I'd want to use on every track in every mix. Tape and tube emulations, mix bus compressors, non‑specific analogue warmth generators. All too often, such plug‑ins simply compromise rather than complement the good qualities of a digital mix, such as clarity, separation and accurate representation of transients. And on the sonic side of things, I've rarely been convinced by plug‑ins designed to reproduce the mysterious 'glue' that many people claim is missing from digital mixing environments. The precision of drawing in automation with the mouse wins every time over the limited amounts of real‑time control that you get from eight cheap faders and a few knobs. On the ergonomic front, for instance, I've never enjoyed using small assignable fader surfaces. The latter has been expanded here to show the grouping controls.Īs a home‑studio owner who works digitally and 'in the box', I've always been a little bit sceptical about products that are supposed to make mixing on a computer more like mixing in the analogue domain. The Virtual Console Collection comprises two plug‑ins: Virtual Channel (left) and Virtual Mix Buss (right).
SLATE VCC NEVE SOFTWARE
It's pretty interesting and the stems really show off what's different about the models, since the mix was balanced before any VCC or summing was added, so no mix choices were made to counteract any of it's effects.Can the failings of mixing in software really be solved by buying more software? That's the claim Slate Digital are making for their Virtual Console Collection. the mix was balanced in the box with nothing, then sent through each VCC model and a true hardware sum box (the niceizer, which is famous, I guess) and left for people to vote. I really feel like it helps me get a mix sounding finished faster and more easily.Įdit: Final thought, Steven posted a blind comparison on gearslutz a few weeks ago. But ultimately I get to a result that I love, and feels good. Or turning on the Neve on every channel, like I often do, might mean I have to cut more lows from more tracks in my mix. If you love the Trident demo, slapping that on at the start and mixing into it might make you boost the highs less in the mix. Sounds somewhere in between the API and Neve models, but without the low end lift of the Neve.īut it's such a feel based effect. This one has the most obvious stereo spread effect.ĪPI is feels mid forward and transients seem to pop the most. Slightly soft top (not dull, soft) and low end lift. The old SSL, the 4K G, was always boring, in my opinion.
the most obvious features to me, of each model. I put it all in the same insert slot on each channel, so I can bypass them all at once if I want to see what it's doing at the end.
It will affect your choices, so it's hard to say "what does this model, or that model do?" Put it on at the start of your mix and do the whole mix with it on.
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