11/8/2022 0 Comments Slate digital vmr reviewSo there's various ways I can do this but I'm going to use the method that's the most similar in the most digital audio workstation softwares. So what I'm going to do is I'm going to bounce the signal through the VMR. Well I'm not sure I'm hearing anything at all so I need to make a comparison. So I'll use the bypass control here for comparison. So let's start with the virtual drive on its minimum setting and we'll see what we get. I'm just going to use this control today and we'll look at this lamp here in the process. So we've got a virtual drive here what this does is it it pushes more signal into the preamp but it also compensates on the output so it doesn't actually make the level any louder so that makes it very convenient just to push this preamp as much as you want to. As you can see it says 'Brit' which I presume means British and 'N' which I presume means Neve and 'Pre' which I presume means preamp. So it comes up with all those kinds of things there and I don't want any of them so I'll just get rid of that and that and that and that and that and that so there's nothing in the mix rack.Īnd here if I scroll down I'll find this FG-73 which is Slate Digital's emulation of a Neve preamp. We're still quite disappointed at the lack of internal rack routing options in VMR though, and the inability to use the plugins on their own away from it (or at least to collapse the interface down to show just the modules you're using, for instance).Įven so, we'll park that thought for now, and sum up by saying that this trio of new modules makes an excellent addition to the lineup.In here I'm going to insert a plug-in and it's going to be the Slate Digital Virtual Mix Rack. Put it on the slateĪll three of Slate's new plugins make worthy additions to VMR, offering a fresh take on analogue-style audio processing. It's a simple concept with a musical sound that we fell in love with instantly, and although it's tempting to 'hype' everything with it, if you just stick to key elements such as vocals, beats, submixes and mixes, it's incredibly effective. The result is upper mid articulation at 5kHz (Present), high air at about 10kHz (Silky), overall low end weight at 90Hz (Big) and peaking lows at 90Hz (Punchy). Each band (High and Low) has just two frequency settings and delivers up to 10dB of boost. Going upĬustom Series Lift is a two-band boost-only sweetening EQ based on the same hardware analysis behind Custom Series EQ. The low-and high-pass filters are very gentle, rolling off at about 6dB per octave. Boosting with the LMF band delivers an incredibly broad peak that fills out the low mids, while the LF band boasts quite a steep shelf, aiding low-end weight. The behaviour is more typical in cut mode, with broad, predictable dips that are good for taming harshness in cymbals and electric guitars, but not narrow enough to notch out specific problem frequencies. Viewed in a spectrum analyser, it's also clear that while the HF band is a peak filter, HMF combines peak and shelving shapes. The HF and HMF bands are great for adding focused edge and musical air to vocals, snares and acoustic sounds such as guitars and orchestral instruments. The frequencies are at fixed points, rather than sweepable, which is also to be expected given the finely tuned methodology. The crucial thing here is that the boost curves emulate combinations of EQs rather than a single unit, and although this may seem like an odd approach, it actually emulates the way in which many pro mix engineers work.
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