Das Slate Digital ML-1 bietet:
Ein hybrides Mikrofon Modellierungssystem, mit dem Sie auf nahezu jeden Signalweg zugreifen können, den Sie sich vorstellen können
Das System enthält ein extrem transparentes und völlig lineares Kondensatormikrofon mit Nierencharakteristik ML-1
Völlig neutraler VMS-ONE Preamp (Optional) sorgt für minimale Klangfärbung und gibt dir damit eine saubere Tonalität für die Vorverstärker-Modellierung
Mit der VMS-Plugin-Software können Sie die klanglichen Eigenschaften Ihrer Aufnahme auch nachträglich komplett verändern
Wählen Sie aus einer Sammlung von klassischen Vintage-Mikrofon Modellen sowie einzigartigen Modellen für fortgeschrittene Aufnahmetechniken
Lieferumfang:
ML-1 Großmembran-Kondensatormikrofon in matt Schwarz
Mikrofonspinne
Mikrofonkoffer
Lizenzcode für Software
ACHTUNG: ILOK ERFORDERLICH
CUSTOM SERIES EQ:
What if there was one equalizer that could recreate the best aspects of some of the greatest equalizers in the industry? Imagine ONE EQ that could have the silky top end of classic tube EQ's, the clear and present midrange of some of the great discrete EQ's, and the fat low end of vintage mastering EQ's – all in one module. Introducing the CUSTOM SERIES Equalizer by Slate Digital.
The Custom EQ is like an EQ All-Star team. It’s the result of studying over a dozen classic analog EQ’s, and identifying all the best attributes of each of them, and then piecing these best attributes together in one EQ. So that means that every band of the Custom EQ has its own uniquely modeled boost design, its own distinct attenuation design, and even its own analog modeled output section with rich musical harmonics to give it a lively analog vibe. But despite the EQ’s hybrid nature, you’ll find it to be extremely cohesive, intuitive, and really really natural sounding.
The high band boost is inspired by really smooth and open sounding tube mastering EQ’s so they’re going to add dimension, clarity, and depth... but without sounding thin and harsh. The upper midrange band boost is inspired by a combo of classic analog EQ’s, and it’s designed to increase the presence, impact, and punch but without sounding honky, nasal, and abrasive. The low-mid and low band boosts were inspired by a vintage solid state mastering EQ. They will add warmth, punch, and bigness without sounding boxy, boomy, or muddy.
And again, the cuts of each band have their own character and shape too, all optimized for their specific roles… so the Custom high band will reduce the thinness and harshness of your source but it won’t take away clarity… the upper-mid cut is designed to transparently remove the abrasive and nasal qualities without removing presence… the low-mid cut can remove the boxiness and mud without removing the warmth.. the low-end cut can remove boominess without making the source sound weak and weightless, and the high and low pass filters are designed with an extremely gentle slope so that they always make the audio source remain natural.
Get the Custom EQ and all other Slate Digital Plugins in the Slate Mix/Master and Mix/Master FX Bundle!
CUSTOM SERIES LIFT:
At Slate Digital, our goal is to create musical tools that will make your mixes sound the best they ever have, and to also make tools that are intuitive, easy, and help your workflow. We've tackled both of these points with new Custom Series Parallel LIFT processor.
At first glance, the LIFT looks like a straightforward two knob processor. But there is a lot going on behind the scenes. The LIFT has two analog modeled parallel filter networks that 'lift' the top end of the frequency spectrum and the low end of the frequency spectrum in an incredibly musical and natural way. The goal with LIFT was to make the effect so cohesive and transparent, and yet, with the custom analog modeled harmonic output stages, the sound is lively and deep. With LIFT you can easily manipulate the source to sound how you want it, without it sounding overly affected or unnatural.
The HI Lift has two settings, one called present which focuses the effect on the mid frequencies, and silky, which focuses a bit more on the higher frequencies. Low Lift also has two settings.. BIG which is a broad hefty sound that universally increases the mass of your low end, and punchy, which is a more focused and punchy sounding boost which is amazing on percussive material. Both sections are the result of thorough research and study of some of the industry’s top analog designs.
The reason that LIFT has been called such a "BEAST" by our beta team is because you'll find that a lot of material can be processed perfectly using just one or both of these LIFT processes. You'll also find that by using LIFT at the beginning of your chain, your tracks will start taking shape fast and you'll need LESS processing and further EQ down the road. And finally, LIFT can fix problematic tracks in a way that makes them sound like they’ve never had a problem at all.
The Custom Series LIFT is a true workhorse processor that will come in handy more than you’ll ever imagine. Its rich analog sound is natural and cohesive, and it can help you mix faster and more intuitively.
Get the Custom Series LIFT in the Slate Mix/Master and Mix/Master FX bundles!
Slate Digital FG-116 Blue Series FET Compressors Diese beiden Plug-ins für das Slate Vintage Mix Rack (VMR) emulieren zwei FET-Kompressoren, einer bietet reichhaltigen, musikalischen Vintage-Sound, der andere klingt etwas transparenter und moderner. Je Plug-in stehen zwei virtuelle Schaltungen zur Auswahl, die eine weitere Differenzierung des Klangcharakters ermöglichen. Features
Zwei Vintage-Kompressor-Module für das Virtual Mix Rack
Vier analog modellierte Kompressorschaltkreise
FET Vintage Circuit 1: klassischer mittenbetonter FET Charakter, angenehme analoge Klangfärbung
FET Vintage Circuit 2: "rev A" FET-Kompressor mit satten Tiefen und geschmeidigen Mitten und Höhen
FET Modern Circuit 1: detailreiches und unverfälschtes Klangbild, klassischer mittenbetonter Klang
FET Modern Circuit 2: durchdringende Tiefen, geschmeidige Höhen
Sidechain mit Hochpassfilter
Parallel-Kompression (über Mix-Regler)
Standard Mix Rack inklusive
iLok2 erforderlich (nicht enthalten)
single module for the Virtual Mix Rack, analog modeled dynamic impact enhancer, combine features of dynamic enhancers, analog harmonic processors, transient enhancers and compressors, make mixes more dimensional, impactful, exciting and more alive sounding, three unique tone settings (Present, Fat, Tight)
Single Module for the Virtual Mix Rack
Analog Modeled Dynamic Impact Enhancer
Increased Impact, Depth, and Energy
Three Unique Tone settings (Present, Fat, Tight)
iLok2 Required (not included)
ML-2 MODELING MICROPHONE
The ML-2 microphone is the second model in our award-winning Virtual Microphone System. This small diaphragm microphone is capable of recreating the tone of an entire mic locker of instrument mics – including dynamics like the 57 and 421, cardioid models of classic ribbons like the 121, other famous small diaphragm mics like the 451 and 222, and even large diaphragm mics like the famous 414 and tube 67.
Like its big brother the ML-1, the ML-2 was designed to have an ultra linear response with no distortion, so that it can serve as a blank canvas for our modeling software.We tested a large number of mics during the development of the ML-2, and we found that even the most expensive small-diaphragm microphone designs saturate when micing very loud and transient-rich sources like close mic’d drums. Therefore, we added a proprietary switch on the ML-2 called “Dynamic” which attenuates the mic’s output and repolarizes the capsule, allowing the ML-2 to be used in extremely high SPL situations without overloading or saturating. As a result, it can be used just like a dynamic mic on drums, guitar cabs, and more.To get the most out of the ML-2 you can pair it with our VRS8 interface, which includes eight VMS Ultra Linear mic preamps. Additionally, the ML-2 is available a la carte and can work with any preamp, although we can’t guarantee that the software emulations will be accurate.
LATENCY FREE PROCESSING
The Virtual Microphone System software consists of the Classic Tubes microphone module, which contains eight classic tube microphone models, the FG-73 British discrete preamp module, and the FG-76 German tube preamp module. None of these processing blocks add any latency to the audio signal, so if you use a low latency interface with VMS you can track through the VMS software without any audible monitoring delay.
To accomplish this, we recommend a Thunderbolt or fast USB interface, recording at 96khz with the lowest buffer size possible. The combination of the 96khz sampling rate and low buffer size ensures the lowest possible latency.
THE VRS EXPERIENCE
Now you can experience the Slate Virtual Recording Studio including our VMS ML-2 instrument mic models. Click below to go to the VRS Experience page where you can download all the Slate plugins including demos of our VMS microphone plugins, as well as a multitrack session recorded with VMS mics through our VRS8 interface. When you download the plugins and the session, you can load up a track, and experiment with different world-class virtual microphones from the mic locker. Hear the vintage FET47F, 414, ribbon 121, and more.
Dual delay effect processor, collaboration between Slate Digital and D16, features 23 authentic delays, models of early tape machines to famous vintage digital designs, user friendly interface brings independent control of each channel, a lot of features to help adding space, depth and excitement to music
Features
Dual delay effect processor
23 different delays
Features models of early tape machines to famous vintage digital designs
Independent control of processing path for left and right channels
Dual filters for each channel
Color control, to set the tone of the delay
Spread control, modifies the stereo image
User-friendly interface
Presets
Virtual Buss Compressors comprises three unique sounding, 100% analog modeled dynamic processors that are ideal for program material. Every nuance of real analog compressors has been modeled; including the exact nonlinear characteristics of their transformers, tubes, VCAs, amplifiers, phase distortions, harmonic distortions, and timing.All of the compressors in the VBC bundle have a variable hi-pass filter AND a mix knob that can be used to control the ratio/percentage of the compressed signal to the dry signal. Each compressor can be used in series, and the series rearranged by dragging and dropping (see information on “The Rack”). Compressing a mix with each one doing a very little amount can sound amazing! And, using the compressors in series within the ‘Rack’ also makes it very easy to A/B/C the compressors on source material. Finally, VBC will come with stock presets made by some of the industry's top mixers.
FG-GREY: The FG-GREY starts off with a very precise model of the classic British "4000 series console compressor". I've used the hardware model for many years but until studying the unit in the modeling process, I never fully appreciated just how magnificent the piece is. It has a way of being able to tighten, glue, and 'gel' the components of the mix in ways that can go from fairly transparent in auto release mode, to very aggressive in manual mode.We did a small mod to the circuit in our virtual model which I think you'll really enjoy. We took the classic British discrete transformer and added some of the characteristics to the signal path. This does something very amazing to the clarity of the midrange and bottom end. The hardware unit tends to start sucking out too much bottom as you start to compress more. It can also get slightly 'choked' in the mids. These are subtle issues but the transformer stage keeps the bottom big and round and the midrange more open, while still retaining the classic sound of the hardware unit. You'll notice especially when you heavily compress with the FG-GREY, there is a bit less of a drop in the bottom and the rich mids will still be nice and present. I love the FG-GREY in both manual and auto mode, and it's amazing on drums and guitars too!FG-RED: This compressor is based on the classic RED faced compressor that has been a favorite of mix legend Chris Lord Alge, who first showed it to me when I visited his studio years ago. I thought it was odd actually. Here was this compressor that nobody else seemed to really use, and it was on a setting at 1.5:1 and the attack looked very fast for a Mix-Buss compressor. This was puzzling because I usually associated a faster attack with a loss of transient punch, but if you've heard Chris's mixes you know that they are the exact opposite of that! So being the classic gearslut, I bought one, (I got the unit with both input and output transformers). The first thing I did was put it on my mix in the settings that Chris showed me... 1.5:1, attack around 10/11 o'clock, auto release, compressing just 2-3db tops. And.... WOW! One of the clearest, punchiest sounding rock mixes I'd ever heard come out of my own speakers. This unit was amazing!!!When Fabrice and I analyzed the RED, we found out that it was indeed a very unique beast. The attack and autorelease work very uniquely and musically. But the real magic we found was in the output section! We found that just pushing the makeup gain a few db did some insane things to the sound! A little push and things got so much more punchy, fat, and aggressive. After more examination, we realized that this was due to a series of nonlinear reactions caused by the output transformer. Howie Weinberg, the famous mastering engineer who has a studio on our campus let us in on a little secret. He uses his RED not for compression, but just to use the output gain to get that amazing effect! So I decided to do something that the original unit cannot.. I put that output transformer effect on a knob called DRIVE. When you push this DRIVE knob, you get this beautiful punch and articulation of the transients, and you can control just how much you want, regardless of whether or not you use the makeup gain! Famous rock mixer Justin Neibank beta tested the FG-RED and loves the drive, suggesting '6.6' as the magic number. But you can try cranking it all the way for an interesting effect!FG-MU: I've been lucky enough to hear some of the most classic tube based buss compressors such as the Fairchild 670 and Manley Vari Mu. There is some real magic that happens when your mix goes through a brilliantly designed piece of tube gear. The midrange thickens, the lows get tighter and rounder, and the top end opens up with a beautiful sparkle... and even better, those harsh upper mid overtones seems to get tamed. For the FG-MU, we put all of these wonderful qualities into the algorithm. First and foremost, to hear the FG-MU, you don't even have to do any compression. Just going through the processor without any gain reduction will reveal a beautiful open sound due to the modeling of the tube circuit path. Even when I'm using the FG-GREY or FG-RED, I love using the VBC Rack just so I can have the audio pass through the FG-MU!But on it's own, the FG-MU is an amazing sounding compressor. If you scan through the presets, you can get a great idea of what its capable of. Smooth rich compression, fat warm compression, and even slightly aggressive compression. But overall, this is a processor that has tons of analog mojo and vibe for days. A sure hit on your ITB mixes!The Rack: While all three compressors are available as separate plug-ins in your DAW, you can also use them in our Virtual Buss Compressors Rack plug-in, in which they can be chained, reordered via drag and drop of the u-rack handles, and soloed independently.The Non-Linear Difference: During the development of the VBC, I spoke to many top pros in the audio industry about mixbuss plug-in compressors. There seemed to be an overwhelming consensus that even though many of them were advertised as 'analog modeled', they still didn't have the classic sound of analog compressors. So Fabrice and I got to work. First we needed to examine the hardware compressors and the current crop of analog modeled plug-in compressors to see what was going on! And what we found was surprising. The classic analog compressors that we studied added some very complex nonlinear artifacts in their signal paths. Their sound was not simply based on their specific compression topology like timing and compression curves. Some of the analog compressors had modulations, dynamic harmonic distortions, dynamic phase distortion, saturation, crosstalk, and more. And just like in our Virtual Console Collection plug-in, these artifacts added a sonic imprint to the compression. Was this the magic sound that made the plug-in compressors sound different than the analog compressors? There was only one way to find out. We had to precisely model it. All of it!Several months later, we had algorithms that combined the exact compressor topologies, curves, timings, as well as the circuit's nonlinear dynamic artifacts. We were able to bypass JUST the artifacts, and the answer was very clear. Much of the magic tone that has been missing from many plug-in compressors is these nonlinear additives. When you hear the three VBC compressors, you'll notice a depth, life, and analog 'vibe' that you've likely not heard before in a plug-in compressor. I hope that you enjoy it on your mixes!
Slate Virtual FG-A Vintage American Equalizer
FG-A Product Description: The FG-A Vintage American Equalizer recreates the exact tone of one of the industry’s most coveted discrete EQs. With its classic proportional q curves and fat saturation, it’s sure to become one of your go-to EQs for any track that needs sweetening.
Features:
Four Band Fixed and Continuous BandsThe FG-A is modeled after a fixed frequency and gain three band EQ. But we decided to do you the favor of making it a four band EQ by doubling up the mid band. We also include the option to make the EQ continuous by clicking a modifier key while adjusting gain or frequency. This gives you an unparalleled level of control.Opamp ColorOne of the most famous aspects of this EQ is the color and vibe imparted from it’s famous discrete opamp and transformers. We spent nearly a year recreating the exact characteristics of these components resulting in a beautiful, fat, warm slightly saturated tone that sounds incredible. You can bypass the nonlinear behavior to make the EQ more surgical and clean.
The Slate Digital VIRTUAL TUBE COLLECTION is a set of three plugins for Virtual Mix Rack that recreate the sound of classic vintage tube circuits. Each module can act as a preamp, a saturator, and even a virtual tube summing console. Using VTC, you can add color, warmth, depth, and vibe to your mixes and masters. VMS users can also use VTC preamps with the microphone models for rich and vibey tone on their tracks.
London is inspired by some vintage tube circuits originating from Europe. The sound is big, warm and bold in the lows and low mids, and slightly smooth in the top end. The transient response has a slight thickness to it without being overly aggressive. London sounds amazing for fattening up tracks in preamp mode, or thickening things up with it’s preamp saturation, and can add fat analog body in Console mode on the whole mix.
New York is inspired by some vintage tube circuits with a hint of inspiration from some New York solid state discrete circuits to give it some tightness and impact. New York is aggressive in the mids, and tighter in the lows due its unique dynamic harmonic saturation. It can add incredible focus and punch to tracks in preamp mode, especially in boost mode. It’s also an all around winner for many genres in console mode when used on the master fader. You really dial in the saturation with New York and then find the perfect blend with the mix knob.
Hollywood is perhaps the most colorful of the three modules, and it’s got some beautiful air, depth, excitement, and some really big bottom! Use it on boost mode and make your tracks come alive. It’s fantastic when paired with some of the vintage VMS mics to add some extra top end flavor and warm lows. In console mode, it can simply transform a lifeless mix into something larger than life.
Slate Digital Virtual Mix Rack
Virtual Mix Rack (VMR), virtual channel strip / Lunchbox for VST, AU, AAX native (Mac & PC), contains four high class emulations of EQ- and compressor classics, enhanced with some Slate features, order of modules via drag & drop freely changeable, extremely low latency (1,5ms roundtrip) based on proprietary oversampling techniques and internal 64bit processing, highly CPU efficientFeatures:
- virtual Lunchbox, modular channel strip- order of modules freely changeable via drag & drop - extremely low latency thanks to proprietary oversampling-technique and internal 64bit processing - usable for tracking, no third party application needed- highly CPU efficient- native plug-in for VST, AU and AAX hosts (Mac & PC)FG-N EQ: classic Class A Brit EQ from the 70’s, beautiful saturation, subtle harmonics, input drive for fat distortion, additional mid-bandFG-S EQ: classic British mixing desk EQ from the 80’s, ultimate workhorse, legendary harmonics for aggressive sound, low cut to remove low end rumbleFG-401: hybrid of popular VCA compressors, chose from two different signal paths and transformer emulation, many presets for getting startedFG-116: THE classic American FET compressor/limiter, every little nuance emulated, enhanced by some typical Slate Digital features
Slate Digital Verbsuite Classics “VSC” – Verbsuite combines eight of the most popular digital reverbs in one plug-in, LiquidSonics proprietary Fusion IR processing captures the actual tone of the modeled reverb for the first time, Fusion IR reproduce the evolving character of modulating digital reverbs what results in eight authentic models:
FG-480: Model of the most popular reverb in the industry, classic sound
FG-2016: American created reverb known for its realistic rooms
FG-250: Great sounding model of the first ever digital reverb from Germany
FG-QRS: German early eighties reverb, great on vocals
FG-2000: Rare Japanese reverb, fantastic on drums
FG-16X: Digital reverb from the early 80´s, famous for Phil Collin’s drum tone on “In The Air Tonight”
FG-6000: Amazing for large and small spaces, a model of a fairly modern Danish digital reverb
FG-BM7: Free expansion available from LiquidSonics, one of the best sounding reverbs in history
Features
8 classic reverbs in one plug in
FG-480, FG-2016, FG-250, FG-QRS, FG-2000, FG-16X, FG-6000, FG-BM7
LiquidSonic Fusion IR - most innovative and highest quality reverb processing technique
Reverb sections (EQ, Reverb Parameters, Monitoring)
Useful Presets
iLok2 Required (not included)
Digital recording is now the standard for professional music production. But many engineers and musicians long for the days of analog recording, and for good reason.Analog Tape Machines have a SOUND.Big, fat, warm, deep, rich, and exciting are just some of the terms used to describe what recording onto a piece of magnetic tape sounds like. Most of all, tape is more musical.To capture the sound of tape is to capture a living, breathing sound that dynamically reacts to the music going on to it. Slate Digital Chief Technology Officer Fabrice Gabriel utilized his electrical engineering degree as a foundation for his comprehensive study of the physical processes that occur when recording to analog tape through a tape machine. What began with science led to Fabrice’s discovery of the seemingly magical properties of tape and inspired him to create his most advanced, dynamic algorithms yet. Two industry-standard machines were precisely modeled. What followed was a year of critical listening and algorithm tweaking, with some help from the expert ears of Slate Digital CEO, Steven Slate.The result is the Virtual Tape Machines plugin. With models of both a 2 inch 16 track from NRG Recording, and a ½ inch 2 track machine from Howie Weinberg Mastering, the VTM will give your mixes an absolutely authentic analog vibe that will take your mixes to the next level. With added dimension, fatness, depth, and warmth, you’ll wonder how you ever mixed without it!Features:Two tape machine types: 2" 16 track 1/2" mastering deckTwo tape formulationsTwo speeds: 15 ips and 30 ipsNoise reduction control and auto muteWow & Flutter controlBass alignment controlNormal, Low & High Bias settingsLevel CalibrationVU ballisticsGrouping controlSettings global or per channelTape reels start and stop in sync with DAW transportSystem Requirements:MAC Minimum Requirements:Dual Core Intel Processor, At Least 2 GB of RAM, iLok2Mac OS® X 10.5 or laterAU, RTAS, VSTPC Minimum Requirements:Dual Core Intel or AMD Processor with SSE2 Support, At Least 2 GB RAM, iLok2Windows 7® (32/64 Bit)RTAS, VST
€149.00*
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