Slate VCC

Discussion in 'Tracking / Mixing / Editing' started by DonnyThompson, Nov 11, 2014.

  1. DonnyThompson

    DonnyThompson Distinguished Member

    anyone here have any experience with this VST?

    Just curious.

  2. DonnyThompson

    DonnyThompson Distinguished Member

  3. DonnyThompson

    DonnyThompson Distinguished Member

    LOL... what's up with the levels on the 2-Bus?
  4. ouzo77

    ouzo77 Active Member

    I use VCC a lot. I can't really tell if it sounds like a real console, but it definitely does something to the sound that I like.
  5. DonnyThompson

    DonnyThompson Distinguished Member

    That's pretty much what I'm hearing from others I've asked, Ouzo. I suppose that it doesn't matter exactly what it does, if you like what it's doing, and as long as it isn't harming the overall sonics with latency or phasing issues, as so many processors out there in "modeling land" can do.

    I've spoken with colleagues who have either tried it out - or who have liked it enough to purchase it - and all but one of them are saying that they like it, but they are also quick to mention that the effect is pretty subtle - in terms of what it does, but - again with the exception of just one person - they do in fact like what it does - that it provides a certain pleasing overall "glue"... and enough of a difference to where they do like to use it, both on individual channels, sub-buses, and the Master 2-bus as well.

    In terms of which "console" they like best, opinions vary widely across the board with the people I have asked. Several love the "4000" - which is intended to provide modelling, and a response and sound similar to an SSL G Series, others prefer the "Classic" Neve setting, and yet, a few swear by the Trident model.

    No one I have spoken with - at least yet, anyway - has seemed to like the "RCA/Tube" Modeling, and only one of them likes the "API" setting. I would think that - like any processing plug - the choices and settings would be largely dependent on what the project calls for, and within the context of the individual song or performance. Personally, I would think that choosing just one model over another all the time would be limiting... but of course, that's all subject on whether I would even like the modeling to begin with.

    I can't do a trial with any Slate stuff, because they require a USB Dongle/key - even for trials - and I don't have one - the reason for this being that none of my other plugs requires that type of authorization/key method.
    Everything I've purchased in the past has been available for fully-functioning trial use (usually 30 days) without a key/dongle, and unlocked by providing an authorization code that I've received by registering the plug/ VSTi on-line.

    Truthfully, I'm still on the fence with this processor. And, while I certainly appreciate those who have given their opinions/input, until I can actually hear it for myself, and in the context of what I'm working on, I can't make a decision.


  6. ouzo77

    ouzo77 Active Member

    If you like you could send me a track or a mix and I will bounce them with the different models.
    Though the effect will be really subtle.

    They recommend to use the channel plugin on every channel and the bus plugin on the master bus or submix buses. You will then definitely hear the difference when you bypass them.
  7. DonnyThompson

    DonnyThompson Distinguished Member

    That's very kind of you to offer. And I'm going to take you up on that after the Holiday smoke clears. ;)

    Can you PM me your email address?
  8. ouzo77

    ouzo77 Active Member

    Umm... how can you send a PM?!? I can't find a button or link.
  9. Kurt Foster

    Kurt Foster Distinguished Member

    good song ... good performance too ..... sorta like you could do almost anything to it and it's still listenable. how much for this gem? (EDIT: $300 w/ iLok)

    @Donny, why the resistance on the "dongle issue"?
  10. DonnyThompson

    DonnyThompson Distinguished Member

    No resistance, really... I just don't have any other processors or VSTi's that require one, so it hasn't really been tops on my list of priorities of things to buy. With the exception of the Slate stuff that I'm looking at, I don't have any other need for one; and I'm not nuts about running out an paying $40 for one to simply try a program.
  11. ouzo77

    ouzo77 Active Member

    Never mind. Just visit my website. There's an e-mail address.
  12. Kurt Foster

    Kurt Foster Distinguished Member

    click on his icon ... a window will drop ... click on "start a conversation"....
  13. ouzo77

    ouzo77 Active Member

    Oh, that's the PM function? I thought it's some kind of discussion board. Thanks.
  14. audiokid

    audiokid Staff

    For fun conversation, what does a real console sound like?
    I own four consoles now and have owned a lot over my 57 years and they all do the same basic things. The main difference I hear between them all is crap preamps or truer clarity. The cheaper ones simply sound like a cheap preamp and the best ones never breakup and are pristine in every way.
    To me, its pretty simple figuring our what parts you need on them and what can be emulated. Between a DAW and console, its a no brainer. I don't see the point in adding a bunch of analog noise and crosstalk when your DAW does the sonics better for thousands less and it comes with automation too ;) If we understand how the basic console works, its pretty easy to emulate most of it better via a few really simply process ITB or, through a simple hybrid approach.
    Bit distortion or transformer distortion, take your pick.
  15. Kurt Foster

    Kurt Foster Distinguished Member

    for this discussion, let's agree that "console"means a large format and hi volt rails. we can call the rest mixers.

    Neve = console

    Mackie = mixer.

    i think of "consoles" as something huge and most the time with a patch bay built in. a place where all roads meet in the studio.
  16. audiokid

    audiokid Staff

    Nice one Kurt,

    I think of a DAW, where all things meet and exchange globally. I see the traditional console as an old telephone/ switchboard. Its pretty easy to emulate that.

  17. Kurt Foster

    Kurt Foster Distinguished Member

    modern audio gear is rooted in military telephone and radio tech. i like patch bays. i don't like wiring them but once they are set up i love working with them.

    no matter how many advances come along, (and i see another 6 years or so until things start slowing down) i see no reason t abandon older gear and techniques. i'm not against learning new ways to do things, or some kind of Luddite but i don't think throwing the baby out with the bath water is the way either.

    i would rather be working in a facility that afforded all options rather than one that was limited to an itb rig in a one room studio.

    daw / analog tape / console / classic and new outboard / modern monitoring and NS10's .... full patch bay , iso booths and large live / dead rooms ... they're all relevant and the advent of any new technology shouldn't preclude use as long as the gear can perform within operational specification.
  18. audiokid

    audiokid Staff


    Analog vs Digital vs image vs emulation vs film vs HD vs radio vs internet vs marketing vs web. I think we are constantly confusing all these terms.
    The term “picturesque” needs to be understood in relationship to two other aesthetic ideals: the beautiful and the sublime.

    The entire audio industry is no different than painting a picture and marketing it. We have the image and learn the way to paint it and display it to others. If we are lucky, we survive somehow doing what we love. A Robert Bateman wolf or Claude Lorrain landscape can both be captured on a computer, and I know none of us are saying an analog camera is better than a digital now?

    If I use photoshop plugins, it pretty easy to take a Bateman picture and use a sepia plugin to create the most realistic emulation of a Bateman wolf , to took like it was done 400 years ago. Its pretty hard to do the opposite though! So here is where I stand.
    I mean, its impossible to take a old watercolour and emulate it too look like it was done by Robert Bateman so why are we investing in backwards technology anymore. Choice only, certainly not anything more.

    Clear studies tell me to tell the student, use the best tracking to capture the best you can and once itb, stay itb.

    A year ago I could have sold some analog gear for 20% more. I'm running as fast as I can to dump what is no longer needed because I have realized through study, it isn't the console that made my picture, it is me and the source.

    I still see hybrid as the ultimate sonic solution, but only as a router and bridge for capture and monitoring around a DAW which = photoshop. The mass of what a console did for mixing and mastering can be emulated yielding superior results at a fraction of the costs of yesteryear.

    Spectral Emulation technology is going to explode. If we are only talking emulation here, noise and transient smear caused by even the most expensive analog gear isn't something we need in the way of the path to the DAW.
  19. DonnyThompson

    DonnyThompson Distinguished Member

    I currently use Samplitude's analog modeling and I like it a lot. I don't use those tools all the time, but there are certain projects where I like the sound of that processing. I don't see any difference between what Samplitude is doing with their analog modeling, and Slate doing the same thing, if I like the way it sounds. I'm not against "going backwards" if that's the desired effect I am after at the time.
  20. audiokid

    audiokid Staff

    I'm not disagreeing, but for the kids reading, we would only go "backwards" because we didn't see it possible forward per-say, right?
    Being said, I would love to know how much of a percentage is spent on the gui and function in comparison to actual emulation of the hardware. I would love to know what they are actually coding in too. I mean, what does a large format console sound like? If that isn't such BS. I suppose they are taking some sort of sonic picture from various stages of the path, then tossing in their standard noise and bleed templates, a gui and off to marketing.

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