Slate virtual mix rack settings couldnt be saved
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The audio path in a tape machine is surprisingly complex, and sophisticated though the later tape recorder designs were, they still suffered compromises and technical limitations that gave them a distinctive sound. So why so much fuss about modelling a tape recorder? Surely a bit of distortion, a touch of compression and some EQ would do the trick? Well, no. VTM turned out to be Fabrice's greatest challenge so far, and we're told it took around a year of optimising, listening and tweaking to get it to the point where they were happy to allow it out to the world. Apparently, Steven told Slate Digital's Chief Technology Officer Fabrice Gabriel that unless the end result was indistinguishable from the real thing, he wasn't prepared to release it at all. Slate sought out two particularly good-sounding tape machines to base their emulation on: NRG Recording's 16-track, two-inch Studer A827 machine and Howie Weinberg's two-track Studer A80 RC half-inch mastering deck. In fact, Steven Slate tells us that their Virtual Tape Machines is the most complex plug-in they've ever coded. Slate Digital's VTM is the most detailed attempt yet to capture these in digital form.įew companies are brave enough to try to model the behaviour of a professional analogue tape recorder in software. Once I understand GR used from Andreas I may make even more sense of it.The sound of magnetic tape stems from a hugely complex set of interacting factors. That seems to be getting me closer, don't give up on me yet. BUT I did post on GS last night however that I am investigating input gain and needed some info from Andreas. This was more of a concern to me because its something I can test and validate for myself.
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Other inconsistencies I observed was that FG116 with the same settings and GR, specifically on fast release doesn't exhibit the same behavior. And with the other emu's I am able to get close-ish with the same settings and more importantly the GR to the HW clips (of course 10% that isn't there I simply chalk up to it being the limitation of those emu's, plain and simple). What he gave me isn't a consistent characteristic like in the sound clips we all listened to on GS. One set given to me were from Andreas and I am just perplexed by the inconsistencies. I have been comparing FG116 to HW audio clips, in fact two different units. I'm also not super picky when things are different but within the spirit of their hardware counterparts, which is fantastic.
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Little grit on heavy settings? Absolutely.Ĭlick to expand.Hey Steven! you know in our interactions I am not one to just be annoying for no good reason and you also know I'm a fan and user of Slate plugins. Also, experiment with an EQ before it to shape the tone that goes in it to see how it reacts differently. I can say that when comparing to the original unit we modeled, there is no way I could tell which was which on a blind test.ĭig into the 116 more, roam through the presets. You can find quite a few folks on Gearslutz who've done A/B who said it was spot on, one even saying it practically nulled his hardware. Some of them we measured weren't even close in the timing, and one of them that is super popular has no output transformer saturation which is a HUGE part of the sound. And most of the plugin versions just don't sound like the hardware.
Slate virtual mix rack settings couldnt be saved professional#
I think the issue we're seeing right now concerning the 116 with a few folks, and there is no professional or nice way to say this so I'll just be honest, is that many people reference the current stock of plugin 1176s as comparison rather than the actual hardware. " is lively, more of a silky sound, and pushes with a dynamic feel to it" Over at Gearslutz you said of Andreas' 1176 vs 116 blind comparison this about what ended up being the 116: Click to expand.Hey bud! Nice to see in these parts!