Slate Digital Virtual Tape Machine: Released

[ObsoleteAcc99]

[DELETED]

[Mercado_Negro]

I'll quote my post at Gearslutz here to add my opinions to this thread and discuss

I'm so glad to see companies are doing their best to replicate the sound of analog devices so people can get a piece of that "vibe" we love and hear in our favorite records. It's really exciting. Day after day, we have more tools at our disposal to achieve, to a certain degree, "that" sound we hear in our heads while mixing, producing, etc. I really admire the dedication of some companies, the hunger for authenticity and perfection, the will to code something special for us (even if it doesn't really replicate a specific hardware and it's just a "personal approach", like UBK-1 and many others). Thanks for your hard work (not just Slate Digital but all developers "giving it a shot").

I had the pleasure to beta test the VTM and discussed some topics with Steven and Fabrice. I had a long discussion with Steven about the way VTM responded when I pushed it, you know, that loss of low end and HF limiting plus punch and dimension that some of us have experienced with real tape machines. Well, the truth is I wasn't hitting it hard enough because I was afraid of that fake saturation we've heard from some plug-ins. So my first advice is: PUSH IT! Don't be afraid. Try to start with conservative levels (I tend to mix at -18dBFS on individual tracks) but once you've set everything up, start pushing those VTM instances with the Input knob (linked) and hear the real magic of the plug-in. Don't be afraid of saturation in this case (try a high bias on hi-hats while they're being pushed, you'll be surprised, it's crunchy but pleasant). The headroom in this plug-in is way higher than most tape machines I've used (not that I've worked with a lot of machines, though), so go over 0dBVU and see if you like it, I'm sure you will.

If you're using the grouping feature and want to push your tracks harder but one of them is clipping inside VTM, just ungroup it, turn the Input down and go ahead. Remember, tape was just a medium to store recordings in the past but at some point people noticed it was also useful to "shape" those recordings and add a different vibe depending on its calibration, formula and response.

I don't use the 16-Track machine on individual tracks because a) that'd kill my computer and b) I'd like to use it as last insert, right after VCC, so it's a no-go for me because I can't freeze. I put it on all my buses/groups right after VCC's MixBuss (I use the MixBuss in my groups/buses), and drive it at will. Of course, the 2-inch machine goes on my Master Track, bouncing around 0dBVU (I don't like to drive this particular instance too much). The fun of using it as last insert is I can take advantage of its behavior with EQ and compression. In the past I EQ'd tapes a lot, pre and post equalization, just to enhance or level the frecuency response of it. With VTM (or any other tape emulation), we can push highs with an EQ right there while mixing to get that HF limiting magic and get rid of that harsh high end (but you also should compensate this with post equalization). Many people will say this isn't neccesary but the difference is substancial because of the way tape reacts (saturated highs may be the ticket to make vocals sit on a mix). Try it, use equalizers before and after, you may like it.

The Bass Alignment is also crucial. Since it isn't a simple pre/post equalization but part of the internal algorithm I had to come up with some rough values for my mixes because I have to admit I don't like the huge low end it adds. I wouldn't recomend to start a mix with VTM insterted in all channels or buses/groups. I'd suggest you to listen to your song a lot of times and then decide what configuration you'll be using (tape/machine/speed). I start with the Master Track. Since I'll be using the 2-inch machine here and this machine has a fat low end, I tend to start with values around -5.0dB if I'll be using the 30ips speed or just leave it at zero if I'll use a 15ips speed. In most mixes I ended up using values around -3.5dB/-3.0dB once I inserted and set up all my VTM instances. It is very important to consider what Bass Alignment value you're going to use because this will determine how much this plug-in will help you or how much it will get in your way.

So far I'm loving the 2-inch machine at 30ips and using the FG456 tape on my Master Track and the 1/2-inch machine at 30ips with the FG456 tape on buses/groups for hip-hop/r&b/electronic mixes. For Salsa, Merengue, Bachata and those genres, I prefer the FG9 tape (with that setup I mentioned above). Sorry, I don't mix rock

Cheers

[penguinfromdeep]

live 8 does not work properly with latent plugins, and that is my second main host and what i will rewire into. So.. since the host is completely broken in that respect, and has a large user base, this plug in will not be suitable for anyone doing automation in Live.. as it will ALL be out of time by 40ms even if pdc setting is enabled.

What's that? My main host IS Ableton Live 8 and I'm not running into any problems like that. The plug-in works perfectly there, dunno about rewire then since I don't do that. Didn't notice any anomaly with automation either really, but maybe since I'm not recording automation live.

[kmonkey]

I really don't care if you beta'd Nebula or drop names or quotes from others.
From your post it sounded either like you didn't know what gain staging meant or you were just acting like a DQ.
From this lengthy & useless rantish reply I see now that it's the latter.

Clip inside a plug if you want, if it's a desired sound or effect that works on your material fine.

I didn't drop names or quotes from others. Surely you did not invent gain staging in plugins by itself didn't you

I didn't pointed out anything to you directly i was speaking general.

So sorry for not supporting your bubble of fantasy regarding "gain staging is needed for every plugin" and so sorry i forced you to show us how low you are by naming me a DQ (i can't remember i said that for any memeber here??)

I've never said i like clipping in plugins (i actually said in Nebula it's the worst case ever) and again so sorry that you use some kind of ancient plugin technology which all of a sudden makes all you plugin clip if you don't gain stage them at -18dbfs.

And once again take my honest apology for me not being a fanboy of some technology (while you call my Nebula comments "rantish" giancarlo call them constructive...you know product is improved if it is criticized where that is needed..)

I'll use mute option once again. I don't like low people

Cheers

[kmonkey]

live 8 does not work properly with latent plugins, and that is my second main host and what i will rewire into. So.. since the host is completely broken in that respect, and has a large user base, this plug in will not be suitable for anyone doing automation in Live.. as it will ALL be out of time by 40ms even if pdc setting is enabled.

What's that? My main host IS Ableton Live 8 and I'm not running into any problems like that. The plug-in works perfectly there, dunno about rewire then since I don't do that. Didn't notice any anomaly with automation either really, but maybe since I'm not recording automation live.

He is speaking about visual sync which is not aligned with the rest of a song. Problem is very serious for users which use a lot of comping and audio editing and rely on a lot of automation from sequencer window.

While Ableton does have automatic PDC for plugins (that's why you did not experienced it) it is very painful issue for users which work i don't know how to say it properly so i'll just say "visually"..

Problem is well known, confirmed and actually well documented at Ableton forum.

[nilhartman]

So my first advice is: PUSH IT! Don't be afraid

I came to the very same conclusion (with VTM and other non-linear processors like UBK-1), the tone they impart to your audio blend much better and feel more natural. Whenever I don't hit those kind of effects enough I feel like it's tone is distinct/separated from the source.

I use VTM (and UBK-1) as 2-Buss processors. I love how these tools help me get way more musical mixes quicker and with less processing on individual channels and busses.

[penguinfromdeep]

He is speaking about visual sync which is not aligned with the rest of a song. Problem is very serious for users which use a lot of comping and audio editing and rely on a lot of automation from sequencer window.

Allright, thanks for the explanation! Yep, I haven't run into this issue, I do use some audio editing inside Live but not much comping and such. Yes, Live has some teething problems, I definitely have a love/hate relationship with it, haha.

[kmonkey]

To get back on topic...

Steven..i think i'll have to eat my words and once again i have to say in public that i am impatient non objective bastard

Why oh why i don't read manuals of products and why i don't watch videos...several hours ago i just found your reply on another forum where you said users to explore "The Bass Alignment" and calibration settings..

Steven this is

I am just working in session, using your VTM and i think i have another awe moment which i didn't have since i heard UAD Ampex..

This is something... I think i'll have to reject all what i said about VTM being same as most of other marginal Tape emulations...

Guy's is there some time machine? I would like to get back to yesterday to remove everything i posted about VTM...

Oh boy this is going to be exciting weekend..

Btw Steven you definitely have to do more videos on mentioning crucial things.

(i thin i am going to give facepalm to myself...is there self facepalm picture)

back to work..

[nilhartman]

Steven you definitely have to do more videos on mentioning crucial things.

Or even make a blog entry/whatever you like and write down these crucial things ! No need for long explanations, some simple hints/tips can be as useful as great starting point

PS : yes, I've read the manual too.

[ObsoleteAcc99]

[DELETED]

[kmonkey]

nope, with automation it is audible problem.

the automation is out of time.

please do some automation right now ok, some RHYTHMIC snapped volume automation using the draw tool.

Insert a latent plugin, in this case use slate, on that track.

Play back your track, and then come back and tell me how unhappy you are. It will take you 20 seconds to do.

Yes i wanted to say that. Sorry for confusion.

[Kingston]

Hi folks. The first demo on the site is a mix printed to the 1/2" machine. While audio is subjective, I didn't find the effect all that subtle. The lows are thicker, the transients have more smack, the midrange and vocal is clearer, and there is a bit more front to back space. The real tape and the VTM version cancel out if lined up with only the WOW/FLUTTER left.

I don't doubt this. But you've also just come out of the bottle where you tweaked and tuned this sound almost alone for several years. Things may seem a little out of perspective.

These high details will elude others until they've also tweaked the plugin for months. Just throwing it out there for distorted tape examples. Maybe someone else could do it just as well with the demo.

[jam92189]

The emulated tape frequency response (with the second tape type) is very accurate, but it just matches a good old EQ preset I made (for PEQ Blue) based on a Telefunken M15 almost perfectly.
There's no "widening" side-effect as on real tape at all. There's no harshness taming side-effect. The saturation is basic and unlike real tape saturation, no "smearing" and no "airy" compressor/limiter-like side-effect, and there's a "linear" response of the saturation instead of an accurate response (same problem in your tube emulator, not to mention the harmonics are very different).

What you say is very interesting, still, I show exactly the opposite in the tech video we made.



You can clearly see that both for the tape and the VTM, you actually have this harshness taming effect, and you can clearly experience the high frequency compression effect when you raise the input with the output gain linked.

It's very simple to experience :

• Process a mix with the VTM at so the VU needle is peaking around -6dB or less
• Raise the input gain with linked output gain gradually
• Until the needle reaches 0dB VU or more
• Try the High bias setting if it's not sufficiently obvious

As for the widening effect, I'd be curious to know how you did measure or hear that on a real tape and on the VTM.

This aspect of tape was precisely reproduced in the VTM.

Fabrice, you can talk about saturation behavior with continuous basic waveforms, but you know that's uninteresting compared to the other effects I mentioned

In the tech video, the purpose is indeed to explain some aspects of the tape that we can actually show in easy to understand curves.

I think it's already pretty interesting, because we show what we did compared to the real tape machine, and which are the areas where other products was not as accurate as we wanted to be for the VTM.

Most people does not have the chance to be able to work with real tapes, that's why we wanted to explain and compare clear and simple situations.

which are what really defines "tape sound", not to mention that your saturation doesn't respond like the real machine at different frequency ranges either.

It does... I'd be curious to know which real tapes did you analyzed already, and how you compared it to the VTM.

You don't have anything even close to a proper tape emulation, just a nice basic special effect.

Well, you're absolutely free have your thoughts and to express them, which is fair.
On my side, I actually show a few things in a video with very precise examples, real life tests that can easily be verified independently, which is also, IMO, pretty fair.

I may spoil the fun for someone (who may feel obliged to make a personal attack, as is usual), but I'm not gonna join the imminent choir, since I care about authenticity just like you but the difference is that I don't have a product to sell and I don't have to focus on merely a couple of effects related to this kind of emulation, but on -all- of them, including the more important ones.

That's great to care about authenticity !!
That's why I'd be more than happy to learn from what you actually experienced, with more details and real life examples.
I don't set the things I believe to know as static, I believe that life should be eternally a learning experience.

I would understand that it's not your role and/or your goals, since you seem to already have some effects to achieve what you need.


Fabrice

I just want to say I have heard some examples on some actual instroments I may not be a tape exert But it sounds great and thanks for all the great examples. I plan on picking it up soon

[jam92189]

you know i listened to the examples on the slate site some people said its to subtle but I heard a difference between tape off and tape on. to be honest I was trying to make myself here a difference between tape and vtm its so damn close I dont know if I really heard the difference or not

[bmanic]

Hi folks. The first demo on the site is a mix printed to the 1/2" machine. While audio is subjective, I didn't find the effect all that subtle. The lows are thicker, the transients have more smack, the midrange and vocal is clearer, and there is a bit more front to back space. The real tape and the VTM version cancel out if lined up with only the WOW/FLUTTER left.

I don't doubt this. But you've also just come out of the bottle where you tweaked and tuned this sound almost alone for several years. Things may seem a little out of perspective.

These high details will elude others until they've also tweaked the plugin for months. Just throwing it out there for distorted tape examples. Maybe someone else could do it just as well with the demo.

You can indeed drive the Slate VTM all the way to some very nasty distortion. Feel free to visit the studio at any time. It's up and running there.

Cheers!
bManic