Slate Virtual Console Plugin is now available

[bishop666]

Could please post a little dry/wet comparison? Thanks!

[zeep]

Looking at the video on how they made this. They tested/tweaked/programmed it with rock mixes and some funky jazzy french stuff. Why not dance? Why wouldn't you guys test this with some house, pounding kicks, pumping basslines? I don't have a problem with rock but there is other music. You americans and your rock..

So anyone tested this with some housemusic?

[penguinfromdeep]

Yes, that's what I do and it works very well for electronic dance music! Gets rid of that 'digitis'

[4damind]

Tested with some electronic trancy stuff... Hopefully the levels are not too different

SSL type and grouped (no different console types for all tracks). For me too hot doesn't work, it smears the sound too much. Level was not over 0dB (no red "LED") but I calibrated the group levels to -18dB... BTW. this seems to be a wrong info from the manual, which suggest -18dB is the default settings but here it was -12dB
Some tracks needed the plug-in "free g" fader from Sonalkis, because the level was too low. Gain range is also a bit curious... Text on the GUI says +/-6dB the red values while grouped showing -1,9 to -10dB (if the knob is enabeled with Strg + click)

Here without VCC and here with VCC

[penguinfromdeep]

I've noticed that with VCC I have to actually pay more attention to the gain staging than before (which is always a good idea of course ) A bit like in the analog days. Also because the VCC plug-ins add some juicy analog noise too, hehe. I also use free-g, good plug-in!

[bishop666]

Thanks Frank! I could not spot it in an ABX-test. Too subtle. At least it doesn't seem to harm the audio material if it is used with care.

I don't think this is plugin i need.

[zeep]

Thanks for that 4damind. Difference is noticeble in high end, it sounds a bit less harsh with VCC and in the low end quite obviously more bass warmth. So you used the console on each channel and the bus on the master right?

[4damind]

Yes, a channel plug-in on each track except the bass because I group always drums and bass together for parallel compression (so the channel plug-in is on this drum group at the first position) and the fx vocals having also only one channel plug-in inserted at the first position in the vocal group.

On the master the Mixbuss grouped to the channels (SSL type).

(Btw. the examples are not mastered only a bit "glued" and limited).

[Compyfox]

8 instances needs about ~10-15% CPU on a E6600 C2D without oversampling, using it on every track will not work for this machine. This plug-in needs a way better CPU, a i7 950 or some similar CPU is highly recommended.

The E6600 is a dual core system, right? Really a tad much so to speak. I really hope this will be finetuned in an update. I actually loved the low CPU usage whilt beta-testing (which was also the main effort of Steven for his own use - though he has an 8-core system if I got that right from the tech-talk video).

The overall result is more subtle and I cannot say their is really a own sound coming from eg. the SSL emulation. Would be interesting if people in a blind test could tell a difference.

Following the chit-chat both on KVR and GearSluts, there were a lot of blind tests and only like 2-5% guessed right in terms of what the ITB is, and what the OTB one is.

An own sound would mean, that the plugin was made up of something (which would result in an own sound more or less). But like most emulations of that kind it's "built upon" something that exists already. Okay, one among many available desks (if we talk about one desk only), which will have that particular sound. Though thankfully, you can mix and match, our productions all sound different to run through such a desk - so there is some sort of "unique sound" at least with mix and matching.

IMHO the input gain range is too low and I miss a output gain knob. So to use it correctly the best way is to insert a gain-fader plug-in (like the free g).
The idea is not bad with such a emulation but it needs a bit more fine tuning and a decreased CPU usage.

I really, really have to test the final version as soon as I get my iLok2 (still on iLok1 and no access to the final), but seeing VCC CHANNEL as a normal channel strip without parametric EQ, I guess it's really only down to proper leveling in the sound (which is why the gain knob is there for in the first place).

I don't know if gain compensation would help again, or just plain calibration. But in theory, and if I had an analog desk that is not calibrated to line (out from PC/MAC) signal, I'd hit PFL, level in, then mix along. Guess this should be done with VCC as well.

Though I can be mistaken - so far it's not clearly documented as of the moment it seems.

Looking at the video on how they made this. They tested/tweaked/programmed it with rock mixes and some funky jazzy french stuff. Why not dance?

Actually, only the "initial creation" was tweaked upon Rock and Jazz music. The actual development is still based upon proper mathematics and careful measurements.

[4damind]

The E6600 is a dual core system, right?

That's right.

Following the chit-chat both on KVR and GearSluts, there were a lot of blind tests and only like 2-5% guessed right in terms of what the ITB is, and what the OTB one is.

An own sound would mean, that the plugin was made up of something (which would result in an own sound more or less). But like most emulations of that kind it's "built upon" something that exists already. Okay, one among many available desks (if we talk about one desk only), which will have that particular sound. Though thankfully, you can mix and match, our productions all sound different to run through such a desk - so there is some sort of "unique sound" at least with mix and matching.

Some of this mixing desks don't have a "warm analogue thick" etc. sound. SSL 4000 is a transparent sounding desk and that's why all emulations sounds "subtle". The truth is, we can put some of this "unique sound" into the box but people should not expect some "magic"

I really, really have to test the final version as soon as I get my iLok2 (still on iLok1 and no access to the final), but seeing VCC CHANNEL as a normal channel strip without parametric EQ, I guess it's really only down to proper leveling in the sound (which is why the gain knob is there for in the first place).

Yes, leveling and gain staging is the most important thing with such a channel strip. So it would make sense if the input gain had a broader range and the plug-in has also has a output gain knob. This would help in a digital environment where we normally don't push all to the limits to use most of the available headroom like in a analogue environment.
But the calibration is very usable and it was a good idea to implement this.

[Slate]

Whoaaa just to be clear we did not MODEL these consoles using test files that I mentioned in the video hahaha.. Our modeling is based on heavy component modeling along with extreeeeemely complex 20 minute test files of various sweeps and secret stuff that Fabrice has developed..

The sounds I talk about in the video are for LISTENING tests.. they are audio files that cover a wide range of stuff from transients to low to high.. that my ears are familiar with.. So if I listen to the file going through the real desk and going through the software emulation, I was able to identify what needed to be tweaked. And yes we ran many 808 and electronic types of audio through the desks during listening.. Also let it be known that I just wrote a whole pop/dance album so I'm not all rock n rollllllll...

So, on to the sound of summing. Some people with golden ears will hear a huge night and day difference between ITB and any of the models. To me its not subtle at all.. But others here might have a harder time hearing what external summing (or in this case external summing emulation) does to the sound. Overall, to me, the VCC adds the extra 10% of space, width, dimension, and overall musical 'life' to the mix that cannot be added with any other process. The Brit N model goes a bit further and really adds a lot of weight to the bottom and mids and makes the mix a lot more organic sounding.

We'll have a new VCC AUDIO DEMOS page up very soon with many more comparisons. If you want to submit your own mixes to this page, here is how:

Submit yousendit (or other file sharing software) links to vccdemo@stevenslate.com .. Must send 16/24 bit 44.1khz clips (30 seconds at least) with original MIX and at least 1 VCC emulation (all 4 appreciated).. and artist and mixer info..

BTW, if you haven't already done so.. update your VCC to 1.05 (its mislabeled 1.01 on the zip sorry) in your USERS area.. fixes quite a few early bugs.

Steven

[4damind]

Ok, I tried the Neve type. Bad, there is a bug with Cubase 6 so the plug-in forget their settings if the saved project is opened
Have reported this to Fabrice hopefully he can fix this.

I added the Neve desk and pushed the drive to maximum The Neve gives this more "American sound" with a pushed bottom-end. But I will note that drive has no effect for this behaviour, it's sounds the same with drive at "0".

Clean version without VCC
Version with VCC and SSL type
Version with VCC and Neve type

[rhythmmaster]

So, on to the sound of summing. Some people with golden ears will hear a huge night and day difference between ITB and any of the models. To me its not subtle at all.. But others here might have a harder time hearing what external summing (or in this case external summing emulation) does to the sound. Overall, to me, the VCC adds the extra 10% of space, width, dimension, and overall musical 'life' to the mix that cannot be added with any other process.
Steven

Brilliant you cant help yourself can you. Did the "how to sell course" teach you this one. If you cant hear it then you dont have "golden ears"

So golden ears would suggest a very very small percentage of your target audience.....so if they cant hear it why do they need it??? Ahh right set them up a challenge....i see

[Slate]

No you've taken that wrong. What I mean is.. summing for the most part is subtle. I have a new intern at the studio.. and months ago he couldn't tell the difference between any of our summing tests. But now he can pick them out every time.. he can now blindly tell the Brit N from the other models within seconds of listening.

So its about training your ears on what to listen to. I'd imagine that most semi pro to pro engineers have golden ears.. or else why would they be in the busines.. But I've gotten some people who have messaged me asking me "what do I listen for?" and most of these guys are fairly new to audio recording, and also don't have the best monitoring environment. In time, they'll be able to hear summing differences, as well as differences between preamps, converters, etc.. This is my point.. it wasn't intended to be condescending.

Bmanic has golden ears and to him, and he has stated that the differences between the console models and the digital mixes is not subtle.. other people will not hear the nuances that he hears.. but with time they will. From the amazing feedback of the VCC.. its obvious that many people enjoy what it does to their mixes.

4damind, thanks for posting.. make sure you have the 1.01 update which will fix the bug you posted. In your examples, the second one (Brit 4k) clearly stands out and has more mojo and the kick is fatter and more dimensional top end. Can you send the wav files (along with any info you want listed) to vccdemo@stevenslate.com ?

[bmanic]

So, on to the sound of summing. Some people with golden ears will hear a huge night and day difference between ITB and any of the models. To me its not subtle at all.. But others here might have a harder time hearing what external summing (or in this case external summing emulation) does to the sound. Overall, to me, the VCC adds the extra 10% of space, width, dimension, and overall musical 'life' to the mix that cannot be added with any other process.
Steven

Brilliant you cant help yourself can you. Did the "how to sell course" teach you this one. If you cant hear it then you dont have "golden ears"

So golden ears would suggest a very very small percentage of your target audience.....so if they cant hear it why do they need it??? Ahh right set them up a challenge....i see

I don't get it. What's with the attitude?

Developing sensitive hearing (meaning you train your brain to hear subtle differences) is nothing new nor elitist. It happens by itself with accumulated experience. It happens quicker if it's something you care about and force yourself to notice.

I see this kind of sensitivity to subtleties in a lot of different fields. For instance I'm not sensitive at all to colour balance or texture and thus have to roll my eyes every time some of my friends who are graphic designers complain about bad colour saturation, balance or colour selection in films or photographs. Does that mean that just because I as a layman can not see the difference invalidates their opinion and expertise?

Same with prose. There are apparently a lot of subtle nuances in how a person can write a poem or a piece of fiction. Do I know what to look for? Do I know what these experts talk about? Hell no. Does that again invalidate everything these people talk about?

What about food and drinks? Shall we all now start invalidating and ridiculing people who are experts in these fields?

Come on now.. get a clue. The subtle details in whatever field you choose to work in are important to a lot of people. To some they are not but who cares? You don't have to get silly about it just because YOU don't care about it.

- bManic