the vtm is for mixing not to be used for live sound right? I been playing live drums with plugins for better sound cause my cpu is able to handle with no lag but vtm is not used this way right?
That guitar tone is gorgeous. All these plug-ins are cool but the biggest thing I've learned in my mixing journey is that well-recorded tracks are the most important part of getting a solid production. Makes this mixing so much easier!
I've been using the VCC for about a year now. Fantastic results. Saying that, now Slate has included SSL plug-ins in the Complete Access Pass. It's really all you need in the world of plug-ins, except for some specialty ones, oh..and the ones we buy because someone we look up to, in the world of mixing uses it..
Getting a slate subscription was one of the best choices I've ever made as a producer. They took my productions to a whole new level and I also learned so much from the slate academy. Their plugins are just absolutely phenomenal I use them on every single one of my tracks.
I love Slate Digital Plugins. They've changed my mixing experience tramendously. Thanks for the tutorials, with out them I wouldn't know how to wield the tools. Thanks Steven Slate!!!
nothing can beat vmr+vcc+vbc... i remember the first time i heard them, i was stoked! impressed! a incredible jaw dropping vintage's sound, full of harmonics and dynamics, now i can't start a mix without slam these beauties on. i can't wait to try the fg-stress! as usual awesome work Steven!
4 months later and found out It was lies devised by the democrats and he never really did anything with Russia but Hillary actually did with a fake Russian dossier she paid millions for on lies about Trump. And the economy and jobs hit an all time high, all time high for black and Spanish employment as well.
Cheers for the tutorial, I bought the plugins mentioned, but still need direction like this to get the most out of subtle moves, but man it sounds bigger and better.. More tutorials and insight please...
Slate pays himself GENEROUS usage royalties. He told me himself. April Fools...no wait.. This song has appeared on several Slate Digital videos over the past 2 years or so? It now qualifies as a golden oldie. Steven, this track really does benefit from the plugs, truly brings your voice forward in a better way than a volume knob. Kudos to your musical partners as well.
Great job Steven, really amazing. I have a little suggestion with regards to the A/B comparison: when they are spaced out from each other and separated by a long comment I lose the instant effect of hearing the difference, maybe it would be better to make the comment before or after the comparison ? Just an idea :)
vcc is a must have plugin no joke. it does the things that you hope eq and compression will magically also do (i.e. glue the mix together) but really dont get all the way there by themselves. It really fattens up the bottom end but in a smooth way which i love.
I love the Slate Digital videos, great job with the presentation - it's given me some new idea's for mixing with both of these. I have the VTM, VCC, FG-X, Blue Compressors, VBC, Eiosis, the list goes on ... my only criticism would be most of your videos you're working with this sort of music, when you've included some electronic stuff it's been with EDM. I've no problem with this, but I write house & techno, which sonically sounds very different to a typical EDM mix. All the early house & techno music - Frankie Knuckles, Ce Ce Rogers, Farley Jackmaster Funk, Derrick May, Kevin Saunderson, etc, was cut to tape and recorded through analog desks, and people always strive for this type of 'vibe' with their productions. It'd be great to see more videos whit this type of music.
All your plugins are one of the Best in the industry. Steve when are you going to release your song? A very nice song and imagine watching it on MTV 😄👍
These Slate plugins are really superb! I'm a little biased though coming from a tape background in the 1980s and 1990s. Rock and Metal genres always benefit from tape and analogue equipment methods.
Yes now add a preamp in the beginning of every chain and you can bring e mix just so much forword before even starting to mix. Its amazing honestly. Saturation noise and tape compression are so overlooked as a general mixing startingpoint. Its always just eq and compression. Combine that with you typical china condesor and you are set up for failure!
Hey Slate, your plugins are awesome and I gotta say, I would love to hear them being used in a context of a film/game score. Lots of friends use your plugins on their music (me included), so what about a tutorial on these type of music from the creator itself? ;)
I was not a fan when VCC1 hit the world but a few weeks ago I gave VCC2 a try and I was positive surprised. I bought the 14.99 subscription. To my surprise all the other plug ins own a vibe as well. What I like about them its most often subtle, like with real gear. I love the idea to have the VMR. I hope that VMR gets some changes in the workflow. It needs to be more intuitive. I still have to read too much. But its a big plus versus tons of clicking to open plug in windows. I hope that VMR gets us closer to a more instinct based mixing-process, - like with real gear.
@@joseeduardoparra2812 Generally, I don't. Or at least not a noticeable difference. You may care if you have like DI vs real amp or some phase related tracks (like drums). And if so, you can fix it easily using a time delay plugin
Um. People say plugins wont help you are full of shit. Stock plugins suck. Mixed on stock plugs for 5 years!!!! I just got my first plugins... slate all access... and my GOD. Life changing
I don't think Steve really knows how good of a singing voice he has and how unique it is. No one sounds like him. To me, he's got the voice of a famous singer...that never got famous because he didn't have a singing career!
There used to be a Slate video where this song was played in its entirety. I can't find it anymore. Does anyone know which video it was and if it still exists? This is a cool song.
Imagine all the songs around the world that are amazing that no one can listen too. I mean that But I also make music no one listens to. Not professional but its very honest and emotional to me
I have a question, if I have a little drum track and I insert the VTM with the settings I like, I feel the best sweet spot with the Input all way left(-18db, linked) with the needle barely moving around - 20VU, because when I raise it or peak around 0 VU it feel really bump and stressed, Am I doing well? As real tape machine?
Nyc one man, great tutorial. I wanted to ask if you can use VCC then Virtual tape on an already bounced audio track just incase you didn't use them on individual channels?
Putting the Virtual Channel the last module with the Virtual Mix Buss the first on your Mix Buss will emulate the analog summing style but putting the Virtual Channel at first just gives the feeling and sound of the mixing console you choose.
@@nickhyder9141 There are 2 techniques, the first one is known as the analog summing which is taking all tracks of your DAW and send them to a hardware analog device then bringing them back to the DAW as a final Stereo Mix. This is known to add warmth, tonality etc... To digitally achieve this, put the Virtual Mix Channel at the end of the chain of each track of your Drum Buss for example (kick, snare, drums, ...) and put the Virtual Mix Buss the 1st on the Drum Buss chain. The second technique is to get the feel and tone of a real mixing console (as if you're mixing on an SSL or Neve for example) and that is by placing the Virtual Mix Channel the 1st on your VMR chain while the Virtual Mix Buss can be put anywhere on the Mix Buss. I hope that helped.
Could anyone explain to me the difference between increasing the drive on vcc, and doing what Steven does by increasing input and decreasing output? He says he likes to keep drive on 6 and push up the input but I can't understand why. Not even sure why vcc needs both of these controls.
Drive will increase some of the harmonic content, but not really influence the saturation that much. The input/ouput will also increase harmonic content but also will drive the amplifiers into saturation.
SlateTV when do you actually pull the input down (output up) and when do you pull the input up (output down) ? Its probably a silly question but i really dont get it
How can I fix the latency of VTM on my Cubase DAW? It has 39.2 ms of latency in cubase, but this latency don't appear in the DAW "Reason". I use Cubase for everything. Can someone tell me what to do? Please for the love of god :(
I thought it was him as well. Something in the shape of the voice. I agree Steven let's get a release on that tune. I've been complaining that nothing new sounds exciting and fresh and as I was listening to the tune I really thought I'd like to hear more from this band. No smoke just honesty.
thanks man, tell me something...the first version w/retro-knobs GUI..the group section allowed you to assign "groups" to chosen groups on the VCC i.e. drums=6 tracks all to group one on the VCC and on the mix-buss you could could control the level of group one with out the level changing on the other groups..it's not that way now...why?..and is it possible to still achieve that now? if not..whats the reason for have 8 groups?
Sorry...but i can't hear the difference when Steve touches the knobs..on the final bypass A/B i can hear a difference especially in low-mid range. I've got the all-access pass. How can i make my ear more experienced to use the proper settings?
Hey Steven- awesome video! Quick question on the VTM. I see that you generally put the VTM on each track, usually set quite similarly. Is there a benefit to doing it this way vs. creating an insert with the VTM and just sending each track to it?
Hey Slate! What would be the difference if I put the tape machine after the virtual console? I saw you did put the tape machine in the first slot. Thanks a lot!
It would be better if the bypass volume was the same as the plugin engaged volume for a fair comparison. Of course everything sounds better when it’s louder.
I bought the VBC rack a while back. When I went to use it today, it worked but the needles on the interface weren't working, as if no signal was going to it. Which is frustrating because I can't see how many db of compression is happening. Do you know any remedy to this?
Steven. Do more tape machines and tapes and give more options to tweak them. P.s. Make sure awrything 192 and 384 Khz sample rate friendly. Also would be intresting to add some features which did not exist on real things. Like run tape at 60ins or 120. Make an option to add more dynamic range and frequency response.
Steven has said that he's shooting for REALISM on the tape machines, and wasn't going to add extra features or "bells and whistles" that never existed, just for people who have no experience with how tape sounds. No tape machine in existence EVER ran at 60ips, never mind 120. These tape machines are modeled on two of the finest multi-track and 2 track machines in the world, with the highest possible frequency response allowable with tape/tape machines. What you are asking for isn't characteristic of tape, and those who are familiar and have worked with tape wouldn't want features that never existed in the first place. We like the VTM because it sounds like tape should sound. ...So I wouldn't hold my breath on that.
The problem with the current two from VTM is that they cut low and high frequncies. Also dynamic range is not perfect. I heared that in last days of tape machines there were made tape machines with huge dynamic range and frequency response. Maybe it will be super hard to find them because they are in very low quanity sold or and exist as prototypes but that is very Interesting to hear them.
I don't know how else to explain this to you...You keep missing the whole point of this VTM plug, but I'll give it one more try: The Slate VTM was meant to FAITHFULLY emulate a Studer tape machine and analog tape, (such as 456 or GP9). Tape inherently had a different bandwidth than digital does, as well as a higher noise floor, which affected the Dynamic Range. What you are asking for isn't the TRUE sound of tape, and there NEVER was a tape machine that ran at the ridiculous speeds you mentioned (60ips? 120ips?). Perhaps you should be looking at a saturation plug instead, or maybe some kind of transient modeler? This VTM plug was designed for those of us who remember working with tape and pro machines, and want to impart "that" sound and vibe to our mixes... and what you are asking for are things that were NEVER characteristic of real tape, or the real multi-track tape machines that Slate has modeled...
MrDonnyAir You do not understand my request. 1/2 which is in VTM does not have 30 speed in real life. So now you point is false. My request is to faithfully recreate something which might not existed in real world but was possible to do in real life. Like example the tape machine which in VTM called 1/2 does not have speed of 30 in real life, but only 15. But Slate did it and i believe they tried to faithfully recread it if it was there. So my request is to try with 60 and may be120 speeds. And more dynamic and frequancy ranges. To faithfully recreate all that if it were in real life. Maybe to get the best result they even will need to create analog prototypes first and them model them after.
Would love to work on the multitracks for this song. Are they freely available by any chance? In some way they remind me of the better Black Sabbath songs.
Hey Steven, thanks for the tutorial. I see that you are using a different setting on all the instances of the tape machine. If I remember correctly, the user manual suggests to group instruments to share a setting and have a glued feeling. Care to explain the advantages? Thanks
I base it mostly on the tone of the two different machines, mostly as I say in the video, the differences in the tape speeds. 30ips is gonna be flatter but will still have a head bump in the 100-200Hz area, 15ips will be slightly bigger in the 60Hz-90Hz area, and 15ips will also have a rounder top end.
Quick question... for some of the individual track tweaks why turn down the input of the plugin to a negative when linked rather than unlinking and boosting just the output or just turning down the track volume? What's the advantage there? Isn't that taking away some of the plugin treatment?
Voltage-heavy distortion sounds different than voltage-starved distortion. It's taking advantage of pushing the "console's" circuitry in different places along the signal path. Also, on the input side you're pushing different components than you would be pushing the output side. Personally like to overdrive my channels, under drive my busses, and overdrive my 2-mix.
When adding on so many channels the Tape tool I get a lot of build up noise on my Master channel. Especially if i insert the Tape also on the Master Fader channel. I dont know the algorithm behind it but to my ears is just added white noise with an EQ wich smooths out High mids from 2 - 7 k calling that analogue Tape emulation. I love everything in that bundle but the Tape plug in makes me very sceptical
I don't like straight digital but I truly don't like what the plugins do either. I've auditioned the plugins many times now and I can't put my finger on why but it just kills the energy for me, even though the plugins are supposed to be bringing energy. Would be nice to hear them used on a different mix, too.
I noticed when you started tweaking the input/outputs on the VCC and the VCC Mix Buss that you increased the input on the Mix Buss but you decreased the input on the VCC's using the US-A model. Is there any reasoning behind this? I can't seem to notice much a difference whether you increase or decrease input or output if they're both linked. Are my ears just bad...? THANKS FOR DITCHING THE DONGLE! A loyal customer, Ryan
Thanks for sharing this Steven. It's awesome and I love your plugins! Just one question. the Verse Vocal and Chorus Vocal sounds totally different. 09:45 Like singer suddenly run to your face. Did you do this on purpose ?
