Plugins

1.285,-

Objekt Modeling Synthesizer Reason Studios • Open-ended physical modeling synthesis • Create unique acoustic sounds • Over 500 patches, from real to imaginary Synthesize reality with Objekt, a physical modeling synth for new and unique acoustic sounds. Discover the character of organic instruments and real-world materials. Dynamic, playable, and easily customizable. Explore over 500 patches ranging from bells, mallets, percussion, stringed instruments, textures, and more. Move any parameter to see what happens. Where you end up might sound familiar or like an imaginary instrument that doesn’t exist. Until now. Objekt is an open-ended physical modeling synthesizer, meaning it models the properties of acoustic instruments and gives you control over those as parameters. Instead of choosing between pre-made options, it opens the hood to the inner workings of physical modeling synthesis so that you can experiment and approach it like what it really is: a synthesizer. At the heart of Objekt are three resonating objects, think of them like the instrument itself, with in-depth control to create anything from a string or bell to a skin or something yet unheard. The instrument is then set in motion by the Exciter section. From the short impact of a stick to a wash of noisy static, the Exciter lets you play the instrument in dynamic and wonderful ways. Tweak the sound to suit your needs or invent entirely new instruments with just a few parameter changes. Objekt generates all sound in real time without relying on pre-recorded samples which makes it dynamic, playable, and easily customizable—but also fast and lightweight. Need somewhere to start? Explore over 500 expertly crafted patches covering a wide range of sounds. Objekt excels at both realistic reproductions and new imaginary instruments that doesn’t exist. Until now. Move any parameter to see what happens. Use the powerful randomizer to slightly alter a patch or morph it to a brand new direction. Start from scratch and see where you end up. Objekt’s designed to be explored on your terms. Objekt is perfectly integrated into the Reason Rack workflow with the familiar browser, native undo, CV and audio cables, and more. You can even connect any audio signal to the External Input and use any sound to excite the instrument’s resonators to incredible effect, think of it like an “acoustic vocoder”. Features Open-ended physical modeling synthesis for unique acoustic sounds Dynamic, lifelike, and easily customizable Powerful randomizer for instant variation and inspiration Over 500 included patches Included with Reason+ Requires Reason 10.1 or later. The included Combinator patches require Reason 12. New in 1.0.3 Mid Freq and Mid Freq Gain can now be automated as intended New device thumbnail in the browser Some patches have moved to new categories All Combinator patches now have backdrops Minor graphical adjustments

Slate CS Custom Analog EQ`s - ...

1.237,-

Customized boutique analog EQ`s CUSTOM SERIES BUNDLE The Custom Series Bundle is like an EQ All-Star team. During development we studied over a dozen classic analog equalizers to identify the best attributes of each one, and then took all of those attributes and put them into a single equalizer plugin. As a result, every band of the Custom Series EQ was inspired by a different original device, and has its own unique boost and attenuation design. Each band even has its own analog-modeled output section, with rich musical harmonics to give it a lively analog vibe. Even though it’s a hybrid design by nature, the Custom Series EQ is one of the most natural-sounding equalizers you’ll hear. EQ’s Greatest Hits Unlike the individual EQ’s that inspired it, the Custom Series EQ doesn’t have to conform to the limitations of analog circuit design. Each band was inspired by the sound and design of a different classic analog equalizer, and unlike the real devices, each band has its own circuit topology and behaves differently when boosting or cutting. The result is an equalizer that can do amazing things – it can add air to dull tracks by adding 10db of 15K without getting strident (like some passive tube EQs), bring down brittle harshness in a vocal by cutting 2K without losing clarity (like some high-end parametrics), and add low-end girth by adding 100 Hz without getting tubby. Add Clarity & Fatness The Custom Series Lift processor is a boost-only parallel filter based upon passive designs, and it can add real life and girth to your tracks. High Lift allows the top end to be opened up in a natural way, adding air and space to the resulting sound. The Present and Silky buttons tune the shape of the high frequencies to be more or less forward without ever getting harsh or strident. Low Lift injects natural bass energy, and it’s magic on anemic bass guitars and kick drums. The Big and Punchy buttons shape the transient and low frequency information in two distinct ways, so experiment to see which works best on the track at hand.

Slate Digital Custom Opto ...

1.237,-

Emulation of a historic Opto Compressor with added speed, ratio and 4 new tone control settings. We modded one of the most classic vintage Opto compressors in history by adding timing & ratio controls plus 4 new tone settings so you can shape your sound to perfection in seconds. HOT ROD YOUR SOUND Decide how quickly the circuit responds with Speed, and dial in just the right amount of compression with Ratio. Get all the smoothness of a Classic Opto with the controls you need to hot rod your sound. DIAL IN YOUR TONE Choose from 4 new custom vibes to breathe life into your mix. Open up your top end with Airy. Take out harsh frequencies with Smooth. Bring snap & punch with Aggro. Add vintage fatness with Warm. The Tone knob is your new best friend. DYNAMIC DUO FG-2A gives you that smooth, classic 2A sound that's been shaping music for over half a century. Custom Opto goes even further & lets you shape your tracks—including full mixes—to perfection. Together these two Optos give you total control of your mix. And you get them both in the All Access Pass. “Custom Opto is AMAZING! That tone knob is EVERYTHING. The sonic possibilities it opens up are endless.” — Andros Rodriguez Producer (Justin Timberlake, Pharrell, Madonna, Lenny Kravitz)

Slate Digital MetaTune

1.850,-

Automatic tuning Plugin. MetaTune hits harder than other tuners dive into negative retuning speeds. The best Automatic Tuner on Earth Say goodbye to buggy, expensive automatic tuners. MetaTune is the world’s hardest hitting tuner EVER. Get insane robo fx with negative speeds, a gorgeous interface that’s easy to use, and cool new features like Grouped instances & a built-in Doubler for wide, thick vocals. From subtle, natural pitch adjustments to in-your-face fx, MetaTune is the automatic tuner you’ve been waiting for. Hits Even Harder Looking for that hard-hitting tuning effect that dominates modern music? Your search is over. We studied the leading automatic tuners and went even further with Negative Speed & Note Stabilizer. Get the hardest tuning effect imaginable with absolutely zero note fluttering. Easy Interface MetaTune is dead simple to use, so you don’t need to watch dozens of YouTube videos to get started. Its clean, intuitive interface will have you ready to ride in seconds—even if you don’t know scales & chords. HeatMaps show you where your notes are landing & how they’re being adjusted. It couldn’t be easier. Groups Change the Game Assign your MetaTune instances to Groups—changing one changes them all. And if you make those changes with automation, you can add dramatic key changes across tons of tracks in seconds. No more manually copying settings from one instance to another. This is automatic tuning the way it was meant to be.

Slate FG-116 Fet Compressor

1.850,-

A perfect recreation and a custom mod of the most highly sought after Rev A Blue FET Compressor FG-116 Blue Series FET Compressors The FG-116 Blue Series authentically recreates the tone of two vintage “rev A” FET limiting amplifiers, and then offers two uniquely modernized versions of the classic FET circuit. With vintage and modern tones and clever features like hi pass detection and a parallel mix knob, the Blue series can be used all across your mixes. Vintage FET Limiting VINTAGE CIRCUIT 1 Circuit 1 has the classic ‘mid-forward’ character that made the blue-striped FET compressors so famous. It adds a wonderful coloration to the upper midrange especially, and adds a warm presence to vocals, bass, drums, and guitars. It will have a softer top and bottom end compared to the Black 116, and more articulate transients due to the harmonic distortion in the midrange. VINTAGE CIRCUIT 2 Circuit 2 is modeled after a “rev A” unit that had been updated and refurbished, and had a very unique and musical sound. This model has much bigger lows and smoother mids and highs compared to Circuit 1, making it sound amazing on drum room mics, as well as vocals that need to have more ‘bigness’ and don’t require the midrange push of Circuit 1. Modern FET Limiting MODERN CIRCUIT 1 Circuit 1’s attack is slow enough that this compressor can sound amazing on close drum mics when set to the slowest attack and fastest release – try it on a snare to bring out the punch while extending the decay. Bass guitars can take on a very edgy sound on this same setting, and by backing down the release you’ll start to tighten things up (which can be great on kick drum too). MODERN CIRCUIT 2 Circuit 2 will have a more breathable and punchy bottom end and overall smoother response on the top end. It sounds amazing on a drum buss with the Hi Pass filter engaged, and even full mixes can really benefit from this musical compressor! Yes, with the Blue Modern – with the attack on the slowest and release on fastest and with the HP filter on – you can use it on full mix! Compress about 10db, then back off the mix knob to about 25% for incredible energy and excitement. Parallel Compression The FG-116 Blue Series Compressors take the guesswork and setup out of parallel compression techniques by offering a Mix control. By dialing in heavy amounts of compression but dialing the mix back to 25%, you can enhance the punch of your drum tracks without making them feel overly compressed. The Hi Pass filter allows the compressor to ignore low frequencies, retaining low frequency impact while still controlling the dynamics.

Slate FG-Bomber Dynamic ...

612,-

Analog Modeled Dynamic Enhancer FG-BOMBER FG-Bomber is a unique analog-modeled Dynamic Impact Enhancer, and it can give your tracks and mixes more impact, authority, and excitement. It has the ability to make the elements of your mix ‘extrude’ from the speakers, adding a front-to-back depth that always translates, even to small speaker systems. Powerful Dynamics Processing Under the hood, the FG-Bomber uses one of our most complex fully analog-modeled circuit paths yet, consisting of special harmonic generators, compressors, saturators, filters and more. It’s an invaluable tool for managing dynamic material, and we often hear from customers that the Bomber can literally replace entire signal processing chains all by itself. Drive Drive controls the amount of signal sent to the effect processors. The most impact is felt when Drive is adjusted so that the VU needle peaks at the little bomb icon, while more depth and sustain can be had by pushing it further. Intensity Intensity blends the effected signal with the dry signal. Small amounts of Intensity can create subtle impact, space, and depth, while large amounts can produce extremely punchy and fat-sounding results. Tone Tone selects one of the three preset effect styles: Present, Fat, or Tight. Try each to see which one fits your current need the best.

Slate FG-Stress Compressor

1.237,-

The FG-Stress is a digital replication of one of the industry’s most highly coveted analog compressors, the Empirical Labs Distressor. Every aspect of the Distressor has been modeled, which is no simple task due to the Distressor’s unique topology where every ratio is essentially a different compressor! Like the hardware in which it models, the FG-Stress can mimic the tone of some of the industry’s most famous compressors like punchy VCAs, fat tube compressors, and even vintage opto units. After two years of development, we are so proud of how precisely the software can match the hardware. Get To Know The FG-Stress A Bit Better As Steven Takes You Through Some Classic Settings On Various Instruments.

Slate FG-X2 Mastering Plugin

1.850,-

Mastering Reimagined Looking for a mastering solution that does it all? Look no further. Four Limiters, One Plugin FG-X 2 features four carefully crafted processing modes that give you tons of creative flexibility. Get extremely transparent limiting with zero pumping, or loud processing with gorgeous, colorful saturation. Once you’ve found your sound, adjust your overall level with the Gain knob and your mix will be as good as gold. For Beginners and Pros FG-X 2 comes with two presentation and processing views: Easy, for a fast & loud result, and Advanced, which unleashes an extra set of parameters for users who are more familiar with the mastering process. For beginners and seasoned studio veterans alike, FG-X 2 has everything you need to get the job done—and then some. The Ultimate Mastering Tool The introduction of FG-X 2 turns the All Access Pass into the only mixing & mastering toolkit you’ll ever need. FG-X 2 joins a lineup of exceptional EQs, compressors, and faithful emulations of some of the most legendary pieces of analog mixing gear ever made. With FG-X 2, you can get the pro mix & master you’ve been looking for, entirely in the box. Perpetual License Make mastering easy with Fg-X . No subscription required. iLok USB dongle required

Slate Gates Bundle

1.237,-

The Gates Bundle is one of the most important weapons in an audio engineer’s arsenal. Used tactically, it can eliminate or reduce unwanted bleed or background noise from recorded source material. Used creatively, its applications are virtually limitless. Previously, Slate users have had to call upon gates from directly within their DAW or third-party plugins of choice. But those days are history… Introducing two new gate modules: Gate: Classic and Gate: Drums. You can now access nearly infinite gating options without ever having to leave your Virtual Mix Rack workflow! Gate: Classic is a traditional, straightforward gate that is highly efficient in removing background noise from guitars, vocals, and other acoustically-recorded source material. Gate: Drums is a highly-sophisticated drum application. It combines a gate based on transient detection with smart dynamic filtering so you can achieve far cleaner drum tracks than with a conventional gate. GATE: CLASSIC One fierce gate to rule them all! Kill unwanted background noise in a variety of source material with ease. A classic gate setup with traditional parameters – threshold, ratio, range, attack, release, slope, and two distinct gate modes: Classic: standard detection based on the signal amplitude only. Input signal can be filtered with the highpass & lowpass filters. Vocal: introduces internal filtering that better detects a vocalist’s natural breathing. A unique timing circuit is added to smooth the opening and closing of the gate. Gate: Classic also features highly-accurate sidechain filters, providing an array of creative options across the mix. GATE: DRUMS Unlike Gate: Classic, Gate: Drums is based on transient input. This means that the gate is triggered by sharp and soft transients rather than volume levels. With this unique processing, you can separate the transient from the signal tail, and apply different processes to each! Gate: Drums is divided into three sections; from top to bottom: Transient Detection: The first step of the workflow – adjusting the detection to catch only the desired transients. Gate: The second step of the workflow – adjusting the floor and timing of the gate. Debleed: The final step of the workflow – filters the tail when a transient is caught. Detection Filters: Filter the signal before detection, so the gate only reacts to certain frequencies. Transient Detection: Controls the ability of the gate to detect more or less transient. Detection Threshold: By excluding low levels, you can focus on a specific amplitude range and have insanely precise transient detection! Debleed: Debleed On/Off enables dynamic filters. Release: Controls the speed of filter activation once a transient has been detected.

Slate MO-TT - dynamics ...

1.237,-

For years, producers have turned to the legendary OTT setting in Ableton to add life and drama to their tracks. Now get that exact sound with MO-TT, our new dynamics processor that adds fire and energy to your tracks like never before. MO-TT, 'MOre than oTT', is the first true recreation of the iconic OTT Preset in Ableton’s Multiband Dynamics processor—a sound quickly prized by producers to make tracks sound brighter, fuller, and larger than life. But the original OTT suffered from several limitations. It took a lot of work to customize your sound, and you could only use it in Ableton. Until now. A ONE-TO-ONE REPRODUCTION OF OTT Our engineers studied OTT obsessively, teasing out every sonic characteristic until they fully captured its legendary sound. We figured out why other attempts to recreate OTT were never able to capture its elusive lightning in a bottle. And then we went even further by adding new ways for producers to shape their sound. ALL NEW FEATURES Want that classic OTT sound? Or massive, demonic low end? What about adding vast, spacious presence to vocals? Use Quick Set Modes to instantly dial in the sound you want: OTT, Hip-Hop, or Vox. Adjust finely the behavior of the dynamics and transients by flipping through Classic, Smooth, or Smack Timing Styles. And tweak your sound as much as you want without ever breaking the preset thanks to Global Macros. LIBERATE YOUR TONE You’re no longer limited to simply controlling the overall amount of the effect: MO-TT lets you dial in the amount of compression for each frequency band. And you can shape your mix to perfection thanks to the additional High Pass and Low Pass bands.

Slate Murda Melodies - ...

1.850,-

Twist, shift, mangle & more—Murda Melodies does unspeakable things to your track. Legendary producer Murda Beatz has worked with some of the biggest acts in Hip-Hop, including Drake, Travis Scott, & Migos. We partnered with Murda on a revolutionary new multi-FX plugin that offers producers access to endless sonic landscapes. THE ULTIMATE MANGLER Twist, shift, mangle & more—Murda Melodies does unspeakable things to your track, transforming it in ways you can’t imagine. Transform stock sounds into insane, unrecognizable tracks. The same fire Murda creates in audiences around the world is captured in this incredible new plugin. 8 PLUGINS IN ONE The heart of Murda Melodies is in its 8 effects knobs, covering modulation, reverb, synced delays, reverses & more. And each knob interacts with the rest, leading into some truly mind-bending sonic landscapes. PRO PRESETS BY MURDA Easily sculpt your sound to perfection, with over 50 jaw-dropping custom presets made by Murda and our sound designers to get you up & running fast. SHIFT HAPPENS Change the pitch of your track over a whopping 4 octaves with a built-in pitch shifter, and for crunchy lofi beats, introduce gorgeous nonlinear artifacts with Pitch Jitter. Set the balance between shifted vs original pitch to dial in exactly the sound you need.

Slate Repeater Delay

612,-

23 emulations of classic delay machines REPEATER DELAY The delay is one of the most fundamental effects used in audio production, as it can add depth, space, excitement, and vibe to your mixes. Over the past fifty years there have been many different kinds of delays, from oil cans and tape machines to digital units, and each one has its own unique character and sound. So when it came time to create a delay plugin, we knew which delay unit we needed to model: ALL OF THEM! Repeater Delay features 23 authentic emulations of classic delay machines ranging from classic oil cans and tape machines to vintage digital designs – it’s packed with sounds and new features that will add depth to your mixes, and it comes with a user interface that’s immediately easy to understand and tweak. Multiple Delay Personalities Repeater’s 23 delay models offer you a versatile delay palette, as well as some amazing special effects like authentic pitch, telephone, and vintage tape tones. Whether you want a bold echo, a subtle wide space or a classic tape slapback, Repeater Delay has you covered. You’ll be able to find the right delay for the right situation, every time. Spread The Stereo Image Repeater’s SPREAD option can help you easily create wide stereo delays with the touch of a button. Just choose your delay note or ms value, and then SPREAD can automatically deviate the delay lines by either 10ms or 20ms, as well as automatically panning the delays left and right. SPREAD can help you utilize Repeater’s delay tones to make complex soundscapes. Add Color To Your Delays Repeater Delay makes it easy to move your delay repeats forward or bury them in the mix using the Color control, which can act like an upper-midrange filter. You can customize your delay with hi and low pass filters, and the plugin also utilizes an input saturation section before the delay engine, so a wide variety of warm saturations is easy to achieve. Analog-Modeled Feedback Circuit Engaging the Analog button sends all of the repeats back through analog-modeled circuitry to further enhance the gradual dimming and degrading of the sound as the decays die off. The Analog button makes the delay tones “melt” into the mix, and it sounds incredible on vocals and guitars!

Slate Slate Infinity EQ 2 ...

1.850,-

Slate Digital - Infinity EQ 2 Infinity EQ 2 takes our popular parametric EQ to the next level with dynamic filters, three new filter types, and a major GUI update. It’s the ultimate flexible, transparent equalizer for any audio producer’s toolkit. DYNAMIC FILTERS Infinity EQ 2 brings dynamic filters to the Infinity EQ, applying transparent compression and expansion to your set curve when the signal crosses the threshold. This creates a more natural, musical mix that lets your sound breathe. Three new filter shapes to choose from: Notch, Tilt, and Bandpass. TWO TIMING MODES Infinity EQ 2 also features two new timing modes: Tight and Smooth. Tight is very reactive and great for tasks like de-essing, while Smooth offers a slower release that lets more transients through. IMPROVED INTERFACE Infinity EQ 2 keeps the streamlined workflow, now with a new control panel for adjusting curves and dynamic processing. Plus, with fluid resizing and zooming, the GUI adapts perfectly to any display. PRISTINE PERFORMANCE The Infinity EQ 2 filters have perfect analog-matched shape. They don’t introduce distortion up to Nyquist frequency. Infinity EQ 2 also offers improved CPU performance. FULL COMPATIBILITY If the original Infinity EQ is a mainstay in your templates and workflow, we’ve got you covered—simply update your existing plugin, and you’ll be good to go.

Slate VBC Dynamics Processing

1.850,-

3 unique-sounding dynamic processors VIRTUAL BUSS COMPRESSORS Virtual Buss Compressors is a suite of three unique-sounding dynamic processors that are modeled from some of the most classic mix buss compressors in the audio industry. Careful attention was paid to recreating the unique nonlinearities of the circuit paths that give each compressor its distinct tone – including their transformers, tubes, VCA’s, amplifiers, phase distortions, harmonic distortions and timing. VBC is perfect for adding a professional final touch to your mixes. FG-RED This compressor is based on the classic RED-faced compressor that has been a favorite of mix legend Chris Lord Alge, who first showed it to me when I visited his studio years ago. I thought it was odd actually: here was this compressor that nobody else seemed to really use, and it was on a setting at 1.5:1 and the attack looked very fast for a Mix-Buss compressor. This was puzzling because I usually associated a faster attack with a loss of transient punch, but if you’ve heard Chris’s mixes you know that they are the exact opposite of that! So being the classic gearslut, I bought one, (I got the unit with both input and output transformers). The first thing I did was put it on my mix in the settings that Chris showed me… 1.5:1, attack around 10/11 o’clock, auto release, compressing just 2-3db tops. And…. WOW! One of the clearest, punchiest sounding rock mixes I’d ever heard come out of my own speakers. This unit was amazing!!! When Fabrice and I analyzed the RED, we found out that it was indeed a very unique beast. The attack and auto-release work in an interesting way and are very musical, but the real magic we found was in the output section! We found that just pushing the makeup gain a few db did some insane things to the sound! A little push and things got a ton more punchy, fat, and aggressive. After more examination, we realized that this was due to a series of nonlinear reactions caused by the output transformer. Howie Weinberg, the famous mastering engineer who has a studio on our campus, let us in on a little secret: He uses his RED not for compression, but just to use the output gain to get that amazing effect! So I decided to do something that the original unit cannot…I put that output transformer effect on a knob called DRIVE. When you push the DRIVE knob, you get a beautiful punch and articulation of the transients, and you can control just how much you want, regardless of whether or not you use the makeup gain! Famous rock mixer Justin Netbank beta tested the FG-RED and loves the drive, suggesting ‘6.6’ as the magic number. But you can try cranking it all the way for an interesting effect! FG-GREY The FG-GREY starts off with a very precise model of the classic British “4000 series console compressor”. I’ve used the hardware model for many years but I never fully appreciated just how magnificent the piece is until studying it during the modeling process. It has a way of being able to tighten and ‘gel’ the components of a mix in ways that can go from fairly transparent in auto-release mode, to very aggressive in manual mode. We did a small mod to the circuit in our virtual model which I think you’ll really enjoy. We took the classic British discrete transformer and added some of its characteristics to the signal path. This does something amazing to the clarity of the midrange and bottom end, where the hardware unit tends to start sucking out too much bottom as you start to compress more. The hardware unit can also get slightly ‘choked’ in the mids as well, but our virtual transformer stage keeps the bottom big and round and the midrange more open, while still retaining the classic sound of the original unit. You’ll notice that there is a bit less of a drop in the bottom and the rich mids will still be nice and present when you heavily compress with the FG-GREY – I love it in both manual and auto mode, and it’s amazing on drums and guitars too! FG-MU I’ve been lucky enough to hear and use some of the most classic and hard-to-find tube buss compressors on the planet (like the Fairchild 670 and Manley Vari Mu), and let me tell you, there is some real magic that happens when your mix goes through a brilliantly-designed piece of tube gear. The midrange thickens, the lows get tighter and rounder, and the top end opens up with a beautiful sparkle… even better, those harsh upper mid overtones seems to get tamed too. For the FG-MU, we put all of these wonderful qualities into the algorithm. To experience FG-MU for the first time you don’t even have to do any compression, as just going through the processor without any gain reduction will reveal a beautiful open sound due to the modeling of the tube circuit path. Even when I’m using the FG-GREY or FG-RED, I love using the VBC Rack just so I can have the audio pass through the FG-MU! But the FG-MU is an amazing-sounding compressor in its own right. If you scan through the presets, you’ll get a great idea of what its capable of. Smooth rich compression, fat warm compression, and even slightly aggressive compression. Overall, this is a processor that has tons of analog mojo and vibe for days. A sure hit on your ITB mixes! THE NON-LINEAR DIFFERENCE During the development of the Virtual Buss Compressors, I spoke to many top pros in the audio industry about mix buss plugin compressors. There seemed to be an overwhelming consensus that even though many of them were advertised as ‘analog modeled’, they still didn’t have the classic sound of analog compressors. So Fabrice and I got to work – and the first task was examining the hardware compressors and the current crop of analog modeled plugin emulations to see what was going on! And what we found was surprising: the classic analog compressors that we studied added some very complex nonlinear artifacts in their signal paths. Their sound was not simply based on their specific compression topology like timing and compression curves, some of them also had modulations, dynamic harmonic distortions, dynamic phase distortion, saturation, crosstalk, and more. And just like in our Virtual Console Collection plug-in, these artifacts added a sonic imprint to the compression. Was this the magic sound that made the plug-in compressors sound different than the analog compressors? There was only one way to find out. We had to precisely model it. All of it! Several months later, we had algorithms that combined the exact compressor topologies, curves, timings, as well as the circuit’s nonlinear dynamic artifacts. We were able to bypass JUST the artifacts, and the answer was very clear: much of the magic tone that has been missing from many plug-in compressors lies in these nonlinear additives. When you hear the three VBC compressors, you’ll notice a depth, life, and analog ‘vibe’ that you’ve likely not heard before in a plugin compressor. I hope that you enjoy it on your mixes!

Slate VCC Console emulation

1.237,-

Emulation of 6 classic recording console VIRTUAL CONSOLE COLLECTION There is a reason why many top hits continue to be mixed on analog consoles – much like tape machines, the top large-format analog consoles have a sound and a vibe that has been impossible to achieve in the world of computer recording… until now. The Virtual Console Collection allows your DAW to take on the personality of a real analog mixing desk, improving the imaging and depth and making instruments sit better in the frequency spectrum. Mixing becomes easier and more musical, and you can even push the DAW faders up to find each mixer’s “sweet spot”. Large-Format Authenticity The behavior of an analog console is immensely complex, because the individual channels contribute different things sonically than the summing busses do, and the number of individual channels in use matters to the overall sound of the desk. To accurately emulate all of this complexity, the Virtual Console Collection consists of two separate plugins – the Virtual Channel and Virtual Mixbuss – both of which allow the user to choose from one of six analog console emulations. Virtual Channel is applied on individual mixing channels in your DAW, and Virtual Mixbuss is intended to be placed on the first insert of the master fader. Choose The Best Console For Your Mix Virtual Console Collection contains emulations of six classic inline recording consoles, including the most sought-after models from Britain and the US. These emulations are sonically indistinguishable from the original desks they model, so your mixes will come together quicker, feel more even and exciting, and require less work than ever before. Easier Auditioning To make Virtual Console Collection easier to use, up to eight separate control groups can be created in your mixing session, allowing you to manipulate multiple channels from any module assigned to the same group. It’s a snap to audition different console emulations across multiple tracks in order to select the right one for your mix, as well as bypassing all group members to A/B as well.

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