The FG-3000 and FG-3500 Expansion for VerbSuite Classics adds another two legendary digital reverb boxes to the Slate Digital arsenal including 40 new reverb patches that use LiquidSonics Fusion Capture technology.
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The original 224 digital reverb is arguably one of the most legendary digital reverbs in history, gracing thousands of hit records mixed by some of the top engineers in the business. This new FG-224 and 224XL expansion pack for VerbSuite Classics features full Fusion Captures of both the original 224 and the even more acclaimed 224XL units, and it sounds absolutely incredible! These additional reverbs give VerbSuite Classics even more power and flexibility, and give you more creative tools to add width and depth in your mixes.
Despite the digital revolution in the audio industry, many of today's top commercial albums are still mixed on analog consoles. Audio engineers rely on analog mixing to provide the nonlinear musical qualities that digital mixing does not produce. "When you mix through an analog desk you get this life and body to the sound that just doesn't happen when you mix inside the workstation. The separation and imaging from the analog summing is very apparent, especially when your track count gets high" remarks mixer Jay Baumgardner (Papa Roach, Evanescence).
Over the past ten years, multiple audio manufacturers have produced simplified analog summing boxes that allow DAW users to get the benefits of analog mixing without having to use a full fledged analog desk. In 2001, Steven Slate made his mark in the analog summing world by commissioning Roll Music Systems to design and manufacture a custom analog summing box that was later named the FOLCROM. The FOLCROM continues to be one of the most popular analog summing boxes on the market, used by mixer Mike Shipley and other top names. Now in 2009, Slate once again stirs up the analog summing world, this time in the digital domain.
Despite the digital revolution in the audio industry, many of todays top commercial albums are still mixed on analog consoles. Audio engineers rely on analog mixing to provide the nonlinear musical qualities that digital mixing does not produce. "When you mix through an analog desk you get this life and body to the sound that just doesnt happen when you mix inside the workstation. The separation and imaging from the analog summing is very apparent, especially when your track count gets high" remarks mixer Jay Baumgardner (Papa Roach, Evanescence).
Over the past ten years, multiple audio manufacturers have produced simplified analog summing boxes that allow DAW users to get the benefits of analog mixing without having to use a full fledged analog desk. In 2001, Steven Slate made his mark in the analog summing world by commissioning Roll Music Systems to design and manufacture a custom analog summing box that was later named the FOLCROM. The FOLCROM continues to be one of the most popular analog summing boxes on the market, used by mixer Mike Shipley and other top names. Now in 2011, Slate once again stirs up the analog summing world, this time in the digital domain.
The Trident channel is said to be a nice open & wide sound, while the Neve is beefy with deep bass. Looking at the graphs you can easily see why that is the case. The Neve has about a 2dB bump below 100hz. The Trident has a high end boost. The API is a like a softer version of the Trident and the SSL is almost neutral. And the SSL by the way is one of peoples favourites from what I read around. It could be because it does not EQ very much but still gives saturation. As Fabrice coded these plug-ins I expect the EQ is of the same quality as his respected AirEq. A good digital EQ with nice curves is basically a nice enhancement.
Then again when we think about how mixes have always been done, engineers have always had higher levels of distortion in their processing chains than what you will get in your DAW with neutral digital processing.
I then did some listening to the original vs these other versions. The most obvious versions were the NI Vari-comp and the Waves API. The Varicomp version was distorted (obviously as it's a tube emulation and I really drove the input hard) and the waves API version was more pleasant than the original though maybe a bit too bright. Not a good mix with harsh digital sources. So I did another test running the API at 96kHz and the result was much smoother. Another reminder of the importance of over sampling.
Too much hype surrounds this plug-in. However strip away the hype are you are still left with a decent digital tool to help with your mixing. I want to knock points for for Slate Digital's contribution to the hype, but in the end I can't blame them. They said they are giving us the sound of these consoles and I believe they are, as much as digital can do so. They said you can mix and get faster results and you can. I think perhaps the problem was people in the home studio ascribed too much "magic" to consoles in the first place.
The FG-S is a digital replica of one of the best-known British console EQs from the 1980s. This EQ also has rich overtones and interactive middle bands with a rich musical tone. It is the ultimate mix of equalizer that can be used on any track. It is ideal for surgical cutting shots or for the wide bell and shelf shots to let drums and guitars come out of the speakers.
The FG-116 is the most precise digital replication of the classic American FET limiter. No expense has been spared to capture all the nuances of this classic sound compressor/limiter. From its typical timing characteristics to the extremely musical sound of its transformer, the FG-116 will give engineers the musical, bold tone that made the hardware so famous. The FG-116 sounds great on everything, like vocals, drums, and bass guitar.
The FG-401 started as a replica of the classic British console duct compressor but has grown to much more with slate digital crack windows. First, we gave it a variable attack and release with an increased range which added more sound options. But then we added an optimal transformer input and not just any transformer, the famous transformer of the British class A console! This gives the compressor a nice warmth and a nice shine. Finally, we have added a second unique circuit path that provides an extra soft and rich tone. The FG-401 is perhaps the most versatile mixing compressor in the world that can sound great on any source you power.
The FG-116 is the most precise digital replication of the classic American FET limiter. No expense was spared to capture every nuance of this classic sounding compressor/limiter. From its trademark timing characteristics to the extremely musical sound of its transformer, the FG-116 will give engineers the musical and fat tone that has made the hardware so famous. The FG-116 sounds great on everything like lead vocals, drums, and bass guitars.
The Slate Digital VerbSuite Classics reverb plug-in emulates various world-class digital hardware reverbs. It can be used on multiple audio sources, including voices, drums, guitars, and more.
The two VU meters at the top of the interface give a fairly good level indication, and they are faster than a real VU meter, which I think is appropriate in a digital system. Introducing non-linearity in a DAW certainly makes it more important to keep track of the levels, because hot levels will increase harmonic distortion.
I'm rather picky about what kind of distortion I use, and how much, on vocals, because naturalness and intimacy tends to go out of the window with too much added distortion, especially digital distortion. With a healthy input level and just a bit of extra Drive, the Waves NLS plug-in sounded rather nice; the Spike model added some extra mid-range, while the Nevo opened up the upper mid-range. Each console model has 32 different channels modelled, and it's quite interesting using the two arrows at the top of the user interface to step through them. On vocals, the difference can be quite audible, especially on the Mike model, the oldest mixing console of the trio. If you commit to using NLS, it's definitely worth trying the various modelled channels within each mixer as well as simply swapping between the mixers.
I do think that Waves NLS brings something to the table, because it definitely makes mixing in the box more fun and more interesting. Most rewarding is the way the mid-range opens up, whether you're applying subtle or crunchier distortion. Working in a non-linear system makes it important to keep track of levels and decide how hot the signals should go; this approach might be new to laptop jockeys used to working in-the-box. Only you can decide whether or not it's suitable for you and beneficial to your productions; luckily, there is a seven-day demo available at the home page, and with the new Waves License Center, iLoks are no longer needed, so go grab yourself a digital analogue mixing console or three! 2ff7e9595c
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