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Otherwise, as per the original hardware, ratios of 4:1, 8:1, 12:1 and 20:1 are offered, though there's no way to punch down all four at once, as both the hardware and some 1176 software emulations allow. Even more helpfully, holding the Shift key while adjusting one dial will compensate the other to preserve this relationship. Neatly, whenever the gain settings equal 48 dB, the compressor operates at unity gain. Below the gain reduction meter at the top, you'll find the input/output controls. The Urei 1176 compressor remains highly coveted, with UAD and Waves among those who have produced software emulations and Warm Audio the latest hardware manufacturer to mimic its sonic behaviour.
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The first of VMR's compressors is closely and successfully modelled on a classic, too. In both EQ modules, the emulation is extremely detailed-the unique qualities of each manufacturer's approach to tone control have been impressively captured. This module, like the Neve emulation, also provides a low frequency filter. By default, the outer bands are shelf-based designs, but they can be switched to bell curves via a single button. High, upper- and low-mid and low frequency bands are provided, with frequency selection and cut/boost dials in each, and the mid bands also benefit from a bandwidth dial.
#Slate digital vmr review series#
The second EQ processor is the FG-S, which emulates the tone controls of the SSL 4000 E series mixing consoles. Fortunately, as the effect of this is much more subtle, the dial resets to zero to stop you inadvertently adding 24 dB of gain when unclicking Drive.
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A level rotary can provide up to 24 dB of additional gain (watch your speakers!), and when the Drive button is engaged, the same dial adds saturation to the input signal. Additionally, a high-pass filter allows you to scoop out bass frequencies up to 300 Hz, and you can also modify gain structure. The FG-N is based on the classic Neve 1073 EQ and provides low- and high-shelf bands with +/-16 dB of boost or cut, and Neve's original single mid-band bell design is doubled to provide two layers of EQ shaping between 360 Hz and 7.2 kHz. Though the names don't say so explicitly, the design, feature-sets and sound of these modules will be familiar to those who are interested in classic effects processors and analogue outboard gear. But don't let that fool you into thinking that it doesn't take signal processing extremely seriously. Indeed, the VMR concept is simple, quick and easy to use. You'll find lots of presets for each module, too, but since none feature an overwhelming array of parameters, it's much more interesting to build treatments of your own. You can use the same module several times in a single rack. An A/B comparison option is also available. You can reorder them by dragging, and each rack slot features solo and power bypass options. From here they can be double-clicked or dragged into the rack to the right. The mix rack concept is simple-once you've downloaded and authorised the software (which requires an iLok 2 dongle), you'll find the modules listed down the left side of the interface.
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There is little doubt that further titles will follow, but the currently available modules are named FG-N, FG-S, FG-116, FG-401 and Revival, which we'll come to a little later. From a design standpoint, it echoes the popular 500 series lunchbox effects suites and, for now, the modular plug-in can host to up to five separate processors.