In the box mixing with plugins doesn't have any technical requirements to follow a specific order, so long as you're watching the gain at each step. In a less traditional sense, the order wouldn't necessarily matter unless you encountered an issue that resulted from the chain's processing order (which is why my chain has settled into the basic outline I posted above). Sounds like they're trying to replicate an actual studio situation, which is fine (possibly preferred) for those with experience and/or training in a formal studio environment. If you checked out Slate's website, you'd see all this too and know what I was talking about. The VTM and VMR are separate, while the VCC is within the VMR.Ĭonfusing, I know, but like I said Slate users would understand the lingo and I was hoping to find a few here with some input. So I'm trying to see where other's who use this put the VTM, which traditionally should be after the mic and pre's, but before the console. Typically, you would record into tape, then onto the console. So these all can only be used within the 'Rack' which is just one inserted plugin with everything in it, if that makes sense. All awesome stuff, the issue I'm trying to figure out is the fact that the VMR contains the VCC and all the mic sims and preamps, (along with all of Slate's compressors, eq's, etc). In a nutshell, VTM is the Virtual Tape Machine plugin, VCC is the Virtual Console Collection, and VMR is the Virtual Mix Rack. I do understand basic chains, I was just hoping someone familiar with Slate chimed in, as they would totally understand the lingo.

The VTM passes to another instance of the FG-73, but this time instead of being used for its tonality the FG-73 is being used as an overdrive for the bass part.īlending these two channels along with Drums, Steven shows how the bass sits in the track but has its own place in the low end.Thanks for the reply, Pinky. To give the bass part some character Steven then duplicates the track for a style of parallel processing again using the VTM but this time the VMR has the Virtual Console Collection (VCC) in the US-A setting. He then runs the output of the VTM into the Virtual Mix Rack (VMR) and a host of goodies including the FG-73 preamp emulation, the FG-S EQ and the FG-116 Vintage 1176 style compressor. Steven starts by applying Slate Digital Virtual Tape Machine (VTM) to the DI bass track to give the DI part some warmth in the form of gentle saturation. In this video tutorial from the team at Slate Digital, Steven Slate shows you how to turn a flat, run of the mill sounding DI bass part into something that is going to drive, add body and give the finished mix a solid foundation.

How to set up slate vcc