#Slate vcc problems how to

Ok, what I'd like to add, is that not a single mix leaves my studio without adding Slate's VCC to all of the stems, including the effects stem, the 2-buss, and I often add tape as well. If you have any Qs about the Silver Bullet, both Brad (email from site) and Bill (pm via GS forum) are very approachable, and have no problem helping out.

I also use a HW stereo bus compressor, which takes things one step further. It is of course HW outboard gear, so that needs to be a consideration. That ^ will get you closer to a LFAC sound, like nothing else. So, that comes with a recommendation from me, FWIW. It does not accurately mimic an analog sum, but it does something to the audio that kinda-sorta gets in that direction. The console plugins try and emulate this, but due to marketing concerns, you will probably never hear any dev use the term degradation of audio. And that's what's missing from a render done in your DAW - even if the samples were originally recorded through a good LFAC. There is a lot going on when individual tracks of audio are run through a LFAC, and there are many gain stages along the way, such as op amps, relays, line amps, etc., which - albeit subtle - degrade the audio.

#Slate vcc problems how to

Ok, people know how to say 'mojo', but what is it exactly? Simple - it is the degradation of audio you do not get with digital summing. What I think most people are trying to achieve here - and the funny thing is most people know what it is, but don't know how to explain it nor what to call it - is the mojo you mentioned in your post. That's not the only use for tape and console plugins. But the best way is to experiment for yourself, see what it does for you, and then draw your own conclusions. Other than that I didn't find that they add much at all. The only use I see is if you want to recreate a vintage sound for a specific effect. What's left, then? As you can guess by now I am not a fan of tape and console plugins for orchestral samples. Adding another 'console sound' on top with a plugin doesn't change much, and it doesn't make much sense to me for orchestral samples. I heard no one ever complain about 'the SSL sound' Eastwest's samples were recorded with (I am making example this up), or 'I only wish these samples had been recorded on a Studer console instead'. So they have the 'sound' of a console baked in already - the fact that no one ever hears it or is talking about it speaks volumes about it's relevancy. Because the samples already were recorded through a good console. With orchestral samples it is even more limited, and it isn't a logical thought process either. Unfortunately the succes of this undertaking is slim in my opinion. Users of homerecording studios with very little and /or inexpensive gear usually try to get the sound of those expensive consoles by adding the plugins to the mix. Engineers work hard toР”Р„nother thought process behind using tape and console emulation plugins is the attempt to recreate real world recording chains. For classical music, and I'd assume it's the same for film music in most cases, the goal is usually as transparent and faithful a recreation of the orchestra playing as possible. I don't know how these styles are recorded, so I can not comment on that. Maybe there the plugins could help to 'fatten up' the orchestral sound. Now, things might be different for epic orchestral tracks or hybrid music. they don't introduce the effects these plugins try to replicate, and that is what usually is wanted for orchestral recordings. But digital recordings are more transparent, i. If any conductor/recording engineer in the classical world thought that tape sounded 'better', they would be recording to tape no matter the hassle. And that has nothing to do with digital recordings just being easier to handle. If you look how classical recordings are done, they are almost exclusively all done digitally. And if you use less so that it isn't audible - why add it at all? If you use the effects so much that they become audible it's usually a detrimental addition. In my opinion it adds very little to an orchestral mix. They are certainly not the problem solver kind of mix plugins.

After all, that is usually the allure of these plugins. What effect are you trying to achieve? I suspect you are asking if these plugins can add a desireable 'mojo' to your orchestral mixes.