Slate Digital Virtual Buss Compressors Software for Pro Audio Applications (Download)
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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. 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 , and more articulate transients due to the harmonic distortion in the midrange.
Slate Digital model a classic with FG-116 Blue FET compressor plugins
Three great buss compressor emulations with some welcome enhancements and a staggeringly convincing ‘analogue’ sound. Pros Excellent analogue sound. Full circuits are modeled. Three distinctive processors. Rack or individual plugins. Precise incremental knobs. Cons No mono versions. Sidechain high-pass needs wider range. During development, Slate made a conscious decision to focus on non-linearities like harmonic distortion, phase distortion, frequency alteration and noise, as well as the underlying compression characteristics – so in theory, we really are talking ‘warts and all’.
The compressors themselves are all pretty straightforward, and if you’ve used the hardware equivalents or any good software emulations , the control sets will hold no surprises – although they do take advantage of more accurate incremental parameter changes, of course. FG-Red’s famed transformer circuit includes adjustable drive level. Aside from that, the Red boasts a very similar set of controls to the FG-Grey: Of note, however, is that the limiter circuit from the actual Red 3 isn’t included.
Slate have also stuck with the independent input level and threshold controls. However, Attack and Release are handled by individual controls rather than the six time-constant options of the You also get independent Gain make up again, not a feature of the Finally, FG-Mu can also switch between linked stereo and dual mono modes, the latter featuring separate controls including a high-pass filter for each channel.
Triple decker “FG-Mu imparts an enhancer-like high-frequency sheen” All three VBC plugins have an audible effect on the input signal even when they appear to be delivering zero gain reduction.
This is most obvious with FG-Mu, which imparts an enhancer-like high-frequency sheen, and FG-Grey, where the mids feel slightly scooped. FG-Red is the most neutral, but even that one still pushes a slight upper-mid enhancement. It’s when you start compressing, though, that the personality of each compressor really comes through.
FG-Mu has the most character and is just beautiful across drum overheads, drum sub mixes and overall mixes. The high- frequency sheen is accompanied by a low frequency “glue”, and although you can drive the compression hard if you want to, there’s plenty of flavour even at gentle settings.
FG-Grey is also pretty coloured, which isn’t something we would associate with the SSL Buss Compressor on which it’s based, and there might be a good reason for that: Slate has bolted a model of a Neve input transformer onto its recreation.
This modded design works well under medium-to-heavy compression to retain more punch on loops, drum sub mixes and overall mixes. We’d like the option to be able to disengage the transformer circuit, though, which would presumably give a cleaner sound, possibly more like a typical SSL.
Like we said, FG-Red is the most neutral processor at zero-to-low compression settings. But like the original hardware, this is where it works best, adding subtle mix glue. The real clincher here, though, is the adjustable output transformer.
This acts rather like a subtle distortion control, and is great for adding bite to the mid-range, whether that’s electric guitars, keys or even vocal sub mixes. More than the sum Slate tell us its planning to add mono-only instances in a future update, and we’d also welcome a broader range for the sidechain filters FG-Mu’s upper limit is Hz, while the other two only reach Hz.
When compared to other market-leading plugins of a similar bent, Slate’s diligent approach has clearly paid off, particularly in the excellent non-linear characteristics. This attention to detail, amongst other things, has resulted in VBC taking rather longer to make it to market than anticipated, but now that it’s here, we can emphatically say that this is a great package, presenting everything you need to compress your master buss, sub mixes and plenty more besides with real character and analogue authenticity.
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Three buss compressors come at once
Each of the three compressors included in the bundle is either a modified model of a single hardware unit attempting to improve its sound or function or combines the best traits of various compressors to create a hybrid processor. The bundle includes four plug-ins: Three contain a single bus compressor each, and the fourth lumps all three into a virtual rack for simultaneous use. Intended for processing mixes and tracks routed to a stereo aux bus such as subgrouped drums , the plug-ins only operate in 2-channel configurations at the time of this writing. An iLok 2 dongle is required for operation. Saint Ives transformers are famously used in dozens of Neve modules and consoles.
VIDEO: Slate Digital Virtual Buss Compressors | MusicRadar
Slate Digital VBC Virtual Buss Compressors Plug-in Bundle (download) give you three amazing-sounding, analog-modeled dynamics processors that are. Sheet 1- Slate Digital Modelin Slate Digital Modeling Chart Plugin, Bundle, Here’s what Steven Slate said: “The FG Compressor can. It’s no surprise, therefore, that a good buss compressor is a highly revered piece of kit, something that Slate Digital is well aware of, having.