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Of course, if you have other Slate licences you can pull in different EQs and compressors to build up a chain - very useful if you regularly record the same instruments and voices as you can have a library of recording chains and go straight to them when you want to keep the creative flow going.
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You can push both the pres right up to distortion and there is a broad range of usable tones just from them. The 73 has that fatness we always associate with the Neve, making it perfect when you want to add more depth, especially on a thinner voice or low-end instruments like bass and bass drum. It has a warmth and clarity that we have always loved. They are both very good and sonically most certainly do what we would expect of the hardware units, but we particularly loved the 76. In order to get the sound that Slate intends, you then need to go through one of these.
SLATE DIGITAL EVERYTHING BUNDLE VMS SOFTWARE
Of the software that comes with the microphone you also get two modelled pres, these being the FG-73 (Neve 1073), and the FG-76 (based on a valve Telefunken). This goes from 100% to 150% and gives you the option of dialling in a bit more of the inherent character of each mic and even with extreme settings it doesn’t sound like too much, just more. The only other control on this module is the Character slider. These are the FG-47 (the infamous U47), FG-800 and 800G (after the big Sony), FG-251 (Telefunken), FG-67 (Neumann), FG-12 (AKG), FG-M7 (Shure, beloved of Michael Jackson), and the FG-269 (Neumann). It displays which mic it is on until you press the MICS button at which point you get the list of eight current models (there will be more) to choose from. The software comes as part of the Slate Virtual Mix Rack and is very straightforward. On the subject of build quality both the mic and the pre are constructed to a very high standard, metalwork and finish are excellent and, unlike on some expensive modern mics, the suspension mount is smooth to adjust and holds firm without having to have a grip like a vice.īoth the mic and the pre are constructed to a very high standard, and metalwork and finish are excellent. For many applications the pre could be kept close to the mic keeping the longer cable runs at line level and thus less subject to noise, and in that instance a bit more level indication would be handy. The external power supply connects via an XLR and there are XLR and TRS Audio outputs.Īs far as metering is concerned there is a ‘level’ LED but we can’t help thinking it might have been better to have something a little more sophisticated as it is always good to know how hard you are hitting a pre. There are switches for phantom power, phase and a pad and a single large level control. The Pre is a compact unit which has a dual XLR/1/4-inch jack input and can be switched between instrument and mic. The microphone connects to the preamp via a standard 3-pin XLR cable. It comes with a very well made suspension mount which it screws into (that always feels better to me than mounts with clips) but we think it could be a tiny bit slacker as there is still a higher degree of transmission noise than we would expect. Starting with the microphone itself this all black affair is, in shape and size, somewhere between an AKG C12 and a Brauner VM1. When a system is as capable of fine detail as the VMS it would seem like a natural progression, and one that we would certainly welcome. While it will never be possible to get that nuanced with a system like this we can imagine Slate being able to extrapolate this idea into picking multiple examples of the same mic and making those available.
SLATE DIGITAL EVERYTHING BUNDLE VMS SERIAL NUMBERS
We, like most professional engineers, have particular favourites that we will go to when we open the mic cupboard door, and even have a list of serial numbers so that when we book a studio we ask for a specific mic for a specific purpose. Obviously, Slate knows its mics so it has modelled great sounding ones but it’s really the overall characters we are commenting on in this review as those variations do make a difference. While every U47, U67, C12 and so on, has a distinctive character, they are all different - some quite radically (you’d be surprised at how many we have come across that were simply broken and still being used!) and some very close. As we looked down the list of models provided we realised that these are vintage mics all of which we have used many times over the years.