standardgerma.blogg.se - Slate vcc and ssl duende together

SLATE VCC AND SSL DUENDE TOGETHER MOD
SLATE VCC AND SSL DUENDE TOGETHER MANUAL
SLATE VCC AND SSL DUENDE TOGETHER SERIES

We took the classic British discrete transformer and added some of its characteristics to the signal path.

SLATE VCC AND SSL DUENDE TOGETHER MOD

We did a small mod to the circuit in our virtual model which I think you’ll really enjoy.

SLATE VCC AND SSL DUENDE TOGETHER MANUAL

It has a way of being able to tighten and ‘gel’ the components of a mix in ways that can go from fairly transparent in auto-release mode, to very aggressive in manual mode. I’ve used the hardware model for many years but I never fully appreciated just how magnificent the piece is until studying it during the modeling process.

FG-GREY: The FG-GREY starts off with a very precise model of the classic SSL 4000 G-Series Buss Compressor.

But you can try cranking it all the way for an interesting effect! When you push the DRIVE knob, you get a beautiful punch and articulation of the transients, and you can control just how much you want, regardless of whether or not you use the makeup gain! Famous rock mixer Justin Netbank beta tested the FG-RED and loves the drive, suggesting ‘6.6’ as the magic number. Howie Weinberg, the famous mastering engineer who has a studio on our campus, let us in on a little secret: He uses his RED not for compression, but just to use the output gain to get that amazing effect! So I decided to do something that the original unit cannot…I put that output transformer effect on a knob called DRIVE.

SLATE VCC AND SSL DUENDE TOGETHER SERIES

After more examination, we realized that this was due to a series of nonlinear reactions caused by the output transformer. The attack and auto-release work in an interesting way and are very musical, but the real magic we found was in the output section! We found that just pushing the makeup gain a few db did some insane things to the sound! A little push and things got a ton more punchy, fat, and aggressive. When Fabrice and I analyzed the RED, we found out that it was indeed a very unique beast. WOW! One of the clearest, punchiest sounding rock mixes I’d ever heard come out of my own speakers. The first thing I did was put it on my mix in the settings that Chris showed me… 1.5:1, attack around 10/11 o’clock, auto release, compressing just 2-3db tops. This was puzzling because I usually associated a faster attack with a loss of transient punch, but if you’ve heard Chris’s mixes you know that they are the exact opposite of that! So being the classic gearslut, I bought one, (I got the unit with both input and output transformers). I thought it was odd actually: here was this compressor that nobody else seemed to really use, and it was on a setting at 1.5:1 and the attack looked very fast for a Mix-Buss compressor. FG-RED: This compressor is based on the Focusrite Red 3 compressor that has been a favorite of mix legend Chris Lord Alge, who first showed it to me when I visited his studio years ago.Known for its thick and fat tone with incredible vibe and mid-range punch. US A: Modeled after the API 1604 console.Known for its wide soundstage, smooth highs, and fat low-end. Ψ: Modeled after the legendary Trident 80B console.The all-tube design offers super thick mid-range, smooth high-end, and a fat, warm bottom end. RC-Tube: Modeled after a vintage RCA Broadcast Tube Console from the 50’s.Brit N: Modeled after the Neve 8048 console.Known for its clean, punchy, wide, and slightly aggressive quality. Brit 4k G: Modeled after the SSL 4000G console.Increase the drive for amazing saturation. Known for its tight but punchy low-end, warm low-mids, and a present midrange. Brit 4k E: Modeled after the SSL 4000E console.

Hollywood: Designed to be the most colorful of the three modules, with beautiful air, depth, excitement and some really big bottom!.Great for adding focus and punch to mixes. It offers an aggressive mid-range and tight low-end from its unique dynamic harmonic saturation. New York: Designed to emulate the solid-state discrete circuits of vintage American consoles.Great for adding thickness and plenty of body to mixes. It offers big, warm and bold in the lows and low-mids, with a slightly smoother top-end. London: Designed to emulate the tube circuits of vintage British consoles.Known for its thick, warm, and colorful tone with unique and musical saturation that sounds great on bass guitars and kick drums. FG-76: Modeled after a vintage Telefunken V76 preamp.Sounds great on vocals, drums, bass, guitars … pretty much anything that makes noise. Known for its bold, present and warm tones. FG-73: Modeled after the infamous Neve 1073 preamp.FG-47 MKII: U47 smoother upper mid, fatter low mid, vintage vibes.FG-800M: Sony C800G (Older, more mellow).

If anyone besides me is using this page as a reference, this page seems to be a WAY BETTER version. Mics – Pres – VCC – VBC – Equalizers – Compressors – Verbsuite – Repeater