Setting up the VCC properly will take a few extra minutes but is well worth the effort to maximize the effectiveness of the plug-ins. Once your tracks are grouped the way you want, mixing and matching different console sounds and bypassing your groups to A/B the sound against the dry version is very simple. The Group layout allows the user to label each group, which is extremely helpful for keeping all your tracks organized within the VCC. In Group mode, the settings of all VCC plug-ins in your session that are set to group “ON” will be sync’d and can be controlled by any single instance of the plug-in. I then started breaking my individual tracks into groups such as Drums, Bass, Guitars, Keys and Vocals.
I began by engaging the VCC Channel plug-ins across all of my tracks and the VCC Mix Bus on my master fader. It has a super thick midrange, smooth high end, and fat and warm bottom end. The RC-Tube is based on a 50’s, all tube broadcast desk. Known for a rich, fat, and warm sound, it can add some classic vibe to your mixes.Īnother classic British console, this desk is known for being the ultimate rock desk, with a wide soundstage, smooth highs, and fat low end. This classic desk has been a staple of the recording industry for over thirty years. One of the most sought after desks in the industry, this American made discrete console is known for a thick and fat tone with lots of vibe and midrange punch. I found the general CPU load even at 88.2 to be more than acceptable for a plug-in that’s designed to be used on every track across the board. With VCC enabled on every track and the mix bus my CPU usage increased to 55-56%. The CPU usage of my mix without VCC was running between 41-42%.
#How to set up slate vcc pro
One note on CPU usage: For testing I enabled VCC on every fader of an 88.2/24 bit Pro Tools mix with approximately 62 faders including all mono/stereo audio tracks and aux inputs for busses and FX. While Slate Digital doesn’t expressly instruct any particular location for the VCC Channel in your plug-in chain, I’ve found that making decisions about the console, input and drive setting you plan to use can affect your mix a great deal and in my opinion should more often than not be the first plug-in in your chain allowing you to shape your mix based on the sound VCC is creating. Because I mix primarily in Pro Tools, VCC seemed like the perfect choice to take this vintage sounding band where it needed to go in-the-box. The recordings were done very quickly and feature lots of roomy drums, bass, electric and acoustic guitars, banjo, fiddle and plenty of male and female vocals. IN USE: I used the VCC on mixes for the first EP by NYC-based Americana band The Lexington Express. THE INTERFACE: The VCC consists of two separate plug-ins: The VIRTUAL CHANNEL for each of your individual DAW tracks and the VIRTUAL MIX BUS for your master fader, or any master bus.
Five different analog consoles are available to choose from and can be mixed and matched to create the ultimate console tailored specifically for your mix. Individual channels and master sections of famous analog consoles were extensively measured, tested and captured to digitally recreate their dynamic response characteristics. WHAT IT DOES: The Virtual Console Collection is a plug-in package designed from the ground up to model the characteristics of an analog mixing console channel and its summing amp. An iLok2 is required for the VCC and can be purchased separately or bundled with VCC at the time of purchase for an additional $20. Formats are RTAS, AU and VST and 32 and 64-bit where available.
#How to set up slate vcc for mac
TECH SPECS: The Virtual Console Collection (or VCC) is a Native-only plug-in for MAC and PC and retails for $249. So, when I started hearing all the buzz about Steven Slate’s Virtual Console Collection plug-in, I was excited to check it out with the hope (if not expectation) that it would help further blur the lines between analog and digital summing, providing a depth and realism to my mixes. Over the last couple years, plug-ins like Mellowmuse’s SATV and CS1V as well as SoundToys Decapitator and Devil-Loc have made it so I can mix in-the-box and still get those gritty harmonic qualities of the analog gear I’d grown to love in my analog mixing days.
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