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Post by popmann on Jan 22, 2014 21:34:13 GMT -6
I'd be interested in your naming a few. Slate VCC and Waves NLS, attempting to model entire consoles. Fabfilter stuff, with their integration of M/S into just about every plug. UAD's Ocean Way in how it not only models the studio but allows the user to "move" mics around. My knowledge of plugins is not encyclopedic by any means, but this sort of approach to coding strikes me as progressive. Yeah...but, that's a paradigm shift more than inherently "better sonics". The separation of saturation/line amp models from the other parts of the mixer channel is cool because it forces a thought process difference for me...I don't think those models are inherently better sounding models than any number of saturation that has existed. I think there is a new market of decidedly NOT engineers driving now. It's been taking over more and more...rather than catering to experienced engineers and everyone else benefitting, it's now being marketed TO the people who couldn't pass signal flow 101. Which, for the record, is not meant as condescension. I wish 25 years ago, as a musician I could've been able to record without learning what I did. But, the same way tech hasn't made record sound better...it's not going to. It makes it cheaper and easier--so more people get involved. What you're seeing as progressive is more inclusive, IMO. Not better sounding. I don't know what you're mixing on now that you're considering switching...but, it's been worthy for some time, IMO. It's not THE SAME...though...so, you'll need time to adjust technique-at least I did. I did such lame work when I switched years ago, I ran back OUT of the box. I've done the software switch little by little. As I'm comfortable with this or that aspect I retire the old hardware. Once it's all retired, it will be "shrink the box" time. Seriously...I might just have an iPad that docks in a few years. Audio production has been so mature for so long, IMO. Keep my front end and back end IO and transducers...I'll have a studio full of instruments and little visible "recording gear". Small rack of IO...monitors...mics...the harder I work to reverse engineer this and that...the better I get at using whatever typical digital EQ/compression/etc.
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Post by Martin John Butler on Jan 22, 2014 22:10:12 GMT -6
I had already sent a personal note to Steven and Ashley congratulating them, and it was such a pleasant surprise to see him posting here. I've seen these kinds of posts disintegrate before from discourtesy, so I suggest to you John, that you be a little bit more in control of the tone of this thread than you might be otherwise. Steven's an invited guest, let's all treat him like one. Steven & Co. have produced something extraordinary and interesting, and I welcome his input.
Pace, the guy just got here, show some respect.
I had the exact same idea a year and a half ago, and posted about it at the Apollo thread. Most guys said it couldn't be done, ha!
The big question I asked Steven and Ashley is... once the dust settles, and although I understand the pieces are designed to complement each other... would they release the mic emulations alone, as a plug in?
I have a Blackspade U17, and will soon have the Thiersch M7 capsule upgrade. It's quite a "clean" mic, and on my Warm Audio ToneBeast, there's one setting that extremely clean, so those two and a VMS plug might be sweet.
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Post by Ward on Jan 22, 2014 22:27:38 GMT -6
And just a heads up for those without a knack for the obvious:[/b][/u][/color] Manufacturers and resellers SHILL from time to time!! That's THEIR JOB!
Every manufacturer and reseller I have seen here has been behaving in the most objective way possible, and not engaging in heavy handed marketing, QUITE the opposite. But if they give in to their business objective and shill from time to time, don't be pissed off about it!!
If it weren't for entrepreneurs and business mavericks, none of us would be recording music and we certainly wouldn't be communicating on an electronic medium!!
So let's all... C H I L L
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Post by Martin John Butler on Jan 22, 2014 22:37:14 GMT -6
Yep, we're all selling something, but we can indeed be classy about it. I wish I was at NAMM to try this out. I had a blast running some tracks through the Raven, Focusrite Red Net and Ocean Way monitors with Steven, Alex Oana, Allen Sides and Chris Lord Alge at AES. Believe me, they were musicians and producers first and foremost.
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Post by kcatthedog on Jan 22, 2014 23:29:03 GMT -6
certainly another interesting slate product
Be interesting to see how one could manipulate the track in UA OWS and whether that enhanced or diminished it
I have exchanged a lot of emails with steven and beta tested ssd4, i have always found him very straight up and concerned i certainly have time for him and don't support flaming him
Got a problem with a slate product or service ? Call him on it: you are just as likely to get a direct response from Steven and he will be direct, straight up constructive and frank which confuses me cus of course his name is Steven? Who is Frank Slate anyway ?
Let's continue to foster the best spirit hear.
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Post by stevenslate on Jan 23, 2014 1:19:14 GMT -6
Hi guys. Thanks for the warm welcome. I understand the concern for a manufacturer to be here so I promise to respect the forum and focus on answering specific questions that users have about my products while being involved in a friendly interaction that does not include me being a 'gear pimp'... and I hope it is clear that this is not my agenda.
The algorithms for the ML-1 and ML-2 are very unique to those hardware mics. They take into account the source capture information that we know about each mic. However, I've been experimenting with using modified algorithms of the large diaphragm tube mic emulations with the ML-2 small diaphragm mic and it's actually sounding REALLY cool. In fact, while it can't get as close to the real thing as the ML-1 can, it's still really close! Maybe I'll post some samples after NAMM of the ML-2 trying to be a 47. So anyway, there could be ML-1 and ML-2 models of the same mic in the future.
The initial bundle will sell the hardware and software. As this is a new concept, I want it to be fully integrated so that the system works as we intend it to. Perhaps later on down the road we can release the plugin separately. I'm doing everything in my power to keep the costs down.
Cheers, Steven
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Post by cowboycoalminer on Jan 23, 2014 8:35:56 GMT -6
Hi guys. Thanks for the warm welcome. I understand the concern for a manufacturer to be here so I promise to respect the forum and focus on answering specific questions that users have about my products while being involved in a friendly interaction that does not include me being a 'gear pimp'... and I hope it is clear that this is not my agenda. The algorithms for the ML-1 and ML-2 are very unique to those hardware mics. They take into account the source capture information that we know about each mic. However, I've been experimenting with using modified algorithms of the large diaphragm tube mic emulations with the ML-2 small diaphragm mic and it's actually sounding REALLY cool. In fact, while it can't get as close to the real thing as the ML-1 can, it's still really close! Maybe I'll post some samples after NAMM of the ML-2 trying to be a 47. So anyway, there could be ML-1 and ML-2 models of the same mic in the future. The initial bundle will sell the hardware and software. As this is a new concept, I want it to be fully integrated so that the system works as we intend it to. Perhaps later on down the road we can release the plugin separately. I'm doing everything in my power to keep the costs down. Cheers, Steven Sounds good, man. I congratulate you on this. I'll bet that it will be a valuable studio tool.
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Post by Johnkenn on Jan 23, 2014 9:35:13 GMT -6
Yeah - this is definitely one to consider for me.
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Post by Martin John Butler on Jan 23, 2014 10:27:32 GMT -6
Thanks Steven, I'm LOVIN' the possibility of a VMS plug-in. I bet that my U17 and clean setting on my ToneBeast would be a very good, if imperfect source for the VMS. If I didn't need a new computer and some Apollo upgrades, ( talking' bout their new TWIN), and a Thunderbolt card for my Apollo, the whole VMS system would be tempting. I think it's really exciting. It doesn't take a thing away from purists who prefer the real deal mics, it just adds to the possibilities, and could be a blessing for home recordist and project studios on budget. Case in point, I was sitting in on a mixing session of James Blunt being taped live in a NY studio. After the session during mixdown, the engineer pulled up a guitar sim and began messing around with Blunt's guitarists sound. One of the settings just killed the sound of the original guitar, I mean smoked it. the tracks really perked up beautifully. The producer, Mitchell Stuart of HQ Productions, and the engineer had a huge argument over doing this, and asked me what I thought. I said, " you can't turn a blond into a brunette without asking first", meaning, I'd check with the artists first, otherwise you gotta leave it as it was done.
Something similar happened in a Neo session I was a guest at. So, I can definitely imagine a finished vocal, where you try a few mic emulations, and one of them just brings it.
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Post by cowboycoalminer on Jan 28, 2014 15:08:46 GMT -6
jsteiger I wonder if you would be opposed to allowing Slate to model that bad ass 251 of yours?? PLEEEAAAASSEE???
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Post by jsteiger on Jan 28, 2014 15:14:24 GMT -6
Well, that one is special and will never be shipped anywhere. I'm sure they have access to a lot of great 251's.
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Post by Johnkenn on Jan 28, 2014 15:20:31 GMT -6
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Post by cowboycoalminer on Jan 28, 2014 16:06:15 GMT -6
Not even if I carried it to LA myself and hired these guys to watch Slates every move?
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Post by Johnkenn on Jan 28, 2014 16:08:58 GMT -6
After the last UPS debacle, I would imagine Jeff won't ever ship again...
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Post by watchtower on Jan 28, 2014 16:11:11 GMT -6
They're already modeling a 251, in case anyone did not know.
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Post by cowboycoalminer on Jan 28, 2014 18:56:14 GMT -6
I knew they would but these old mics are very different one to another. I would think with an endeavor such as this, not just any old 251 would do I've heard Jeff's. It's the shit that killed Elvis. Aaaannndd that's the good stuff...
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Post by Martin John Butler on Jan 28, 2014 22:50:48 GMT -6
exactly.
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Post by watchtower on Jan 29, 2014 14:58:00 GMT -6
Yeah, just wanted to make sure you guys knew there was going to at least be one. They are apparently modeling a few different U47s.
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Post by Ward on Feb 9, 2014 13:46:26 GMT -6
I completely forgot to ask one important question about the mics: Are they multi pattern, omni or cardioid or can they be manipulated in software? Pickup pattern is important!
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Post by watchtower on Feb 9, 2014 16:16:20 GMT -6
They are cardioid
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Post by Johnkenn on Feb 9, 2014 22:39:22 GMT -6
I have to admit...being a techie gear nerd, this is interesting...
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Post by adogg4629 on Feb 11, 2014 13:11:50 GMT -6
Steven,
I know that this question/feature request may only service a small subsection of your potential market for this product, but we are used to paying premium prices for stuff. When doing ADR, there is always a bit of art in matching dialogue recorded on set in sometimes dubious situations with dubius signal paths and/or Gear. Would you ever consider adapting your system to model LAV mics and Shotgun mics (like the MKH60, 416 Schoeps etc) through the preamps on Nagra's, Aaton's, Fostex's etc... field series recorders?
Thanks
Aaron
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Post by Johnkenn on Feb 13, 2014 17:25:35 GMT -6
So, what new news has come out since this was posted? Anything? ETA?
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Post by Johnkenn on Mar 8, 2014 13:32:19 GMT -6
Buehler...Buehler...
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Post by Johnkenn on Mar 8, 2014 13:47:45 GMT -6
Also, I just saw this from Steven: "The VMS dual preamp converter has wordclock output and wordclock slave input. For the most transparent sound, it should be used as the wordclock master." So, I'm supposed to slave my Symphony to this thing? Does it have analog outs?
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