It's extremely analog-ish in a variable way.VCC 2.0 makes it quick and easy to modify and unify the sound of a track or album with emulations of API, SSL, Neve and Trident consoles. It's not transparent, but I really dig the Goodhertz Faraday Limiter.
It doesn't have that henious high mid boost that FG Mu has. Goodhertz Faraday limiter does atone of tapey stuff and is an extremely useful, colorful and well designed plug. But Satin is excellent imho, better in some ways but more tweaky. Also Kush Clariphonic or Satson Sweetone. It's not a good replacement for the black comp in VMR, because it doesn't emulate that style. It's versatile and has a combination of density and clarity. VMR Comps: I'm really really liking MJUC. FG-N was the VMR Eq I used the most and this replaces it for me. It has two saturation modes, console and mic, and changing the saturation level changes the eq curves-very cool, it sound much more "like" than just adding fizz to an eq curve. This is a really nice "color" EQ if you haven't tried it. Overall Satson seems a tiny bit more like VCC to me.įG N, the Neve EQ Sonimus Burnley. Also with sonimus you can name your groups, a feature Slate decided we didn't need anymore. I had a hard time telling them apart-and again VCC was very slightly smoother, Britson had more apparent depth. Did the same with Britson and the VCC Neve setting. VCC seemed to have a smoother top, while Satson seemed to have more depth. I could not get better than 60% in the ABX. I bounced the files and did an ABX test and I had a VERY hard time telling them apart. I changed only the plugins, matching the individual channel levels and the level of overdrive as much as I could, which was hard given Slate's wonky metering.
I mixed the same song using VCC2 on the SSL G setting and Sonimus Britson. I liked the Slate plugins, but Slate consistently makes marketing decisions aimed at alienating me. I now only own VCC, VTM, Revival and wont be getting ride of these anytime soon.īeen investigating this very topic. With VTM & J37 you would have all your tape needs covered. VCC Still the best for console emulation imo.įG-Red The Snap on this is pretty hard to beat. Something like DMG Equilibrium could do this (and more) but the quickness is where this shines. Revival Lots of good exciters but not one that does what this does.Ĭustom EQ It has different curves for boost and cuts and emulation per band. With its custom transformers not really a direct replacement. *VCC: Sonimus Britson & Statson, Waves NLSįG-401 Pretty versatile SSL channel comp. *Custom EQ: Sonimus SonEQ Pro, Waves Manny Marroquin EQĬustom Lift: DMG Equlibrium, Kush Clariphonic *Revival: Waves Aphex, BBE, Sknote Presence *FG-401: Waves SSLChannel, SSL Duende CS, IK British Channel I literally don't use my 1176 (and they are them cheap copies) for mixing anymore.įG-N: Sonimus Burnley, Waves Scheps 73, IK 73/81 Like owning them all, you are pretty good to go, and I find them much better than anything waves makes. The beauty of the Slate plugs is I find them to be the most coherent collection of plugins. VCC - Decapitator (Different enough though, but decapitator can do a bit of the same, but not as transparently) VMR Revival - Awesome tool, but I also prefer Inflator,decapitator, or other saturation tools for this task. VMR EQs - DMG Equilibrium (very different, but if I had to choose this would be DMG) VMR - Ozone (I still prefer VMR for most tasks, and ozone only at the very last part of the chain) If I had only one choice, Inflator would be it. VTM - If I need tape nothing can touch this, but for a similar make big and thick sort of effect, Sonnox Inflator is my go to. So when I need analog simulations its almost always the slate plugs I end up using.īut if its not simulation vs simulation then, plugins I sometimes use instead of my slate plugs (but because of different flavor) In terms of sound, I could mix with nothing but slate plugins.