hoehlentroll
Member
wow this is so innovative. wait. no it's not:
http://www.antarestech.com/products/detail.php?product=Mic_Mod_EFX_5
http://www.antarestech.com/products/detail.php?product=Mic_Mod_EFX_5
Slate VMS
- Thread starter Studdy
- Start date
hoehlentroll
Member
jokes aside, I'm sceptical too. I don't see how this could add to a sound, because antares approach was only subtractive
AboutBlank
Member
Would buy in a heartbeat...
Pretty sure it's top notch(as every Slate Product), but no need here.
Although, you'll need atleast 10 mics+pres to put it to good use(Drumset), imo.
Nimvi
Member
HOFX
Member
- Apr 12, 2012
- 469
- 0
- 16
That was excellent.
2 things that will prevent me from being a customer:
- $2k is too much for a hobby studio (even though my annual hobby budget is $2500).
- Too many options. The thing I liked about Slate plugins is that within 5 mouse clicks, you've got a good sound, and it's a case of set and forget. This will drive me nuts with the plethora of options, which mic with which pre-amp, what if blend in this mic here.
I'm sure it will sell its tits off, regardless.
this looks cool but i do not see any real use of this, especially in the semi pro/pro world where most poeple already have access to some great gear...i'm going to buy it anyway though 
really wish SLATE would bring out some kind of next gen guitar cab sim, i guess this is never going to happen...
really wish SLATE would bring out some kind of next gen guitar cab sim, i guess this is never going to happen...
JeffTD
Senhor Testiculo
Pretty cool if it works out as he says. I see it useful in the following way:
If you've got one of the LDCs and a pair of the SDCs alongside the 2ch preamp/converter unit for them, you can use them on everything but drums (or use the LDC for a mono room or SDCs for OH or something) and you've spent what's looking to be $3k for an insane front-end setup.
The biggest issue I see with this is that I don't understand how you'd track with compression on the way in and that is something I very much like to do.
If you've got one of the LDCs and a pair of the SDCs alongside the 2ch preamp/converter unit for them, you can use them on everything but drums (or use the LDC for a mono room or SDCs for OH or something) and you've spent what's looking to be $3k for an insane front-end setup.
The biggest issue I see with this is that I don't understand how you'd track with compression on the way in and that is something I very much like to do.
anotherpaul
Member
Wow, "what if we make a neutral mic". What's next, "what if we make a speaker with a flat response"? No one ever saw that coming, eh? Yes, it does decrease the value of "getting it right in the source", but so do ampsims and reamping in general, yet look how common it has become.
The concept is really cool, though not new. I believe that along with Kemper this is going to make an impact on the home recording guys and small studios. However, with this level of drama in the annoucement I can't get rid of the feeling that Slate is playing on people's inability to hear the difference between THA REEL DEEL of a bazillion dollar mic and it's behringer copy.
The concept is really cool, though not new. I believe that along with Kemper this is going to make an impact on the home recording guys and small studios. However, with this level of drama in the annoucement I can't get rid of the feeling that Slate is playing on people's inability to hear the difference between THA REEL DEEL of a bazillion dollar mic and it's behringer copy.
nialldoran
Member
I don't have many things that i would personally find this useful for, i tend to try to get everything right at the source and every session is a new learning experience in terms of mics placement and getting to know the personality of that mic etc, its part of the fun exciting process for me.
the one thing that would intrigue me is if it is completely faithful (which i have doubts about) is that you could use the ribbon emus on loud sources like guitar cabs without worrying about overloading and blowing the ribbon. I'm a sucker for fatheads or 4038s on cabs at the moment.
But i just can't get my head around how a solid normal capsule can emulate the timbre of a ribbon diaphragm, there has to be some inconsistencies between these even if the LDC, SDC and dynamics were spot on, as the physical differences between a capsule and a ribbon have to have an effect, right?
But i am in no way an expert on the internal workings of mics
the one thing that would intrigue me is if it is completely faithful (which i have doubts about) is that you could use the ribbon emus on loud sources like guitar cabs without worrying about overloading and blowing the ribbon. I'm a sucker for fatheads or 4038s on cabs at the moment.
But i just can't get my head around how a solid normal capsule can emulate the timbre of a ribbon diaphragm, there has to be some inconsistencies between these even if the LDC, SDC and dynamics were spot on, as the physical differences between a capsule and a ribbon have to have an effect, right?
But i am in no way an expert on the internal workings of mics
pipaguapique
Remember Me
can't wait to spend over 3 grand to emulate a 57!!! haha
but seriously now. i think this could be really really cool. the video was kind of weird, i didn't like the examples. but im really gonna try it as much as i can at NAMM
but seriously now. i think this could be really really cool. the video was kind of weird, i didn't like the examples. but im really gonna try it as much as i can at NAMM
Mago
Austrian Blech Machine
If this works out the way they say, then it should be a no brainer for everyone who's at least halfway serious about recording.
What does it have to do with getting it right at the source though? You still have to place the mic right, cause I doubt you'd position every mic the same. So switching mics after the fact wouldn't be a lot of help, for stuff like guitar recording.
+1 on nialldoran's thoughts on the ribbon thing tho...not sure myself if that works out, or if the difference is smaller than you'd think.
After all the reason why ribbons are "smooth", is because they can't vibrate as fast as mics with lighter diaphragms.
Plus the pattern thingy with proximity effect/no proximity effect...the fact the pressure microphones pick up more bass from far away etc...dunno.
But for recording vocals alone this thing is worth the money, if it works out.
And on vocals you can switch the mic easier after the fact, cause the positioning isn't as crucial as with guitar cabs.
What does it have to do with getting it right at the source though? You still have to place the mic right, cause I doubt you'd position every mic the same. So switching mics after the fact wouldn't be a lot of help, for stuff like guitar recording.
+1 on nialldoran's thoughts on the ribbon thing tho...not sure myself if that works out, or if the difference is smaller than you'd think.
After all the reason why ribbons are "smooth", is because they can't vibrate as fast as mics with lighter diaphragms.
Plus the pattern thingy with proximity effect/no proximity effect...the fact the pressure microphones pick up more bass from far away etc...dunno.
But for recording vocals alone this thing is worth the money, if it works out.
And on vocals you can switch the mic easier after the fact, cause the positioning isn't as crucial as with guitar cabs.
Mago
Austrian Blech Machine
you'd have to record the mic+preamp+drive that happens before the compression.
I guess tho you could "DI"-ing the "linear" mic signal some way, to be able to choose different mics plus pres later on, and if you want you just apply the same compression after that, or print it through the same output comp.
And you monitor/record with the other track.
B36arin
Member
- Dec 1, 2008
- 896
- 2
- 16
One more thing, why is there a need for two mics(SDC and LDC) if you can emulate all kinds of microphones? It must be for the transient response, but then again, what is the reason for the LDC assuming that the SDC has a quicker transient response and infinite low end(can model a subkick)? Only looks and mojo factor for vocalists? Or are all the models in the software microphone specific? That would question the possibility to "profile" pickup patterns and mics like ribbons, subkicks etc.
Now, this will be cheaper than an 87, so if you can get a choice of really good sounding LDCs, SDCs and preamps which sound true to their real counterparts that's easily worth the price alone(like the Kemper). But it still seems to good to be true. It doesn't always have to be(Kemper), but it usually is.
Now, this will be cheaper than an 87, so if you can get a choice of really good sounding LDCs, SDCs and preamps which sound true to their real counterparts that's easily worth the price alone(like the Kemper). But it still seems to good to be true. It doesn't always have to be(Kemper), but it usually is.
HeadCrusher
Member
Jeff, Marco: Maybe feed to analog outs of the Pre-amp unit to the compressor and than use your own A/D?
Mago
Austrian Blech Machine
you'd be compressing the linear signal before the micsim/preampsim in that case though, right? The way I understood that comes ITB.
I assumed Jeff wants to have it compressed after the mic/preamp sim, while still be able to change it at some point.
How to compress on way it??? I think these are his intentions, he wants you to track with the virtual mix rack.
HeadCrusher
Member
Oh yeah, you're right, I didn't think that through properly...
HOWEVER: Since Steven said the thing has basically no latency it might run on a DSP inside the Hardware unit which, in turn, would allow for my workflow. This is just speculation though.
HOWEVER: Since Steven said the thing has basically no latency it might run on a DSP inside the Hardware unit which, in turn, would allow for my workflow. This is just speculation though.
Matt-Steele
Member
The whole video made me lol. The song choice for the background music makes it seem like some epic movie commercial, cracked me up.
As far as the VMS goes - It sounds interesting... I'm pretty skeptical, though. Maybe it's just me, but I wasn't really impressed by the sound from the ML-1 or the U47 in the video, and there's no reference track for the guitar (which I also thought sounded pretty bland). I'd love to hear more from the VMS on some high quality audio samples, rather than a cheesy video. The technology is certainly intriguing, and the price doesn't seem too bad for a nice vocal mic or a pair of overheads, but it's going to add up quickly if you're wanting to outfit your whole studio with these things. That being said, I can't imagine most people needing more than than the LDC and 2 SDCs. Most dynamics you'd use to mic a drum set are going to cost you far less and it doesn't really make sense to model something like a !$100 SM57/D112/etc. with this.
The real value for this is on the LDC, so you don't have to buy several different vocal mics, you just change the model on the one mic to fit the vocalist... pretty cool. You also get the ability to use the SDCs as overheads and as a ribbon (which I'm also curious to see how that's achieved...), which added up right there would already cost you $2900 for a pair of Neumann KM184s and a Royer R-121, and you can use the LDC as a mono room mic. This would cut down on the number of mics in a studio quite a bit. All you'd need beside these are some good tom/snare/kick mics and you're good to go.
I'm curious if the mics can be used without the preamp? If someone were to buy 2 SDCs and 1 LDC, rather than having to buy 2 pres to use them all, you could run the LDC as a super flat room mic, through another preamp. Who knows how that'd sound, though...
As far as the VMS goes - It sounds interesting... I'm pretty skeptical, though. Maybe it's just me, but I wasn't really impressed by the sound from the ML-1 or the U47 in the video, and there's no reference track for the guitar (which I also thought sounded pretty bland). I'd love to hear more from the VMS on some high quality audio samples, rather than a cheesy video. The technology is certainly intriguing, and the price doesn't seem too bad for a nice vocal mic or a pair of overheads, but it's going to add up quickly if you're wanting to outfit your whole studio with these things. That being said, I can't imagine most people needing more than than the LDC and 2 SDCs. Most dynamics you'd use to mic a drum set are going to cost you far less and it doesn't really make sense to model something like a !$100 SM57/D112/etc. with this.
The real value for this is on the LDC, so you don't have to buy several different vocal mics, you just change the model on the one mic to fit the vocalist... pretty cool. You also get the ability to use the SDCs as overheads and as a ribbon (which I'm also curious to see how that's achieved...), which added up right there would already cost you $2900 for a pair of Neumann KM184s and a Royer R-121, and you can use the LDC as a mono room mic. This would cut down on the number of mics in a studio quite a bit. All you'd need beside these are some good tom/snare/kick mics and you're good to go.
I'm curious if the mics can be used without the preamp? If someone were to buy 2 SDCs and 1 LDC, rather than having to buy 2 pres to use them all, you could run the LDC as a super flat room mic, through another preamp. Who knows how that'd sound, though...
You could record onto one track, and then route that through to another track with the compressor inserted (either as plugin or as a hardware send whatever your preference) and record that too. Then if you wanted to go back and change it it's just a case of altering the mic on the first track and bouncing it through the chain again.
May or may not have workable latency, I'm not sure.
[I'm sure you've already thought of this].
