#Steven slate virtual mix rack manual
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It sounded like the singer had stepped a foot closer to the mic and was more energized and articulate-perfect for this up-tempo song. Using the Tight setting, adjusting the Drive control so that signal peaks hit the meter’s bomb icon and setting the Intensity control to 50%, the vocal sounded slightly richer and consonants significantly more intelligible. I loved what Bomber did for male lead vocals, too. Cranking the Drive control all the way up and switching to the Present setting sounded even better, boosting the snare’s sizzle and making the room sound five times larger. While the processed subgroup sounded way too extreme when soloed, mixing it in with the original tracks sounded awesome. Cranking the Intensity control all the way up, the snares’ rattle and room tone were all but eliminated, making the drums sound very pointy and dry. Using the Fat setting and raising the Drive control so that the meter’s needle hit the bomb icon, Bomber made a subgroup for drums pop. A separate Output control adjusts Bomber’s output level ☑2 dB. The Tight setting applies processing more evenly across the audio spectrum than the other two, resulting in increased clarity and punch and tighter lows. The Fat setting also increases transient attack, while reportedly enhancing perceived depth and richness and making the bottom end sound bigger and wider. According to the manual, the Present switch setting “focuses the effect on the mid frequencies” and increases transient attack, sustain and perceived width. A little bit of wet signal goes a long way, and you’ll sometimes find yourself using very low Intensity settings.īomber’s Tone control-a three-way switch-changes its compressor topology. Once you’ve set the Drive control for the desired blend of processing, lower the Intensity control to add back dry signal to taste. The best way to find the Drive control’s optimal setting is to initially boost Bomber’s Intensity control-a wet-dry balance control-all the way to 100% (passing wet signal only) so you can clearly hear what the processing is doing. Note that even with the Drive control set fully counter-clockwise, some compression is still occurring. If Bomber’s processing sounds too percussive for a particular application, boosting the Drive control further will progressively increase compression and round off transients, while enhancing sustain. Specifically, the meter’s needle hits the bomb icon at the point where maximum transient enhancement is being applied, creating the greatest increase in attack and impact.

#Steven slate virtual mix rack manual

An icon of a fused bomb marks the center point of the meter’s range this is noted in the operation manual as the sweet spot for most applications, and that’s certainly true for processing drums and percussion. The saturation stage kicks in at high Drive levels.Ī VU meter shows the input signal’s level after drive is applied. The compressor was designed to increase sustain, but it also adds harmonics.

Transient enhancement is produced using harmonics processing instead of envelope shaping, as employed by products such as SPL Transient Designer. The Drive control adjusts the input gain (☑5 dB) applied to a network of processors daisy-chained in series: a transient enhancer, compressor and tube-like saturator. Nag that I am, I managed to extract more details from Steven Slate, CEO of Slate Digital. 1).īomber’s continuously variable Drive control is the cornerstone for the module’s operation, yet the operation manual is vague about what processing it induces at its different settings-no doubt to protect trade secrets.

#Steven slate virtual mix rack series

Simply drag modules from the browser-located to the left of the rack-into the rack’s empty slots to chain processors in series (see Fig. The effects rack (available in AAX, AU, RTAS, VST2 and VST3 formats) also offers compressors, equalizers, the company’s Virtual Console Collection and, of course, FG-Bomber as optional modules, each of which require purchase.

#Steven slate virtual mix rack free

Slate Digital offers the VMR rack shell and one module (the Revival Sonic Enhancement Processor) as a free download.

#Steven slate virtual mix rack pro

I reviewed FG-Bomber in VMR Version 1.2.0.13 and Digital Performer 9.01, using an 8-core Mac Pro running OS X 10.9.5.

#Steven slate virtual mix rack full

Bomber’s intended applications include individual tracks, subgroups and full mixes. Combining digital models of analog transient processing, sustain-enhancing compression and tube saturation into one module, FG-Bomber’s GUI is designed for ease of use-just four controls and a VU meter. FG-Bomber ($129) is a new module for Slate Digital’s Virtual Mix Rack plug-in (VMR), an effects rack into which you can load up to eight compatible Slate signal-processing modules.