The switch labeled FG456 is based on the old Ampex 456 tape and gives you that classy warmer sound, where are the FG9 is a more modern sound based on the GP 9 tape. Basically you get the best of both worlds, a mastering deck as well as one used primarily in tracking. Slate Digital modeled the two types of tape machines after NRG’s 2 inch 16 Track Studer and the legendary Howie Weinberg’s 1/2 inch A80 RC machine. Just because the controls are few and far between doesn’t mean that the versatility isn’t there. I am proud to tell you that Slate Digital didn’t do this. The other side to that coin is that in holding most of the cards, a company is pinning you into a corner with the usefulness of the effect. That fallacy right there has taken some great virtual processing and made it a convoluted mess of dials that only make you not want to reach for that particular plugin due to the amount of buttons. At first site, you’re probably thinking that the lack of control means lack of usefulness because if the plugin world has shown us anything, it’s preached the more controls the better. So what do we have in front of us? We have very few controls, a sleek interface, two different tape machine emulations, two different tape types, and two different tape speeds. To add more to the situation, it was stated that unless the product was completely indistinguishable from the hardware version, it will never see the light of day. So when Slate Digital tasked Fabrice Gabriel with creating the algorithms, he was sending him into a warzone of electrical current and magnetic fields, armed only with binary. Every single link in this chain is a necessary part of the soul of the sound. This is mainly due in part to the sheer maze of signal flow these machines had to be routed through just to get the signal in and back out without completely destroying the integrity of whatever was being recorded. Given all of the training I’ve had on it, it is safe to say that the characteristic sound we have all come to know and love is a complicated one to mimic. I have, however, had to learn a good bit about it during schooling. Needless to say I don’t have much experience with analog tape. I didn’t really come into the recording world until I was about 15, when the Alesis ADAT was the hot item to have.
So far I haven’t read a bad thing about, which really makes me want to find something wrong here. I had a chance to get my hands on this analog tape modeling plugin to see for myself just how great it is. Haven't been using VCC in past few projects and everything's been fine, but I love the sound of that new SSL on VCC2.Īny ideas what's the matter with it? I thought it's Logic X compatible only, but obviously it's not worth buying Logic X to see the same problems persist.This holiday season, why not give the gift of warmth to someone with a cold heart (DAW).
#What is rc tube on slate vcc trial
Didn't help registering the 14 day trial of VMR, the crashes are still prominent. Got FG-X, VCC 1 & 2, RC Tube and demo of VMR installed.
#What is rc tube on slate vcc update
I'm on OSX Mavericks and the latest update of Logic 9.
FG-X has been running fine since it's last 1.4 update. I haven't been able to solve this problem. If I remove VMR / VCC from the project, then save, and re-open Logic, everything is fine.
VCC 1.0 did cause some occasional crashes but it was pretty seldom, whereas VCC 2.0 causes these halts and crashes. It usually takes about 9 start ups, or 10-15 minutes, for Logic to successfully open a finished project with VCC 2.0 on it. With finished songs or ones that are getting close to finalizing, in other words, the ones that are occupied with most tracks, crash the most.