I am hired to record a local music school’s “School of Rock” showcase at a local venue. Now the first project I tried these plugins on was one of my “Problem Child” projects that I get every couple months. The upside was if they were not something I could or would use, I can just cancel and only be out a couple bucks. So, when Slate started offering the “Everything Bundle” I figured what the hell, for $15 bucks a month or the cost of a couple of Starbucks Coffee’s I can try out all the plugs in the collection to see if I would even use them. I was always curious about Slate Digital’s other plugins, but like I said earlier I have become more conservative in my plugin purchases. The fact is this plugin collection gave my mixes so much warmth and character, I ended up having the plugin on every track as part of my normal template when starting a new session. From this beginning the pair went on to pioneer the creation of analog modeled plugins from Virtual tape machines, console emulations, compressors, eq’s etc.Ī few years ago I purchased the Virtual Console Collection to use on my channels and for adding an analog summing feel. This innovative plugin was employed a new method of creating perceived loudness without sacrificing the Dynamic Range of the music. Their first product was the award winning FG-X Mastering plugin suite, which was specifically designed to combat the Loudness vs Dynamic range war. In 2008 Steven Slate met DSP designer Fabrice Gabriel at an AES convention and the pair teamed up to create Slate Digital.
This changed the way drum samples were used in the professional and home recording market.
#Slate vcc vs analog summing software
The hallmark of the company was not only a collection of high quality drum samples but the development of “Trigger”, a software system that delivered these samples in a user friendly way. As things go that did not work out they way he intended, these engineers wanted more of these drum samples and Steven Slate Drums was born.
#Slate vcc vs analog summing full
Steven Slate started his career sneaking into Grammy parties in LA with a pocket full of burned CDR’s of Drum Samples he created, which he would hand out to top audio engineers with the hopes of getting to work with one.
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