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minimum requirements for rec pro vocals? +upgrade question
Old 3 weeks ago
  #31
Lives for gear
Quote:
Originally Posted by chessparov2.0 View Post
Or just get an SM7.
Chris
That might be the perfect mic for one or two percent of the singing population.
Which doesn’t happen to include a single person I’ve ever tried it on.
Old 3 weeks ago
  #32
Lives for gear
 

Wow! THAT small of a percentage? I was thinking around 10% might be a weighted average for singers to sound excellent (not perfect) on SM7's.

Marshall Crenshaw might be an exception, that proves the rule... But he does sound great on the SM7, on his studio vocals.
Chris
Old 3 weeks ago
  #33
Gear Addict
 

Quote:
Originally Posted by chessparov2.0 View Post
Wow! THAT small of a percentage? I was thinking around 10% might be a weighted average for singers to sound excellent (not perfect) on SM7's.

Marshall Crenshaw might be an exception, that proves the rule... But he does sound great on the SM7, on his studio vocals.
Chris
Yeah, gotta be at least 25%. Mavis Staples, Michael Jackson. It’s pretty ubiquitous. I used it as my main vocal mic for 10+ years until I acquired a couple of high-end LDCs and even so it still has its charms on certain tracks.
Old 3 weeks ago
  #34
Gear Nut
 

@ nsta555 , To record Pro Vocals, you need pro mics and pro preamps.
My ultimate suggestion, simply go and buy Slate Digital VMS One Preamp + ML-1 Mic. at 799$/-

If you have true line input in i22, just insert in it. And get the exact same, i repeat..precisely exact same sound of original 1073/V76 preamps(worth 3000$+) and $10,000 microphones.

If this sounds too marketing type, then dont believe me, believe these. :










https://www.slatedigital.com/vms-audio-comparison/

What happened when Alex Venguer shot out real 251 mic against Slate Digital VMS 251, find out yourself.

https://www.slatedigital.com/sting-s...-the-vms-ml-1/

Also with your monitoring system, download the high resolution 96Khz/24 Bit audio files and hear yourself, if you can choose vintage mics over ML-1.


To further add vibe to your tracking experience, add their Slate FG-116/FG-Stress, which are inaudible against hardware and are accurate emulations of real gears..

And if you can spend some more cash, get the VRS8, audio interface, the ultimate one, which competes against 10000$ mastering grade interfaces/convertors with best discrete headphone out amps in market.

https://www.slatedigital.com/vrs-8/

You can download the official session, swap out mic modules and hear yourself the quality.

And to add this, i am not from or paid by Slate Digital, but actually amongst many others, using Slate VMS Ml-1 Mic and their everything Bundle.

Plus saving my cash for VRS-8.

I hope you got your answer.
Old 3 weeks ago
  #35
Lives for gear
 

Sorry, but with all due respect NONE of the mic modeling is up to a primo U47/U67/C12/251/etc.

Getting closer but no cigar (yet).

When Abbey Road & Capitol replace their Mic cabinets with mic modeling-that's a good litmus test!
Chris
Old 3 weeks ago
  #36
Gear Nut
 

Quote:
Originally Posted by chessparov2.0 View Post
Sorry, but with all due respect NONE of the mic modeling is up to a primo U47/U67/C12/251/etc.

Getting closer but no cigar (yet).

When Abbey Road & Capitol replace their Mic cabinets with mic modeling-that's a good litmus test!
Chris
Hey, did you actually downloaded 96khz High resolution files from above links, independent SOS, and official Slate ones, along with these videos ? And compared in DAW ?
Old 3 weeks ago
  #37
Lives for gear
 

I've sang/listened to both in person. That's good enough for me. BTW I really like Steven as a person, and have great respect what he does. "Not there" yet though IMHO.

I keep an open mind, for the future though...
Chris
Old 3 weeks ago
  #38
Gear Nut
 

I would rather see a real blind test of a 100$ vs 1000$ vs 10000$ mic. Let both the experts and the random listeners pick the mic they prefer in a blind test.

So:
1) can you hear the difference between the emulation and the real thing?
2) can you tell (repeatedly) which mic is the real thing?
3) if we throw in an even cheaper mic, can that be identified?

Only issue is that people who have invested 10000$ in a mic are probably not willing to blind test it against a 100$ mic ;-)
Old 3 weeks ago
  #39
Gear Addict
 

Quote:
Originally Posted by Ninecows View Post
Only issue is that people who have invested 10000$ in a mic are probably not willing to blind test it against a 100$ mic ;-)
This illogical idea comes up every time there’s a “the cheap one is exactly the same” thread here and I think it deserves some unpacking:

So a person has tied up $10,000 in a mic they could replace with a $100 mic, allowing them to sell the $10,000 mic and have $9900 in the bank yet somehow this seems to you to be an incentive to lie about the superiority of the $10,000 mic? Please explain how that makes sense to you? Is your idea that if the person were to agree that their $10,000 mic was no better than the $100 mic that their “investment” would just go “poof” and they’d be out $10,000? If so, I’d suggest that your idea hasn’t been very well thought out.
Old 3 weeks ago
  #40
Lives for gear
Even if the Slate emulation could not be distinguished from the highest priced mic, it isn’t that mic.
If I owned and played a Stradivarius violin, and I auditioned a new $800 violin that was indistinguishable from my Stradivarius, I would probably buy that new violin, but I wouldn’t sell the Stradivarius or stop playing it.
If I bought studio time at Abbey Road, I’d be very disappointed if they put up a Slate or a Townsend for my vocal session.
Old 3 weeks ago
  #41
Gear Head
My best vocal Mic is a Microphone Parts S12. It's the best because it's incredibly sensitive, clear, and lacking character. The character comes from interface, preamps, and plugins. It keeps sounding better as I upgrade but it sounded pro with a Clarett and built-in pres. So how are you at soldering?
Old 3 weeks ago
  #42
Gear Nut
 

Quote:
Originally Posted by Zasterz View Post
This illogical idea comes up every time there’s a “the cheap one is exactly the same” thread here and I think it deserves some unpacking:

So a person has tied up $10,000 in a mic they could replace with a $100 mic, allowing them to sell the $10,000 mic and have $9900 in the bank yet somehow this seems to you to be an incentive to lie about the superiority of the $10,000 mic? Please explain how that makes sense to you? Is your idea that if the person were to agree that their $10,000 mic was no better than the $100 mic that their “investment” would just go “poof” and they’d be out $10,000? If so, I’d suggest that your idea hasn’t been very well thought out.
Because people are not rational. They might even lie to themselves. If that argument was true there would be no need for placebo and blind test studies.

Btw: I accidentally hit the report instead of quote button on your post. I’m terribly sorry Small screen, early morning, clumsy fingers. I wrote moderators and asked them to disregard it. :-) Please don’t take it personally:-)
Old 3 weeks ago
  #43
Gear Addict
 

Quote:
Originally Posted by Ninecows View Post
Because people are not rational. They might even lie to themselves. If that argument was true there would be no need for placebo and blind test studies.

Btw: I accidentally hit the report instead of quote button on your post. I’m terribly sorry Small screen, early morning, clumsy fingers. I wrote moderators and asked them to disregard it. :-) Please don’t take it personally:-)
No worries about the report, I’ve done that before, I think it must happen a lot with these small screens. I appreciate the effort to correct!

But I have yet to see anyone who wouldn’t prefer to unload their expensive vintage item for an identical-sounding new thing plus $9900 in free cash if there is actually no difference between the two things. That is a powerful incentive to vote in favor of el cheapo. And yet they don’t. Now on the other hand, most of the people saying the two things are identical are people with incentive to say that because they would never pay for the real thing. The only way to know if they’re honest is to say you could have the vintage/analog/expensive one for free but you’d never be allowed to sell it and see if they still don’t care. I doubt it.

Blind tests are very difficult to conduct for microphones, guitars, amps, lots of things. You can’t execute the same exact performance twice, side-by-side placement means neither mic is in the same relation to the source, etc etc. The only way to compare these things is to spend time with both. That said, I use a Flea 47 and I have access to a real U47 which I’m sure is better, but I’m satisfied with the Flea. I wouldn’t say it’s “the same” though and I wouldn’t turn down a Neumann if someone gave it to me. I also have a Jupiter 8 and if someone were to make an identical synth where there was no difference at all between them, then I’d be happy to have the cash instead. YMMV.
Old 3 weeks ago
  #44
For me the problems with mic modelling are:

- you can’t really monitor in real time - well, it’s better with the hardware accelerated options like uad an d the edge systems, but slate can’t run in real time - so when you’re tracking you’re listening to something non representative. Or I could just use the mic that sounds right.

- it’s another layer of “let’s tweak in the mix”. Instead of committing.

- if I’m sending vocals on to someone else, I have to render every take with the plugin. Boring!
Old 3 weeks ago
  #45
Gear Nut
 

Quote:
Originally Posted by psycho_monkey View Post
For me the problems with mic modelling are:

- you can’t really monitor in real time - well, it’s better with the hardware accelerated options like uad an d the edge systems, but slate can’t run in real time - so when you’re tracking you’re listening to something non representative. Or I could just use the mic that sounds right.

- it’s another layer of “let’s tweak in the mix”. Instead of committing.

- if I’m sending vocals on to someone else, I have to render every take with the plugin. Boring!

Pro's of Slate ML-1 :

Slate VMR is latency free, so no monitoring issue.
At 96Khz, latency is under 2 ms in most thunderbolt interfaces, and around 3-3.6 ms for windows usb. Which will be universal for any microphone.

Sure, print the track, once you have recorded it with your favourite mic emulation. Who has stopped you from committing ?

I want guys to see an obvious benefit of changing microphone as in real, Sony 800m for verse, and using C12 on chorus,
without changing anything else, just mic emulation!

And what any EQ won't fix is the mic sound. You will be struggling to adjust using EQ's for a bright recorded mic, and desiring a warm vocal or a vice versa.


Economics :

Every equipment and gadgets, right from PC to monitors/convertors/headphones etc every single thing comes from money.
After 1 year of warrenty, maintaince/repairing issues are another headache.

Technology is advancing. Operating system/plugins/DAW's will get more complex and feature rich, requiring you to update systems every 2-3 years.

Of course, you can go ahead and shell out 8000-10000$ for classic microphones, if you have enough cash. Economically that will be a sheer waste, as only the known and Big-Budget product houses/running studios use these microphones. They produce thousands of songs in a year. With such earnings, cost of these recording equipment get covered.

But of course luxurious people have capability to afford anything.



@ Thread Owner, guy aspire to make huge selling records and make more and more music on pro level, in an affordable way.

Going for Slate VMS, Everything Bundle and VRS8(if he can stretch out) will make him compete hand in hand with
Mastering level Professionals. Not Mix engineers, but Mastering engineers known for having the most premium convertors/ interfaces. VRS8 beats Prism's convertors in specifications.
Rest is upto his production capability.

Townsend Sphere+ UAD will cost him 4X times than Slate ML-1.

Sphere 22 is 1800$+, UAD X6/X8, 2000$

Sums up to 4000$. Same for Antelope.(With poor customer support)

>>> Slate VMS ML-1 is 799$ only, and in upcoming winter deals, will be easily available at 500$.


__________________________________________________________________________________________________


Steven Slate
makes gears,plugins with an ideology, for everyone to afford, use, make great music, and spend holidays chilling in dream locations with saved money.

And in case you have any issues, Slate Support will resolve and help you out fastest. Even it requires units swapping direct from production house. They really care for you !
Their CEO personally helps you out and responds to any query.
Old 3 weeks ago
  #46
Lives for gear
 

IMHO, other than vocals...
I can see/hear the value of a virtual set up.
Keep in mind though, this at best, is a long term rental.

Whereas, if I buy a vintage U87/67/47, most likely they will increa$e in value.
And if you buy good used microphones, usually don't lose much/any $$.
Chris
Old 3 weeks ago
  #47
Gear Nut
 

Quote:
Originally Posted by chessparov2.0 View Post
IMHO, other than vocals...
I can see/hear the value of a virtual set up.
Keep in mind though, this at best, is a long term rental.

Whereas, if I buy a vintage U87/67/47, most likely they will increa$e in value.
And if you buy good used microphones, usually don't lose much/any $$.
Chris
Purchasing plugins/gears are not investments like shares in stock market, that their cost value will increase every year.

They are electronics. Better save some cash, learn and invest in real equity stocks, it will fetch and boost your economy with much more compounding multiplications, rather than purchasing a vintage mic, and in hope of selling it higher some years later.
Old 3 weeks ago
  #48
Quote:
Originally Posted by Ziko123 View Post
Pro's of Slate ML-1 :

Slate VMR is latency free, so no monitoring issue.
At 96Khz, latency is under 2 ms in most thunderbolt interfaces, and around 3-3.6 ms for windows usb. Which will be universal for any microphone.

Sure, print the track, once you have recorded it with your favourite mic emulation. Who has stopped you from committing ?

I want guys to see an obvious benefit of changing microphone as in real, Sony 800m for verse, and using C12 on chorus,
without changing anything else, just mic emulation!

And what any EQ won't fix is the mic sound. You will be struggling to adjust using EQ's for a bright recorded mic, and desiring a warm vocal or a vice versa.


Economics :

Every equipment and gadgets, right from PC to monitors/convertors/headphones etc every single thing comes from money.
After 1 year of warrenty, maintaince/repairing issues are another headache.

Technology is advancing. Operating system/plugins/DAW's will get more complex and feature rich, requiring you to update systems every 2-3 years.

Of course, you can go ahead and shell out 8000-10000$ for classic microphones, if you have enough cash. Economically that will be a sheer waste, as only the known and Big-Budget product houses/running studios use these microphones. They produce thousands of songs in a year. With such earnings, cost of these recording equipment get covered.

But of course luxurious people have capability to afford anything.



@ Thread Owner, guy aspire to make huge selling records and make more and more music on pro level, in an affordable way.

Going for Slate VMS, Everything Bundle and VRS8(if he can stretch out) will make him compete hand in hand with
Mastering level Professionals. Not Mix engineers, but Mastering engineers known for having the most premium convertors/ interfaces. VRS8 beats Prism's convertors in specifications.
Rest is upto his production capability.

Townsend Sphere+ UAD will cost him 4X times than Slate ML-1.

Sphere 22 is 1800$+, UAD X6/X8, 2000$

Sums up to 4000$. Same for Antelope.(With poor customer support)

>>> Slate VMS ML-1 is 799$ only, and in upcoming winter deals, will be easily available at 500$.


__________________________________________________________________________________________________


Steven Slate
makes gears,plugins with an ideology, for everyone to afford, use, make great music, and spend holidays chilling in dream locations with saved money.

And in case you have any issues, Slate Support will resolve and help you out fastest. Even it requires units swapping direct from production house. They really care for you !
Their CEO personally helps you out and responds to any query.
I have no complaints about Slate - personally the marketing is a bit gung ho for my reserved British sensibilities but I use their plugins heavily, no complaints there.

I do have a few issues with your thinking re workflow though.

Firstly - you’re basing your round trip latency on low buffer sizes. That’s fine if you’re willing to play the game of freezing everything/tracking against backing tracks rather than the multitrack, but it’s not a great workflow.

I personally don’t think tracking “through” the DAW is tight enough, even at low buffer size. People simply play and sing better if latency is near zero. Most of the time therefore I’m using HDX; I also like the Apollo system, but the slate setup runs on neither (correct me if I’m wrong, but their virtual studio setup thing doesn’t run the mic modelling in low latency mode like the Townsend or edge systems on uad/antelope, right? It’s al software based?).

If you’ve not tracked this way, I’d recommend trying it; if you have and you see no difference, fine for you, but I have reasons for not liking it based on experience! I do feel there’s a whole generation of singers who’ve never had a great headphone mix and IMO could be one of the reasons people are so disparaging of modern singers. Recording vocals is really one of the last places in modern pop any engineering expertise is needed, so it’s not much surprise it gets screwed up so easily.

(And if you’re basing your reviews of an interface on published specs...please get some real world experience, that’s not how it works! It kind of weakens the rest of your arguments if you’re saying “well the specs are better so it’s better than a prism).

Don’t even suggest ANY digital processing is “latency free”. Digital is never latency free, the best systems are only “near zero” and anything involving the DAW software buffer isn’t near zero - you need cue monitoring software for that (and uad or similar if you want to run fx).

I get the cost analysis. I’m lucky - I work in studios where I have access to great mics, I own several great mics, I’m not really the target market. I can see if the workflow can be sorted, why it could be very useful for some.

Switching mics mid song? It’s the sort of idea suggested by those who don’t actually make records day in/out. Yep in theory it sounds great...in practice there’s so many other variables, it’s much more effective to choose one that works and stick with it. There’s plenty of other things I can do to manipulate signals to change them.

Just as an example, I was recording an acoustic song (piano/vocals) the other day, very sparse. With the vocal, I had some parts of the take on my Wagner 47; others on an sm7 in the control room. When is finished matching sounds, you couldn’t tell where one started and the other finished. It’d have been easier with all on the 47, but I made it work.

It’s a bit like the suggestions to “try every mic” to find the best one for vocals. No one on a paying session does that - at most you try 2-3, and only go further if nothing is working. The difference between the real world and theory, and based on experience.
Old 3 weeks ago
  #49
Gear Nut
 

Quote:
Originally Posted by psycho_monkey View Post
I have no complaints about Slate - personally the marketing is a bit gung ho for my reserved British sensibilities but I use their plugins heavily, no complaints there.

I do have a few issues with your thinking re workflow though.

Firstly - you’re basing your round trip latency on low buffer sizes. That’s fine if you’re willing to play the game of freezing everything/tracking against backing tracks rather than the multitrack, but it’s not a great workflow.

I personally don’t think tracking “through” the DAW is tight enough, even at low buffer size. People simply play and sing better if latency is near zero. Most of the time therefore I’m using HDX; I also like the Apollo system, but the slate setup runs on neither (correct me if I’m wrong, but their virtual studio setup thing doesn’t run the mic modelling in low latency mode like the Townsend or edge systems on uad/antelope, right? It’s al software based?).

If you’ve not tracked this way, I’d recommend trying it; if you have and you see no difference, fine for you, but I have reasons for not liking it based on experience! I do feel there’s a whole generation of singers who’ve never had a great headphone mix and IMO could be one of the reasons people are so disparaging of modern singers. Recording vocals is really one of the last places in modern pop any engineering expertise is needed, so it’s not much surprise it gets screwed up so easily.

(And if you’re basing your reviews of an interface on published specs...please get some real world experience, that’s not how it works! It kind of weakens the rest of your arguments if you’re saying “well the specs are better so it’s better than a prism).

Don’t even suggest ANY digital processing is “latency free”. Digital is never latency free, the best systems are only “near zero” and anything involving the DAW software buffer isn’t near zero - you need cue monitoring software for that (and uad or similar if you want to run fx).

I get the cost analysis. I’m lucky - I work in studios where I have access to great mics, I own several great mics, I’m not really the target market. I can see if the workflow can be sorted, why it could be very useful for some.

Switching mics mid song? It’s the sort of idea suggested by those who don’t actually make records day in/out. Yep in theory it sounds great...in practice there’s so many other variables, it’s much more effective to choose one that works and stick with it. There’s plenty of other things I can do to manipulate signals to change them.

Just as an example, I was recording an acoustic song (piano/vocals) the other day, very sparse. With the vocal, I had some parts of the take on my Wagner 47; others on an sm7 in the control room. When is finished matching sounds, you couldn’t tell where one started and the other finished. It’d have been easier with all on the 47, but I made it work.

It’s a bit like the suggestions to “try every mic” to find the best one for vocals. No one on a paying session does that - at most you try 2-3, and only go further if nothing is working. The difference between the real world and theory, and based on experience.
Focus gentleman focus! This thread is meant to help the guy, choose the best options on his *limited* affordability.

And anyone suggesting him of going with Townsend+UAD/Antelope route, which are almost 4-5 times than his budget ?

More costly suggestions will make him more confused, enough he had been after reading much on internet..that at last when he had lost his decision taking power, he has asked us here !

Key point is, helping him with his given budget and if anyhow he can stretch, to give him, nearest reaching option in his hand.


Had we have to discuss, lets meet over a dinner, with great champagne, kebabs, grilled bacons, on a hill station, and share our ideologies, experiences, thoughts on music and discussions. And i will bring my laptop, so we will make some good music on the way too...


Latency :

You are absolutely right!

Any Apogee Symphony/Clarett/ Red Pre /Antelope etc thunderbolt interface will give around 1-1.5 ms latency at lowest buffers.

Off course all these require using lowest buffers like 32/64 for tracking. PC specs is an important figure, but keeping in mind, everyone on a serious music production business will have good i7/8Gb+ spec. With VRS8, having dedicated low Native Latency chipset, tracking at 96/32 or 96/64 is smooth for 8/16 channels!

UAD's Console have 1.1 ms round trip latency, and not near zero. Anything around 1.1-1.5 ms will never be any issue.

And shall i tell, VRS8 have 1 ms latency at 96/64 ?

UAD system has very poor native round trip latency, much worse than USB. So if you track through their drivers without console app, you will notice worse latency in ears.

Mic emulations are all within VMR Rack, and its latency free.. Only latency you will hear, will be RTL. And that during tracking, is on par at UAD with mentioned interfaces regarding latency. (Same 1176/Distressor/API/Neve plugins and Reverb collections to choose from).

For old pc specs, off course UAD will be **needed** option! But UAD is again an open deep well, keep investing and investing, be it plugins or shark chip based interfaces.
In the same budget, one can buy much more audio equipments. Some of their exact same plugins are available as NATIVE with Plugin Alliance, with no limitation of DSP.


Mic Swaping :

Lets for a second, leave about swapping in between verse and chorus.

but no, lets not leave that, head over and please download the official VRS8 session, here,

https://www.slatedigital.com/vrs-experience/

You will see, how different mic swaps in verse and chorus have a change in emotional appeal on song. Its so much of an ease, and brings alot of potential for being creative.


-->Alright lets say, that too, no need. But at max when you have 3-4 microphones in a studio to generally choose from.

e.g. 1) But what if you want to just feel, how your voice will sound with Sony C37, Sony 800G, Ribbon 44, or even SM7B as you said!

e.g. 2) Your lead vocals in a mix is not cutting through Telefunken 47, and you are struggling with EQ and compression. While that could have been easily possible with just a mic Swap with FG-251!!

Here it is, exactly what i mean to say :




>>> Now best part, for those who can't afford to rent a big budget studio, for struggling small band/songwriter/singer/self musicians.. which 80% majority are.. Music is a big Industry. You dont even get a luxury to choose from 2-3 classic microphones. Either stick with C214, Rode NT1A, AT4040 etc or struggle with mixing. <<<<<

With ML-1 and ML-2, its a dream come true for everyone.




VRS8 Conversion quality :

About VRS8's convertor specs and reviews, let me take you straight to their reviews page.


https://www.slatedigital.com/vrs8-reviews/


And when Steven Slate publishes these real users reviews, count on me, they are true. He don't play into fake marketing about quality, be it plugins or hardware. And thats why he is still standing in the industry, and all big names like Waves etc are following him, his model. A revolutionary man with such clarity of vision, in an young age. And thats why he is in Forbes 30, 3x times!


Head on to 50,000 page of Slate Audiophiles on Facebook, and ask the real users having costliest Apollo, Prism, Burl, Lynx, VRS 8 etc.. Either they prefer VRS8 or feel all convertors are so similar in top notch quality, hard to distinguish between them.


And all this costs only 2000$. He clearly says, its very easy to raise and double the price based on the quality, R&D tech on components, but he has a different vision.
Old 3 weeks ago
  #50
Totally get the point about price for the OP

It’s more the issue of constantly referring to slate material as proof. That’s promo, very hyperbole focussed. Look to independent testing for proofs! Otherwise you get accused of shill status, and we don’t want that



Quote:
Originally Posted by Ziko123 View Post
Focus gentleman focus! This thread is meant to help the guy, choose the best options on his *limited* affordability.

And anyone suggesting him of going with Townsend+UAD/Antelope route, which are almost 4-5 times than his budget ?

More costly suggestions will make him more confused, enough he had been after reading much on internet..that at last when he had lost his decision taking power, he has asked us here !

Key point is, helping him with his given budget and if anyhow he can stretch, to give him, nearest reaching option in his hand.


Had we have to discuss, lets meet over a dinner, with great champagne, kebabs, grilled bacons, on a hill station, and share our ideologies, experiences, thoughts on music and discussions. And i will bring my laptop, so we will make some good music on the way too...


Latency :

You are absolutely right!

Any Apogee Symphony/Clarett/ Red Pre /Antelope etc thunderbolt interface will give around 1-1.5 ms latency at lowest buffers.

Off course all these require using lowest buffers like 32/64 for tracking. PC specs is an important figure, but keeping in mind, everyone on a serious music production business will have good i7/8Gb+ spec. With VRS8, having dedicated low Native Latency chipset, tracking at 96/32 or 96/64 is smooth for 8/16 channels!

UAD's Console have 1.1 ms round trip latency, and not near zero. Anything around 1.1-1.5 ms will never be any issue.

And shall i tell, VRS8 have 1 ms latency at 96/64 ?

UAD system has very poor native round trip latency, much worse than USB. So if you track through their drivers without console app, you will notice worse latency in ears.

Mic emulations are all within VMR Rack, and its latency free.. Only latency you will hear, will be RTL. And that during tracking, is on par at UAD with mentioned interfaces regarding latency. (Same 1176/Distressor/API/Neve plugins and Reverb collections to choose from).

For old pc specs, off course UAD will be **needed** option! But UAD is again an open deep well, keep investing and investing, be it plugins or shark chip based interfaces.
In the same budget, one can buy much more audio equipments. Some of their exact same plugins are available as NATIVE with Plugin Alliance, with no limitation of DSP.


Mic Swaping :

Lets for a second, leave about swapping in between verse and chorus.

but no, lets not leave that, head over and please download the official VRS8 session, here,

https://www.slatedigital.com/vrs-experience/

You will see, how different mic swaps in verse and chorus have a change in emotional appeal on song. Its so much of an ease, and brings alot of potential for being creative.


-->Alright lets say, that too, no need. But at max when you have 3-4 microphones in a studio to generally choose from.

But what if you want to just feel, how your voice will sound with Sony C37, Sony 800G, Ribbon 44, or even SM7B as you said! Your lead vocals in a mix is not cutting through Telefuken 47, and you are struggling with EQ and compression. While that could have been easily possible with just a mic Swap with FG-251!!

Here it is, exactly what i mean to say :




>>> Now best part, for those who can't afford to rent a big budget studio, for struggling small band/songwriter/singer/self musicians.. which 80% majority are.. Music is a big Industry. You dont even get a luxury to choose from 2-3 classic microphones. Either stick with C214, Rode NT1A, AT4040 etc or struggle with mixing. <<<<<

With ML-1 and ML-2, its a dream come true for everyone.




VRS8 Conversion quality :

About VRS8's convertor specs and reviews, let me straight take you to their reviews page.


https://www.slatedigital.com/vrs8-reviews/


And when Steven Slate publishes these real users reviews, count on me, they are true. He don't play into fake marketing about quality, be it plugins or hardware. And thats why he is still standing in the industry, and all big names like Waves etc are following him, his model. A revolutionary man with such clarity of vision, in an young age. And thats why he is in Forbes 30, 3x times!


Head on to 50,000 page of Slate Audiophiles on Facebook, and ask the real users having costliest Apollo, Prism, Burl, Lynx, VRS 8 etc.. Either they prefer VRS8 or feel all convertors are so similar in top notch quality, hard to distinguish between them.


And all this cost only 2000$. He clearly says, its very easy to raise and double the price based on the quality, R&D tech on components, but he has a different vision.
Old 3 weeks ago
  #51
Gear Nut
 

After writing so much, i need to have some rest..otherwise i will get rest in peace uncle!
Old 3 weeks ago
  #52
Gear Addict
 

Quote:
Originally Posted by psycho_monkey View Post
Totally get the point about price for the OP

It’s more the issue of constantly referring to slate material as proof. That’s promo, very hyperbole focussed. Look to independent testing for proofs! Otherwise you get accused of shill status, and we don’t want that
Yup. I can’t trust any recommendation made with this much “hard-sell”: 10 paragraph-long posts with multiple YouTube links and exclamation marks. Of all the pieces of gear that I have loved, bonded with, would grab first in a fire before saving my own life, etc I’ve never felt compelled to try this hard to sell someone else on. “Let’s meet for dinner so I can prove to you how great it is!!!!” Color me immediately skeptical as to motivation.
Old 3 weeks ago
  #53
Lives for gear
Quote:
Originally Posted by Zasterz View Post
Yup. I can’t trust any recommendation made with this much “hard-sell”: 10 paragraph-long posts with multiple YouTube links and exclamation marks. Of all the pieces of gear that I have loved, bonded with, would grab first in a fire before saving my own life, etc I’ve never felt compelled to try this hard to sell someone else on. “Let’s meet for dinner so I can prove to you how great it is!!!!” Color me immediately skeptical as to motivation.
You people seemed to be wired to never buy a time share or get sucked into a Ponzi scheme.
You would be no fun at a seance, but I tend to trust your opinion on gear.
Old 3 weeks ago
  #54
Gear Addict
 

Quote:
Originally Posted by Bushman View Post
You people seemed to be wired to never buy a time share or get sucked into a Ponzi scheme.
You would be no fun at a seance, but I tend to trust your opinion on gear.


Hey we did disagree on the utility of the SM7!
Old 3 weeks ago
  #55
Lives for gear
Quote:
Originally Posted by Zasterz View Post


Hey we did disagree on the utility of the SM7!
We only disagreed on the percentage of singers who do/would sound great on it. And I’m sure we were both guessing.
Old 3 weeks ago
  #56
Lives for gear
 

Quote:
Originally Posted by Ziko123 View Post
Purchasing plugins/gears are not investments like shares in stock market, that their cost value will increase every year.

They are electronics. Better save some cash, learn and invest in real equity stocks, it will fetch and boost your economy with much more compounding multiplications, rather than purchasing a vintage mic, and in hope of selling it higher some years later.
The irony is that with all the clones out there,
it seems to HELP the vintage market.
Chris
Old 3 weeks ago
  #57
Lives for gear
 

Quote:
Originally Posted by Bushman View Post
We only disagreed on the percentage of singers who do/would sound great on it. And I’m sure we were both guessing.
It's precisely 17.8743%.
Really!
Chris
Old 3 weeks ago
  #58
Lives for gear
Quote:
Originally Posted by chessparov2.0 View Post
It's precisely 17.8743%.
Really!
Chris
I think you’re counting singing trolls, bots and radio voices. Throw them out, don’t count Michael Jackson wannabes and you’re back close to my number.
Old 3 weeks ago
  #59
Gear Nut
 

Surprised to see, with all the valid points i mentioned, and for validation (as audiophiles understand with validation/unless they hear by own ears ),
sharing couple of youtube links and official reviews to get unbiased and self analysis, makes someone feel so alarmed and worried.
Nobody even said, that SOS review is so spot on regarding accuracy.

And wondering, if without the fonts, bold, underlines, highlights, emojis.. which are provided formating options for a reason, will you read any such long post ?

If you don't make texts more alive and readable (which is a bit old with gearslutz website, requiring codes), and prefer plain old texts, stay happy.

At-least appreciate my hard-work to write replies with well-presentation.

About getting personal like sharing ponzy scheme, wonder about anyone's idea to purchase microphones, just to sell it later and earn money from.

People need to understand, Plugins and electronics are not investments like share market stocks!

@ psycho_monkey is an amazing guy and moderator for this reason only. He has a patience, broad-minded, he very well understood the positives and context i meant to say.
And i agree with him as well as.
Old 3 weeks ago
  #60
Gear Addict
 

Quote:
Originally Posted by Ziko123 View Post
About getting personal like sharing ponzy scheme, wonder about anyone's idea to purchase microphones, just to sell it later and earn money from.

People need to understand, Plugins and electronics are not investments like share market stocks! :
You’re the one who doesn’t understand. No one is buying microphones to sell for more money later. People buy these microphones because they have proven their quality over decades of cherished recordings that millions and millions of people have been inspired by. That’s the same reason the emulations you’re advertising modeled these exact same mics: Because they are very desirable, top-quality instruments. Since most of these mics cost around the $10,000-$15,000 range, anyone buying one must also be concerned with whether they’ll be able to sell it should they need to. But they’re buying the mics to use, not for financial speculation.
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