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Old 28th August 2019
  #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.