When I am working in Studio One I place the Softube plugin in the. The Waves Kramer Tape is pretty cool as well, and the Slate VTM gets. Hey there, We've put the Waves Kramer and J37 Tape plugins up, and also the UAD ATR-102 so far into the player for comparison, We'll get Slate stuff in asap:) Tape Plugin Shoot Out And select the preset 'Tape Plugins - UAD vs Waves.

IMPORTANT MESSAGEThis website uses session and persistent cookies in order to provide you with the full user experience on the website, to collect statistical information and to provide our visitors with relevant advertising. Some of the cookies are third party cookies and are collected by third parties. You can determine if and how cookies will be accepted by configuring your web browser accordingly.If you choose to block or delete cookies, the Website will normally work but the user experience may be adversely affected. You can read more about our use of. If you want to know more about how we process personal data, please read our. Analog tape has a smoothing effect and adds weight and glue to a mix – it turns the recording from a collection of individual tracks into a song, where everything is connected and works together.Tape, with its component-level and physical modeling of three different tape machines, gives you all the warm vintage cohesion you could want in one plug-in. Add a few premium level features, like the mastering grade high shelf filter, stability control, and wet/dry mix knob, and you've got a new secret sauce.

There are many ways to use and abuse a tape machine, and many modern engineers have never had the pleasure of working with a real (reel to reel) analog unit. That's why, to get you started, Tape includes presets made by award winning engineers such as Joe Chiccarelli (Beck, U2, Strokes) and Howard Willing (Smashing Pumpkins, Sheryl Crow, Kris Kristofferson).But there's no wrong answer. Crank Tape to its extremes and you'll get sounds that wouldn't even be possible in most analog machines, at extra-slow speeds for example, or with insane wow and flutter. If you run Presonus Studio One, you can not only use Tape as a standard plug-in. Adding Tape to your MixFX slot gives you Tape Multitrack. Tape Multitrack includes all the goodies of Tape, but in addition, you get selectable crosstalk between each individual track — and you can easily control the Tape Multitrack settings from a single interface.

The Tape and Tape Multitrack license is one and the same. This means that if you're not a Studio One user but at some future point decide to switch to that DAW, you will already have Tape Multitrack installed, licensed and ready to go. The sound of Tape saturationYou hear people talk about “the sound of tape”. However, there is not just one sound. Tape speed, head bump, distortion, transient response, hiss, crosstalk, bias, and other factors can all contribute to the sound.An R&B or rock album may use 15ips across all tracks to saturate the mix with harmonics and low end by using tape B for vintage flavor. A classical or jazz album may only put Tape on the master bus at 30ips with Tape A or C to keep the tracks as clean as possible while pulling together the mix with some harmonic glue.

A punk band may drive their guitars at 1 7/8 its while adjusting the stability and mix to create a gnarly flanging effect.These are all the sounds of tape. Left and right VU meters for level or Total Harmonic Distortion. Amount knob increases saturation. Three machine models (A, B, and C), each based on a different high-quality real world tape machine.

Five tape speed values, measured in inches per second (1 7/8, 3 3/4, 7 1/2, 15, and 30) each increasing in fidelity on the last. Dry/wet mix knob. Stability control to introduce speed wobble. High frequency shelf offers mastering grade cutting or boosting. Crosstalk emulates bleed between channels characteristic of analog tape machines.

Increases glue and fatness. Tape noise can be switched on or off as required. Run and Stop buttons create the effect of the machine slowing to a stop, or rolling up to speed again. Input and output level faders give total control over gain staging. System requirements.

Mac OS X 10.12 or newer (older OS versions may work but are not tested). Windows 64-bit, versions 7, 8 or 10. Intel Core 2 Duo, AMD Athlon 64 X2 or newer. Screen resolution 1280x800 or larger. Unleash x xbox skins. 8 GB RAM or more is recommended, as well as at least 8 GB hard disk space for installation (individual plug-ins take less space, while sample libraries may require additional disk space.

I'm kinda on the fence and waffling back and forth about doing the Slate Everything Bundle subscription for $15 a month. Has anyone compared their VCC to the Console Shaper and would like to share their thoughts? I know they function differently (plugin vs integrated into the mix engine) but the VCC seems to get a lot of praise.I have Waves NLS and when the mood strikes I use that over Console Shaper because my limited playing-around with C.S. Seemed to always just completely collapse my stereo field. Probably me 'overcooking' it but that seemed to be the only way I could actually tell any difference between using it or not.Curious about people's thoughts on the Slate program in general as well if anyone would like to share.

I hear great things about it and I am hoping it could help with my constant obsessing over getting new plugins knowing I am already spending money every month on plugins already. I looked at the Waves Flex program and well. If you already own Gold like I do, there really is no point since anything else I would want is not in the program.

I am very curious about the Fat Channel stuff but it is pretty pricey to buy the bundles outright. Another rent-to-own plan that has piqued my interest is the Plugin Alliance one where you can pick your plugins that are included.

This one actually has an end-date where you stop paying monthly and then you own the plugins. With Slate it is $15 per month forever.

Or until they raise the price. Then it's that price forever.People seem to really love and swear by VCC and their tape emu VTM, using them on every channel but I was just wondering how Console Shaper stacked-up. I already own the XLN RC-20 Retro Color plugin which is a fantastic 'everything analog' plugin. So there are two redundancies right there right out of the gate as far as Slate goes. I also have Waves NLS which I happen to really like, especially on snare and kick. Gives some really cool edge to bass tracks as well. The first freebie I got was the one that had these:VT1 EQVT1 CompRC500 EQRC500 CompThe second one (the vintage one) had these:Vintage 3-band EQThe Tube EQClassic CompThe Tube PB1Honestly, as I've stated before, I don't really know how much any of this benefits me, really.

I actually prefer the visuals that come with the Standard EQ. I haven't really had a chance to HEAR the difference.

My ears tell me, from all the demos I've heard, that the Compressors have more character than the EQs do. I'd be happy to be proven wrong. Either way, I have lots of options for whatever mood I might be in when mixing something.

Please add your specs to your.Search the. Access your account.of how to get your issue fixed or the steps to create a.Needs to include: 1) One Sentence Description 2) Expected Results 3) Actual Results 4) Steps to Reproduce.Specs i5-2500K 3.5 Ghz-8 Gb RAM-Win 7 64 bit - ATI Radeon HD6900 Series - RME HDSP9632 - Midex 8 Midi interface - Faderport 8 and 2018- Atom Pad- iMac 2.5Ghz Core i5 - High Sierra 10.13.6 - Focusrite Clarett 2 Pre & Scarlett 18i20. Studio One V4.6.1 (Mac), Notion 6.5, Ableton Live 10 Suite, LaunchPad Pro. I have them both but can only speak of my opinion because i think they both sound completely different. Imo i tend to like the console shaper mainly for the cross talk which appeals to me. That little bit of bleed between channels gives a sound i can't get with the VCC setup.

It is just a more full bodied sound as a whole imo but all things are subjective. I think the VCC has a 'warmer' analog tone than the console shaper individually but then i fall back on what i said before. I don't get the cross talk fullness from the VCC if that makes sense. Jemusic wroteI have got J37 for tape emulation which is nice. I would be looking at the TAPE Mix FX plugin though if I were thinking of a tape emulator now. I have got the CTC-1 and like it a lot but don't have Slate so its hard to compare.Yeah Softube Tape is pretty cool how it integrates with the Mix FX engine.

I've seen those application charts somebody made how they all work together but I didn't study them deeply. Looks pretty cool. I know there were rumors that Slate was developing VCC for Mix FX when Mix FX first came out but there is absolutely no word on that subject since those early product pitches.How do you like CTC-1 compared to the CS? Creative zen sleek photo drivers for mac download.

It's 'modeled' after a different console right? Worth the extra $$$ to purchase it?And thanks jB, that's good input. There is a guy on GearSlutz who seems to think the Console Shaper/Mix FX engine is the best thing to come along since the taming of fire. Posts as much in a few of the VCC-related threads over there.

What I find gives the best “anolog” feel is to use whatever channel emu that you like. Plugin alliance ssl or neve, slate, kush, whatever. Put those on every track and buss.Then add the mixfx built into s1 or use the ctc or use the mixfx version of softube tape on the 2buss with passthrough to get the benefit of the summing and channel bleedAlso, I don’t use mixfx until all my fx are rendered.

Otherwise you create feedback with mixfx sending bleed through your fx plugins. Something I’m certain I never experienced using real consoles lol. Please add your specs to your.Search the. Access your account.of how to get your issue fixed or the steps to create a.Needs to include: 1) One Sentence Description 2) Expected Results 3) Actual Results 4) Steps to Reproduce.Specs i5-2500K 3.5 Ghz-8 Gb RAM-Win 7 64 bit - ATI Radeon HD6900 Series - RME HDSP9632 - Midex 8 Midi interface - Faderport 8 and 2018- Atom Pad- iMac 2.5Ghz Core i5 - High Sierra 10.13.6 - Focusrite Clarett 2 Pre & Scarlett 18i20. Studio One V4.6.1 (Mac), Notion 6.5, Ableton Live 10 Suite, LaunchPad Pro. Yeah the fact that you only put it on your busses makes it much simpler.I was messing with CS quite a bit last night remixing a song. We'll see how it goes.

I'm also digging deeper into Scheps Omni Channel with this mix. JPettit's writeup on Mix Engine FX really helps with getting to know how CS and CTC-1 works and gives a great set of 'recommended best-practices' as a starting point on how to use it.Thanks for all the input guys.

I think I'm going to hold onto my money for now and work with what I have for a while. Then I will re-evaluate. What do I constantly wish I had to do xyz task. And purchase accordingly. Instead of chasing different implementations of the same-ol tools I already have. I think getting to know Scheps Omni Channel is a very good idea. I have had it for a while and it is a very nice plugin.

So much so that you may end up using Omni Channel more so than even a console emulator or tape emulator in fact. It has the ability to pull very similar sounds. Especially once you get to know and use the saturation front end of it well.There are some very good videos on it especially by Andrew Scheps himself. Well worth watching. He explains it well.You don't always need to run entire mixes through console emulators either. The fact in the digital world we can put parts of our mix through such stages is very cool indeed. Something you could not do when mixing down on a console.

Everything gets the console sound when you do that and that is not always the best option. Please add your specs to your.Search the. Access your account.of how to get your issue fixed or the steps to create a.Needs to include: 1) One Sentence Description 2) Expected Results 3) Actual Results 4) Steps to Reproduce.Specs i5-2500K 3.5 Ghz-8 Gb RAM-Win 7 64 bit - ATI Radeon HD6900 Series - RME HDSP9632 - Midex 8 Midi interface - Faderport 8 and 2018- Atom Pad- iMac 2.5Ghz Core i5 - High Sierra 10.13.6 - Focusrite Clarett 2 Pre & Scarlett 18i20. Studio One V4.6.1 (Mac), Notion 6.5, Ableton Live 10 Suite, LaunchPad Pro. That is a difficult question to answer because in the higher end consoles they went out of their way to minimise crosstalk. Shielding between channels etc.

On the less expensive consoles it may have been a little worse.Another form of crosstalk also existed and that was in the multitrack tape machine. Loud tracks being next to quiet ones etc.

In this situation it was sometimes much worse than the consoles themselves. The TAPE MixFx plugin actually take this into account. And introduces it in varying degrees e.g. Tracks immediately to another track has more cross talk and the crosstalk from tracks further away is less. Please add your specs to your.Search the. Access your account.of how to get your issue fixed or the steps to create a.Needs to include: 1) One Sentence Description 2) Expected Results 3) Actual Results 4) Steps to Reproduce.Specs i5-2500K 3.5 Ghz-8 Gb RAM-Win 7 64 bit - ATI Radeon HD6900 Series - RME HDSP9632 - Midex 8 Midi interface - Faderport 8 and 2018- Atom Pad- iMac 2.5Ghz Core i5 - High Sierra 10.13.6 - Focusrite Clarett 2 Pre & Scarlett 18i20.

Studio One V4.6.1 (Mac), Notion 6.5, Ableton Live 10 Suite, LaunchPad Pro. I have the Slate and the CTC-1. I used to use the Slate a lot but I prefer the CTC-1 to be honest.

I always use the modern setting, really opens the track up and adds that extra bit of character and 3d-ness. It really does sound awesome! The other two settings are good as well but I make a style of EDM (hate that word but it seems to be the modern term people use) which is all electronic stuff but I can see how they would be good for recorded material, guitar, drums, etc. I do like the Slate as well but it's just too much of a headache to setup and the end result is extremely subtle compared to the CTC-1. Some people might like that but for me it's the CTC-1, hands down. I turn the crosstalk off, it doesn't work well turned on with the style I make, I hear a bump in the low mids pop out which I don't like but I do like openness it does bring out in synths and vocals but I still tend to turn it off.

Sometimes I might use it on a bus with some strings or vocals. I can see how this would work well though in recorded stuff if it's on very subtle to emulate analogue desks. If Slate could work with the companies to implement their product into the daw like the CTC-1, then I'd be happy to use it again coz it would probably sound much better as well implemented properly. For their vision to truly work properly, it needs to be implemented into the daw, just like Presonus did.

That's why I think the CTC-1 sounds so good. I'm extremely happy with it. Only thing is, it can get a bit cpu hungry when you're running a big project.

At the end of the last track I finished, it was showing 60% of one of my cpu's. I've tried switching it to eco mode and I can hear a slight difference in sound, the openness it has slightly closes (if that makes any sense) but no difference at all in cpu usage still at 60%.

I'm hoping they can improve on that. Still though I'm extremely happy.Just for the record. I have never used any of the desks that the CTC-1 is emulating so I don't know how accurate it sounds but I do know that, I, personally find it very satisfying and I'm so glad I bought it!

Darrenporter1 wroteAnother rent-to-own plan that has piqued my interest is the Plugin Alliance one where you can pick your plugins that are included. This one actually has an end-date where you stop paying monthly and then you own the plugins. With Slate it is $15 per month forever. Or until they raise the price. Then it's that price forever.People seem to really love and swear by VCC and their tape emu VTM, using them on every channel but I was just wondering how Console Shaper stacked-up. I already own the XLN RC-20 Retro Color plugin which is a fantastic 'everything analog' plugin.

So there are two redundancies right there right out of the gate as far as Slate goes. I also have Waves NLS which I happen to really like, especially on snare and kick. Gives some really cool edge to bass tracks as well.I use Slate VCC and the Tape plugin on every track. It’s fantastic and it’s my goto combo right now.I started with the Plugin Alliance bundle but I realized that way before I would be done paying for it all of the plugins would be outdated.

It was like a 3 year plan. Besides Plugin Alliance always has sales and rewards regular customers.I was hesitant about the Slate plan because of not owning them ever but I did the math and with the frequency of new plugins added I would always have more value than expense.The quality of the Slate plugins is amazing and the CPU hit is minimal. Plugin Alliance is still my favorite vendor.I know I’ve drifted way off topic but I hope the information was helpful.