Again, I don't think either method will reproduce the behavior of a console with 100% accuracy (especially with regards to noise), but they're good starting points. For reference, just one instance of the "Blacky" version of the CLA-76 can produce as much noise as 30 instances of NLS across 30 tracks with its drive and output gain settings at their max.Īs far as using the first or last insert goes, conventional wisdom dictates that he first slot be used to mimic console mixing and the last slot be used to mimic console summing. If I recall correctly, NLS was the noisiest of the bunch, but you also have the option to turn it off. Without duplicating instances (but keeping maximum input gain), the cumulative noise level of Satson across 50 tracks seems to hover around -90 dBFS. Britson and Satson do, but in order for it to be audible, the input gain has to be set to the highest possible value across every track, and you'll need to duplicate instances on several tracks. For instance, the RC-Tube model in VCC produces no detectable noise, even with the highest gain and drive settings. FWIW, I've ran tests with NLS, VCC, Britson, and Satson across dozens of empty tracks in Reaper, and most did not produce appreciable levels of noise, even with the input/output gain and other "drive" parameters set to their maximum. That said, every console emulation is different. To my knowledge, this is not yet possible with the current crop of console emulation plugins. In order to accurately reproduce the end result of FX processing upon a hardware console's noise floor, you would need to be able to insert EQ and dynamics processors in between various stages of the console emulation. From what I understand, most console emulations are an attempt to reproduce the sonic characteristics of an entire console channel from beginning to end.Īs pointed out above, noise can be introduced at different points in the signal path of an actual console.
It can add incredible focus and punch to tracks in preamp mode, especially in boost mode. New York is aggressive in the mids, and tighter in the lows due its unique dynamic harmonic saturation. New York is inspired by some vintage tube circuits with a hint of inspiration from some New York solid state discrete circuits to give it some tightness and impact. London sounds amazing for fattening up tracks in preamp mode, or thickening things up with its preamp saturation, and can add fat analog body in Console mode on the whole mix. The transient response has a slight thickness to it without being overly aggressive.
The sound is big, warm and bold in the lows and low mids, and slightly smooth in the top end. London is inspired by some vintage tube circuits originating from Europe.
VMS users can also use VTC preamps with the microphone models for rich and vibey tone on their tracks. Using VTC, you can add color, warmth, depth, and vibe to your mixes and masters. Each module can act as a preamp, a saturator, and even a virtual tube summing console. Slate Digital VTC Virtual Tube Collection Plug-In The Slate Digital VTC Virtual Tube Collection Plug-In is a set of three plugins for Virtual Mix Rack that recreate the sound of classic vintage tube circuits.