Virtual Mix Rack

System Overview 3
Modular System 3
System Components 3
VMR Overview 4
Slots & Modules 5
Library 7
Handling VMR Modules 9
Using the Modules 12
Preset System 15
VMR Preset System 15
Rack Presets 15
Module Presets 17
Modified Preset Status 17
Dream Strips 18
A/B Snapshots 19
HQ and Help Menus 20
Miscellaneous 21
Virtual Mix Rack Modules 23
Revival 23
Trimmer 24
Mix Bundle One 25
Virtual Console Collection 29
Custom Series Bundle 33
FG-Bomber 37
Virtual Preamp Collection 39
Air and Earth Modules 41
FG-116 Blue Series 43
The Monster 47
Virtual Tube Collection 49
FG-Stress 52
Audified U73b 54
FG-A 56
Gate Bundle 57
FG-2A 64
Custom Opto 65
FG-Dynamics 66
FG-DS 902 68
FG-36A 69
Transient Shaper 70
SD-PE1 71
Contacting Support 73

2
System Overview
Modular System
Slate Digital VMR System is a modular architecture that allows the use of processing units, the
Modules, within a Rack Platform, the Virtual Mix Rack Plugin.

System Components
The VMR Platform is made of two components: the Virtual Mix Rack Plugin and the Virtual Mix
Rack Modules.

VMR Plugin
The Virtual Mix Rack Plugin is the cornerstone of the VMR System, and is the plugin that’s inserted
into the host. Within this Virtual Mix Rack, you can load, adjust, move and remove VMR Modules.

VMR Modules
VMR Modules are like small plugins. In fact, they are plugins, except that they exist as a plugin
format that only the VMR Rack can interpret and use.

From the VMR System perspective, the Virtual Mix Rack Plugin is the host, and the VMR Modules
are the modular processing units.

Modules can be of any kind, dynamic processing, EQs, delays, reverbs, mixing utilities, mastering
units, metering, etc.

3
VMR Overview
The VMR Plugin is divided into four sections: the Preset Bar (top), the Dream Strip Bar below, the
Library (left), and the Slots (center).

● The Preset Bar provides functions to manage entire Rack Presets, A/B Snapshots, and
various utility features like Undo/Redo, Clear Rack, etc.

● The Dream Strip Bar provides quick access to your most used Rack configuration.

● The Library displays all currently installed VMR Modules.

● The Slot is the area in which VMR modules are loaded, adjusted, moved and removed

4
Slots & Modules
There is an important distinction between VMR Slots and VMR Modules.

Slots
The VMR Plugin can host up to eight VMR Slots.

VMR Slots are empty rack spaces that load VMR Modules.

Host Automation is written to Slot parameters, but not to Module

parameters. Slot parameters belong to the Rack and are the
parameters that are declared to your Host.

Each Slot has its own header with utility and preset functions1.

Slots that are left empty are covered by a blank metal plate,
preventing them from collecting virtual dust.

1
See Using the Modules section for more information

5
Modules
Modules are audio processing units that are loaded into empty Slots.

Module parameters are automatically mapped to Slot parameters.

Module parameters are automatable only via Slot parameters.

6
Library
The Library displays all the Modules that are installed on your system, and provides additional
information about each VMR Module.

The Library is a great place to obtain useful information, such as:

● Module Status: Has a license been detected for this Module?
● Module Category: Dynamics (Dyn), EQ, Harmonics (Harm), etc.
● A brief description for each Module (Thumbnail View).

Two views are available in VMR 2.0: the Thumbnail

View, which displays the Module names and icons,
and the List View, which displays both Module names
and categories.

Thumbnail view is the default view. To switch to the

List View, click the icon. To switch back to the
Thumbnail View, click the icon.

In both views, clicking on or hovering over any VMR Module will display a small popup, revealing
more info:

7
Using Category Filters
You can use Category Filters to quickly find a Module in the Library.

Filters can be enabled or disabled by selecting or deselecting the filter

name.

Clicking on a filter while holding the CMD (macOS)/CTRL (Windows) key

will add the filter along with the currently filtered group. This allows the
ability to create a more complex filter.

Using the Search Modules

VMR 2.0 offers a Search Modules feature if you would like to narrow your search even further.

Simply click inside of the Search bar and type the characters pertaining to the module(s) you’d like
to find. The search results will return results for any module or modules containing the sequence of
typed characters.

The Search Module feature also has the ability to show results for multiple VMR Modules that do
not necessarily relate to the entire string. For example, if you type “Air 401” into the Search bar,
would return AirEQ Air, AirEQ Earth, and FG-401 as the results. This feature is useful if these are
the only Modules you’d like to see.

8
Handling VMR Modules

Adding VMR Modules

There are two ways of adding VMR Modules:
1. By double-clicking on the Module in the Library.
2. By dragging the Module from the Library and dropping it into a Rack Slot.

Moving Modules
To move a VMR Module, simply click near its icon or name and start dragging it around in the Rack.
The Rack processing sequence is updated during the drag operation, both visually and sonically.
This means that the audio path follows what is happening visually in real-time.

Duplicating Modules
To duplicate a VMR Module, drag and drop it while holding the Opt/Alt key. As long as the Opt/Alt
key is pressed during a drag-and-drop operation, the dragged VMR Module will be a clone of the
original.

9
Removing VMR Modules
There are two ways to remove VMR Modules and VMR Slots:
1. By clicking on the ‘X’ icon in the Slot Header: the entire Slot is removed, along with the
Module inside.
Note: If the Rack contains 3 slots or less, only the Module will be removed, and the empty
VMR Slot will stay in the rack.

2. By clicking and dragging the VMR Slot, then dropping it outside of the VMR Rack. The Slot
will display a trash icon, as shown below:

10
Moving / Cloning Modules between Rack Instances
One of the most unique features of Virtual Mix Rack, from a workflow perspective is that VMR
Modules can be added, moved and duplicated between two Virtual Mix Rack Instances.

To Move / Clone a VMR Module from one instance to another, click and drag the VMR Module from
the first Virtual Mix Rack instance to the second. Holding Opt/Alt during the Drag operation will
duplicate the Module instead of moving it.

This also works with the Library. VMR Modules can be clicked and dragged from any instance of
Virtual Mix Rack’s Library, and dropped into any other Virtual Mix Rack instance’s VMR Slot.

Moving the VMR View

Virtual Mix Rack can host up to eight Modules, but has a maximum number of visible Slots.
Depending on your screen resolution and the Library display, VMR will display anywhere from four
to eight VMR Slots..

Depending on your screen resolution, some VMR Slots will not be visible, resulting in a Horizontal
Scroll Bar shown at the bottom of the VMR Rack:

The Scroll Bar allows the ability to shift the view, which shows the hidden Modules in the visible
VMR Rack. This can also be done by clicking on a hidden Module (like “E Revival”) displayed in the
Scroll Bar.

11
Using the Modules

Power & Solo Modes

The processing for each VMR Slot can be bypassed and soloed. To bypass a VMR Slot, press the
yellow Power Button in the upper left corner of the Slot.

To Solo a VMR Slot, press the “S” Button. Slot Solo has two modes of operations:

1. X-OR Solo: Left Click on a Solo Button to Solo the Slot and cancel any other Slot Solos.
This is the default Solo Mode in the VMR Rack.

2. Latch Solo: CMD (macOS) / CTRL (Windows)+Left Click a Solo Button to add or remove the
Slot to the current solo group.

Module Preset System

Each Slot embeds a smaller preset system that allows you to either Save, Load or Delete presets
for individual Modules2.

Automation Panel
The Virtual Mix Rack has a special panel, dedicated to Automation Display. The Automation panel
displays a simple and straightforward view the current VMR Module parameters, and their
corresponding Automation Name that you’ll see in your DAW’s automation lanesYou can access this
panel by clicking on the Slot Letter at the top of the VMR Modules of each respective Slot.

2
See Preset System section for more information

12
This panel displays a list of all the Automation Mappings, for all the currently loaded Modules:

In the Automation Name column, you can read the names of the parameters as they will be seen
by the Host.

In the Parameter column, you can read the names of the selected VMR Module’s Parameters.

Depending on the plugin format of Virtual Mix Rack(AU/VST/VST3/AAX) that you’ve instantiated,
the Automation Names that are provided to the DAW (plugin HOST) can either be generic (like
“H-10”), or can be dynamically changed (like “H-Drive”).

To dismiss the Automation Info view, click anywhere outside the panel.

13
VMR Key Commands

Reset Parameters to Default

● macOS: Double-Click or OPT + Click
● Windows: Double-Click or ALT + Click

Fine adjustments
● macOS: Right-Click + Drag or CMD + Drag
● Windows: Right-Click + Drag or CTRL + Drag

Enable Automation Dialog (Pro Tools and VST3 DAWs3 only)

● macOS: CTRL + OPT + CMD + Click
● Windows: CTRL + WIN + ALT + Click

3
Most VST3 DAWs support this feature. This dialog often also allows the control assignment

14
Preset System
VMR Preset System
The Preset System allows you to speed up your workflow by using predefined configurations.
Presets are divided in two Layers:
1. Rack Presets: Handled through the top Preset Bar
2. Module Presets: Handled through the Preset Label within each Slot

Rack and Module Preset Systems are independent from one another. A Rack Preset contains the
configurations for all Slots and Modules, with the exception of which Module Preset has been used
in which Slot. This avoids any unnecessary synchronization mismatches. Rack Presets only store
the Module Preset Names that have been used.

There are two categories of Rack Presets and Module Presets

1. Factory Presets: Presets included by default in the VMR installer

2. User Presets: Presets that you create

To prevent the loss of settings when installing a new VMR version, Factory Presets cannot be
overwritten. They are displayed with a lock icon. To modify and save a Factory Preset, you’ll need
to use the Save As button, which saves a new preset based on the Factory Preset that was
modified.

Rack Presets
Clicking on the Preset Label area will open the Preset List:

The Main Menu displays the Banks.

The Sub-Menus display the Presets, divided in

two categories: User and Factory Presets.

15
Clicking on the Menu Icon on the left will open the Preset Menu, from which you can:

● Rename/Delete the current Bank

● Export/Import Bank as .ebf files

● Visualize and Edit Preset Information

● Rename/Delete the current Preset

Clicking on the Up and Down arrows on the right side of the Top Preset bar will navigate through
the Rack Presets and Banks.

Clicking on the Save Button will update your current User Preset or will bring up the Save As Panel
if your Preset does not yet exit.

Note: Clicking Save is not possible on a Factory Preset. Save As needs to be used.

Clicking on the Save As Button will open the Save Preset Panel, in which you can edit the Preset
Information:

16
Module Presets
Clicking on the Preset Label area will open the Preset List. This allow for the following:

● Save the current User Preset (not possible with a

Factory Preset)

● Save As… the current Preset

● Delete the current Preset

● Reset the Module to its Default State

● Load a Module Preset

Clicking on the Save As… option will open the “Save preset as…” Panel:

Modified Preset Status

When a preset is modified (both Rack and Module), a star symbol appears next to the Preset
Name. This indicates that the Preset is in a Modified state. Clicking Save, will update the Preset
on the filesystem, and the star will disappear.

If the updated Preset is used in another instance (or another session), the star symbol will be
displayed on the other instance. Recalling the Preset will update it, and the star symbol will
disappear.

17
Dream Strips

The Dream Strip system allows any Rack Preset (User or Factory), to be set as a Dream Strip, and
will appear in the Dream Strip bar. This allows one-click access to your most used rack
configuration.

The Dream Strip bar can contain up to eight Dream Strips, but can also be emptied if you’d like.
In this case the Dream Strip bar is hidden.

The first Dream Strip is the Default VMR state ( icon). To change it, simply re-order the Dream
Strip buttons. If there are no Dream Strips, the Default VMR state is empty.

There are two methods to add a Preset to the Dream Strip Bar:
● Click the icon in the Preset menu
● Click Save As… while on the current Preset and enable Dream Strip option

To load a Dream Strip, click on the Dream Strip button.

To re-order the Dream Strip buttons, drag and drop the Dream Strips left and right on the Dream
Strips bar.

There are three methods to remove a Dream Strip:

● Right-click on the Dream Strip and select Remove From Dream Strips
● Remove the icon in the Preset Menu
● Disable the Dream Drip option in the Save As… panel

To update a Dream Strip with the current rack configuration, right-click on the Dream Strip
button and select “Update With Current Strip”. This will open the Save As… panel with Factory
Presets (which are not overridable see above), and act as the normal Save option.

Seven Dream Strips are available by default to get you started, which includes different variations
included in the corresponding Dream Strip Bank. You can then safely configure the Dream Strip bar
as you want, and VMR updates will not overwrite your preferred Dream Strips.

18
A/B Snapshots

The Virtual Mix Rack offers a simple and intuitive A/B Snapshots system to quickly compare two
different Rack configurations.

A/B Snapshots can be controlled and switched using the dedicated A/B buttons located in the Top
Bar.

Virtual Mix Rack is always using one of the two Snapshots (A by default). The current Snapshot is
displayed in yellow.

Clicking on the arrow between the A and B buttons will copy the current Rack state into the other
Snapshot. (ie: If Snapshot A is selected, clicking the arrow will copy and paste the rack from
Snapshot A to Snapshot B).

19
HQ and Help Menus

Oversampling
To reduce the aliasing effect produced by any digital clipping, VMR
2.0 now offers an Oversampling option accessible in the HQ menu.

When Oversampling is On, the CPU usage will slightly increase and
a short latency will be introduced: 63 samples at 44.1/48 kHz and
127 samples at 88.2/96 kHz. This latency can be automatically
compensated by your DAW.

You can enable Oversampling on the current VMR instance only by

enabling "Oversampling", or enable Oversampling for all instances of
VMR by enabling « 'On' for all instances ».

Note: Enabling 'On' for all instances will disregard the Oversampling
preference which will appear grayed out. For example, if
Oversampling is disabled, but 'On' for all instances is enabled,
because all VMR instances have oversampling, this preference is
ignored.

Help

User Guide
Opens the Virtual Mix Rack User Guide.

Online Support
Redirects you to the Slate Digital Support Helpdesk.

20
Miscellaneous

Rotary Knob Mode

Clicking on the Rotary Knob Mode icon in the Top Bar toggles the Knob Mode between Linear and
Rotary modes.

In Linear Mode (default Knob Mode), the knobs follow horizontal and vertical mouse moves. In
Rotary Mode, the knobs follow circular mouse moves. Rotary Mode can be very useful when using
Virtual Mix Rack with a touch screen monitor.

The icon is highlighted in yellow when the Knobs are in Rotary Mode.
Note: fine adjustments (CMD/CTRL+Drag) are also available in Rotary Knob Mode

Clear Rack

The Clear Rack button allows you to rapidly remove all Modules and reorder Slots.

Undo/Redo

Undo/Redo allows you to revert or repeat any action, including rack configuration (Modules
inserted, Slot order, etc.). Undo/Redo is limited to 20 actions.

21
About Panel
Clicking on the Slate Digital Logo in the Preset Bar opens the About Panel:

In this Panel:

● Clicking on the Slate Digital logo will redirect you to the Slate Digital Website.

● Clicking on the Version Number label will toggle between Version and build information.

● Right-Clicking on the Version Number label allows the version information to be added to
the clipboard.

● The Module Version Table displays useful information about all the installed Modules:
Names, Versions and Statuses.

● Clicking “Virtual Mix Rack” in the About Panel will show the location path of the current
Virtual Mix Rack instance.

22
Virtual Mix Rack Modules
Revival
Revival borrows aspects of tubes, tape, transformers, and world class analog filters to pack two
processes into one unit. ‘Shimmer’ adds depth, clarity, space, width, and air to your signal while
‘Thickness’ adds warmth, punch, body, and fatness. Revival can be used on individual tracks, such
as to create air on a pop vocal or add fatness to drums, but is also amazing in mastering to bring
out details in full mixes.

VU Meter
The VU Meter displays the RMS level of the signal at the output
of the module, i.e., after the Mix.

The meter is calibrated to display 0 VU when being fed by a

1kHz sine wave with a peak level of -18dBFS by default. You can
recalibrate this level by adjusting the screw below4.

Shimmer & Thickness

Shimmer affects the high-end of the signal. It can be used to
add air, brightness and clarity without introducing harshness.

Thickness affects the low-end. It will fatten up just about

anything!

4
The meter calibration is a shared setting affecting all output VU meters of VMR Modules

23
Trimmer
The Trimmer is a very useful Module that gives you several controls to control some basic
operations within the Virtual Mix Rack: RMS and Peak Level Monitoring, a simple Trim control and a
Phase Reverse Switch.

When using it in the first slot, the Trimmer allows you to define how the signal will hit the following
VMR module, with precise output level monitoring.

VU Meter
The VU Meter displays the RMS level of the signal at the output
of the module, i.e., after the Mix.

The meter is calibrated to display 0 VU when being fed by a

1kHz sine wave with a peak level of -18dBFS by default. You
can recalibrate this level by adjusting the screw below5.

LED Meter
The LED Meter displays the Peak level of the signal at the
Output of the module.

The level is in dB Full Scale and goes from -72dBFS to 0dBFS.

Trim Knob
The Trim Knob is a simple gain control, going from -24dB to
+24dB.

Phase Reverse Switch

The Phase Reverse Switch is very classical: in Mono and
Stereo, it flips the signal’s polarity for all channels.

5
The meter calibration is a shared setting affecting all output VU meters of VMR Modules

24
Mix Bundle One

FG-116
The FG-116 is a perfect digital replication of the classic American FET limiter. From its trademark
timing characteristics to the extremely musical sound of its transformer, the FG-116 captures every
nuance of the beloved compressor/limiter. FG-116 gives engineers the musical, fat tone that has
made the hardware so famous. Whether you’re using it on lead vocals, drums, or guitars, the
FG-116 will always sound great.

GR Meter
Displays the amount of compression in dB.

Input / Output6
Increasing your Input Gain will result in more compression. To
compensate for the gain reduction, adjust the Output Gain.

Ratio
Sets the amount of gain reduction. For example, if the ratio is
set to 4:1, this means for input level 4dB over the threshold, 1dB
will be output.

Attack
Controls the speed at which compression occurs after the
signal has exceeded the threshold value. Turn clockwise for a
fast attack, and counterclockwise for a slow attack.

Shift+Click the Attack knob to turn compression on and off.

When set to off, the unit will bypass the compression, while
continuing to process with the Input and Output Gains. This
allows you to impart some nice transformer saturation, without
reducing the dynamic range of the track.

Release
Controls the speed at which compression stops, once the
signal has fallen below the threshold value. Turn clockwise for a
fast release, and counterclockwise for a slow release.

Noise Reduction
Disables the modeled noise.

Mix
Blends between dry and wet signals. This is very useful to
achieve parallel compression without any additional routing.

6
Moving the Input or Output Knob while holding the Shift key will inversely link the two controls. It
is very useful in Attack OFF mode to use the module as a line driver.

25
FG-401
The FG-401 started as a recreation of the classic British console channel compressor, but morphed
into quite a lot more. First, we gave it variable attack and release with increased range, adding
more tonal options.

We then added an optimal transformer in/out, and not just any transformer—the famous British
Class A Console transformer! This adds a beautiful warmth and sheen to the compressor.

Finally, we added an entirely unique second circuit path that provides an additional layer of
smooth, rich tone. The FG-401 is perhaps the most versatile mix compressor in the world, and will
sound good on any source you feed into it!

GR Meter
Displays the amount of compression in dB.

Threshold
Sets the point at which compression will occur after an audio
signal amplitude exceeds this set level.

Ratio
The Ratio Knob adjusts the slope of the compression curve.

Attack
Controls the speed at which compression occurs after the
signal has exceeded the threshold value. Turn to the left for a
fast attack, and to the right for a slow attack.

Release
Controls the speed at which compression stops, once the
signal has fallen below the threshold value. Turn to the left for a
fast release, and to the right for a slow release.

Make-Up
The Make-Up Gain parameter allows for adjusting the output
level; to compensate for level reduction as a result of
compression. Its range is from -24dB to +24dB.

Mix
Controls the blend between the compressed and uncompressed signals, which is very useful to
achieve parallel compression without any additional routing

Transformer
The Transformer Switch toggles the Transformer enablement.

26
Circuit
Toggles the FG-401’s processing between two circuits:
● Circuit 1 is punchier and more dynamic.
● Circuit 2 is more transparent and gives more space to the bass.

FG-N
The FG-N is a digital recreation of one of the most classic discrete Class A British equalizers from
the 70’s. All aspects of the circuit are faithfully modeled, including the natural saturation and rich
harmonics that this equalizer is famous for producing. The original model only contained one mid
band, so we thought it would be nice to add another, giving this EQ a lush, fat, and bold sound. It
sounds great on everything from drums to vocals, and adds tasteful color to synths and other
electronic elements.

High-Shelf
The High-Shelf has only one Gain Control. This band operates
at a fixed frequency.

EQ Bands 1 and 2
The EQ Bands have two controls: Frequency and Gain. Clicking
on the frequency value labels will snap the Frequency Knob to
the indicated value.

Low-Shelf
The Low-Shelf Band has two controls: Frequency and Gain.
Clicking on the frequency value labels will snap the Frequency
Knob to the indicated value.

High-Pass Filter
The High-Pass Filter Frequency Knob controls the frequency of
the high-pass filter. When set to "Off", the High-Pass is
disabled.

Line & Drive

Line gain reduces the headroom of the equalizer, driving it into
saturation and increasing the output level. You’ll notice it’s
effect especially when using the filter gains.

With Drive enabled, the Line gain output will be compensated

by the same level that it is raised. Providing the same
saturation effects without an increase in level7.

7
When disabling Drive, the Line knob will reset to 0dB. This is a simple UI link designed to protect
your speakers and ears from a large jump in volume.

27
FG-S
The FG-S is a digital recreation of one of the most famous British console equalizers from the 80’s.
This equalizer has rich harmonics and interactive mid bands that produce a fat, musical tone. This
is the ultimate workhorse mix EQ that can be used on any source. It’s just as suited for more
precise, surgical corrections as it is for broad bell and shelf strokes that make drums and guitars
explode out of a mix.

HF
The High Filter section has three controls: Frequency, Gain, and
Bell / Shelf switch.8

The Bell Switch toggles the Filter between a Bell and a Shelf.

HMF
The High-Mid Filter section has three controls: Frequency, Q
and Gain Knobs.8

LMF
The Low-Mid Filter section has three controls: Frequency, Q
and Gain Knobs.8

LF
The Low Filter sections has three control : Frequency Knob,
Gain Knob, and Bell/Shelf Switch.8

The Bell Switch toggles the Filter between a Bell and a Shelf.

Filter
The Filter Frequency Knob controls the frequency of the
High-Pass Filter. When set to "Out", the High-Pass is disabled.

8
Clicking on the frequency value labels will snap the Frequency Knob to the indicated value.

28
Virtual Console Collection
The Virtual Console Collection consists of two modules: Virtual Channel and Virtual Mixbuss. Each
module allows the user to choose from one of six meticulously modeled analog consoles. The
Virtual Channel was designed for use on individual mixing channels, while the Virtual Mixbuss
should be the first module insert of the master fader.

When using the Virtual Console Collection across a mix, your DAW takes on the personality of a
real analog mixing desk. The imaging and depth improves, instruments sit more naturally in the
frequency spectrum, and mixing becomes easier and more musical. You can even push the DAW
faders up to find each mixer's "sweet spot.”

VU Meter
The VU Meter displays the RMS level of the signal just after the
Console and before the Output gain.

The meter is calibrated to display 0VU when being fed by a

1kHz sine wave with a peak level of -18dBFS by default. You can
recalibrate this level by adjusting the screw below the meter.9

Clip-LED
The VCC Channel and Mixbuss are saturation modules. Above a
certain input level proper to each console, the algorithm starts
clipping, which means more saturation and non-linearities.

As soon as the signal gets above the Clip Threshold, the

Clip-LED lights. Thus, you can easily visualize how the signal
behaves in the console.

Input & Output Trim

Input Trim adjusts the level pre-processing. Increasing the Input
Trim will allow you to hit the Channel or Mixbuss harder.
Boosting the Input Trim will have a different effect than
boosting the Console Drive.

Output Trim adjusts the level post-processing, which is useful

for gain staging into following VMR modules.

9
The meter calibration is a shared setting affecting all Output VU Meters of VMR Modules.

29
 Group I/O
Group I/O allows isolating the Input and Output section from the
Group.

Link I/O
Link I/O allows for constant gain as the Input or Output Trims
are adjusted.10

Console
Selects between the six console models.

Console Drive
Increases the nonlinear response of the selected console
without increasing the output level. Drive can add more analog
response without altering balances. Boosting the Console Drive
will have a different effect than boosting the Input Trim.

You can reduce the Console Drive level by turning it

counterclockwise or add even more tone than before by
pushing it all the way to 18!

Group
Assigns the VCC Channel or Mixbuss module to one of the
eight groups.

Noise Reduction
Disables the modeled noise for each console model.

Group Bypass
Bypasses processing for the selected group. The Group Bypass state is identical to using the
Power Button to bypass the module, but with the benefit of affecting every VCC module in the
group.

10
Input & Output Link is a User Interface (UI) link only and therefore will not work when automation
or hardware controllers are modifying the Input or Output Trims.

30
Grouping
Groups make using the Virtual Console Collection very simple, quick, and intuitive. At its most
basic use, you can just set all VCC Channels and the Mixbuss to the same group, emulating mixing
through one console. You could also use several groups and make your own hybrid console!

Grouped Parameters
● Input and Output
● Input / Output Link
● Console
● Console Drive
● Noise Reduction

Grouping Operations
Below are some rules that explain how grouping works with the VCC modules:
● When a VCC module is ungrouped, then the module uses the it’s own settings.
● When a VCC module is grouped, then the module uses the Group’s Settings.
● When a VCC module is joining an empty group, then the module keeps its own settings,
and applies it to the group.
● When a VCC module is joining an occupied group, then the module takes on the settings
of the group.
● When a VCC module becomes ungrouped, then the module keeps its last known settings.

Tips
Each Group label around the Group knob is clickable, allowing the user to directly select a Group,
without having to scroll through the intermediate Groups.

The Group’s Tooltips allow you to select a Group simply by typing the Group number.

31
The Consoles
Every console has been optimized so that it matches the original tone of its analog counterpart
with absolute precision. In most of the consoles, you'll likely not hear a difference. However, the
US-A and RC-Tube models were modified to match some new reference units that we obtained,
and while the changes are very subtle, we think they are for the better and hope you'll agree!

Brit 4k E
This console models an early 80's British mixing desk that we were told about by many local LA
engineers who were fans of the console's uniquely fat tone. This desk has a tight but punchy low
end, warm low mid, and punchy and present mids. You can really hit the mix buss hard (do this
either by pushing the faders into it -or- by using the new input/out link), and it gives you an
amazing saturation and makes transients sit in the mix much better.

Brit N Discrete
This classic desk has been a staple of the recording industry for over thirty years. Known for a rich,
fat, and warm sound, it can add some classic vibe to your mixes.

Brit 4k
The most popular mixing console in the industry, this desk has a clean, punchy, wide, and slightly
aggressive quality that has made it the go-to desk for rock, pop, metal, and hip hop. Push it hard to
get some extra grit to the transients.

US A Discrete
One of the most sought after desks in the industry, this American-made discrete console is known
for a thick and fat tone with lots of vibe and midrange punch.

Ψ
Another classic British console, this desk is known for being the ultimate rock desk, with a wide
soundstage, smooth highs, and fat low end. Push it hard for some extra fatness.

RC-Tube
The RC-Tube is based on an all-tube broadcast desk from the 50’s. It has a super thick midrange,
smooth high end, and fat and warm bottom end.

RC-Tube License & Feature Set

RC-Tube is a feature-limited version of the Virtual Console Collection. If you have an RC-Tube
license instead of a Virtual Console Collection license, the VCC Bundle modules will operate as
follows:
● Console Models Brit 4k E, Brit 4k G, US A, Brit N, and Ψ will be dimmed.
● Console Models Brit 4k E, Brit 4k G, US A, Brit N, and Ψ may be selected, however, the VU
Meter will not move and the selected Console will have no effect on the signal.
● The RC-Tube Console Model will not be dimmed and will process the signal when selected.

If you purchase a Virtual Console Collection license, there’s no need to install additional software;
simply move the Virtual Console Collection license to your iLok 2 dongle and all Console Models
will be unlocked!

32
Custom Series Bundle

Custom Series EQ

Introduction
Shortly after the release of the Virtual Mix Rack last November,
I found myself sitting in my Los Angeles studio staring at a rack
of some of the industry’s finest analog equalizers. Some I had
bought, some I had borrowed, some I had rented, but it didn’t
matter, because on that day… they were all mine.

My objective was straightforward, but it was not easy. I was

going to patch in all of the EQs and use them on a few dozen
reference mixes so that I could understand which would be the
most complimentary to the two classic EQ’s that we already
have in the Virtual Mix Rack, the FG-N and FG-S.

But what ended up happening was way beyond what I had in

mind... I started combining multiple EQ’s on various tracks to
form hybrid equalization sounds that I found to be superior to
any single EQ. Within a month, I had developed the concept of
an EQ where every single band’s boost and cut was customized
with combinations of the best analog filters so that it could be
the most musical and intuitive tone shaping processor for
modern audio production.

The Custom Series Equalizer was born.

Boosts
So many equalizers have the same behavior throughout their entire spectrum. The curve style and
nonlinear sound of all the filter bands are clones of one another. But I began to realize that for the
perfect EQ, this did not make sense. To make the most intuitive and musical equalizer that would
be best suited for a wide variety of sources, the boosts would have to all be unique to their
specific job and role. Each boost filter would have to be customized.

Boosting the Highs

For high end boosts, the goal is clarity, depth, and musical sheen. I noticed that I could achieve a
lot of these aspects with a famous tube EQ boost on the highs. It was so smooth and lush. But
then I started adding a bit of an old mastering eq on the highs to combine it with the tube eq to
make a hybrid boost. This was an even more magnificent sound on both individual tracks and full
mixes.

33
Boosting the Upper Mids
I realized that for upper mids, I wanted something broad and present that wouldn’t have the nasal
and honky sound that I’d experienced in some other EQ’s. So by combining some of the upper
bands of some discrete analog EQs, I made yet another unique tone that became my new standard
for what an upper midrange boost should sound like.

Boosting the Low Mids

For the low mids, I found that combining another old tube EQ and a solid state American EQ gave
me a boost that was warm and thick, but not too boxy. It could add body without adding mud.

Boosting the Lows

Finally, on the lows, I combined the boost of two different mastering EQs and after a week of
tweaking the proportional gains and setting the ideal bandwidths, I created one of the most
perfect sounding low filters I’ve ever heard. It was massive, punchy, and deep, yet focused and
clear.

Cuts
After working on boosts, I began to use a transparent modern mastering EQ to experiment with
cuts. My goal was to create attenuation shapes that accomplished exactly what most people are
looking for when cutting frequencies, which is to remove the bad aspects of the sound that you
dislike, without removing the aspects of the sound you DO like !

Cutting the Highs

For high end cuts, you want to attenuate the thinness and tinny aspects of the source, but not dull
it. I was able to create a shape that could do this quite elegantly and musically.

Cutting the Upper Mids

The upper mid cut is very important, because you want to take out the honkiness and nasal
sounds without losing impact and presence. Again, after a lot of work, I figured a way to
accomplish this harmonious compromise.

Cutting the Low Mids and Lows

For the low mids and lows, you want to remove the boxiness but not the warmth. And for lows, you
want to remove the boominess but not the body. Using customized curves, I was able to figure out
the perfect method to meet these goals.

Creating the Custom Series EQ

Once I had the entire topology complete in the analog domain, the Slate Digital team and I carefully
recreated the exact tonality and function of this extremely hybrid equalizer in digital form, with
precise attention being paid to every musical detail. This attention was especially crucial when
dealing with the range and proportions of the the hybrid filters and their unique harmonics. When
all was done, I had created what many of my trusted industry colleagues are calling the ALL STAR
of equalizers.

Every cut and boost is inspired by classic analog equalizers in unique proportional combinations,
with a custom harmonic profile to give each band the perfect musical tone.You’re going to hear
smooth and clear highs, present and punchy mids, warm low mids, and massive lows that stay
focused and clear. Each band contains three fixed frequency settings, and due to the wide tonal

34
shape of the filters, this covers a lot of ground. This is by no means a surgical EQ ! And then to top
it all off, we added some extremely slick high and low pass filters.

Conclusion
Overall, the Custom Series EQ is the ultimate companion to the FG-N and FG-S. Whereas these
two existing VMR EQs are strong, bold, and loaded with character, the Custom Series EQ can be
more slick, cohesive, and broad. On light boosts it can sound so natural that it doesn’t sound like
the track has ever been EQ’d. On stronger boosts, it can add a beautiful color and character
without sounding artificial or overdone. It is truly, the All Star of equalizers!

Custom Series Lift

Introduction
The story of the Custom Series Lift also begins with that same
rack of analog equalizers. As I began pulling up old mixes so
that I could have some fresh tracks to hear the EQs on, I
suddenly realized something that seems so obvious now. A lot
of tracks, and even full mixes, required a pretty universal
processing: They needed to be brighter and more present in
the mix, fatter and deeper in the mix, or a bit of both.

I began using some of our analog modeled filter algorithms to

create a series of high end and low end parallel curves that had
custom output stages using musical harmonic profiles.

Eventually, I ended up with two curves, one which lifted the

entire upper frequencies in a natural and musical way, and the
other that lifted the entire low end frequencies, also in a very
natural and musical way.

I started using these two Lift processes on some tracks and

was stunned at the results. With one knob, I could accomplish
my processing goals instantly. I had a snare drum that was a bit
dull and boxy. Adding some Hi Lift added sizzle and upper
midrange punch, and some Low Lift added the perfect weight
and body. Soon I tweaked each of the LIFTs so that there were
two unique options for each one.

35
Hi Lift ‘Present’
This effect focuses a bit more on lifting upper midrange
frequencies and contains customized harmonics for amazing
presence and impact. It sounds wonderful on drums, vocals,
guitars, bass, and full mixes.

Hi Lift ‘Silky’
This effect focuses a bit more on the higher ‘silky’ frequencies
and adds the perfect clarity and depth. Acoustics, vocals, and
full mixes can all benefit from this effect.

Low Lift ‘Big’

This effect adds a solid fat weight to the lows in an even and
broad stroke. Anything that needs to be bigger and fatter will
be the perfect match from this effect.

Low Lift ‘Punchy’

This effect has a bit more of a defined resonance and will add
amazing punch to the lows. It’s incredible on drums, full mixes,
and electronic music.

Conclusion
Overall, the Custom Series Lift is going to be another amazing
tool for your virtual analog arsenal that will get your ideas out
faster and more intuitively, using only one knob to accomplish
major audio tasks. I hope you use them to make the best
sounding music of your career. Happy Mixing!

36
FG-Bomber

Drive
The Drive sets the level that is sent to the processing network.
We’ve set a marking on the Bomber meter (the little bomb icon)
so that you can set the internal level in a way that is most
optimized for the intended effect, but of course you can get
great tone if you experiment beyond this level.

Intensity
The Intensity parameter adjusts how much of the effect is
mixed in with the signal, and can be as little as a few percent to
add some extra imaging to full masters, or cranked to create
unique effects for drum mics and vocals.

Tone
The Tone parameter changes the character of the effect.
‘Present’ focuses the effect on the mid frequencies, and will
increase the transient impact sometimes dramatically, as well
as extend the sustain and width. ‘Fat’ will also increase the
transient impact and depth in a lush and ‘fat’ way where the low
end will become bigger and wider. ‘Tight’ is the most evenly
balanced of the three tone settings, and will add clarity, punch,
and tightness to the lows.

Output Trim
Finally, an output trim controls the overall output of the entire
module.

Metering
The Meter is monitoring the input signal after the Drive. Its goal is to show, through the bomb icon
which corresponds to the sweet spot, how hot the signal should enter the effect for it to sound
good.

37
Getting Started with FG-Bomber

Drum buss
You may want to remove some compression if you have it on, just so you can really get to know the
effect first. Note that it can work in conjunction with drum buss compression. Put it on Fat, adjust
Drive so that it’s peaking at Bomb, and slowly mix in the intensity. IMPORTANT, depending on the
source material, it could be a very strong effect so sometimes it only needs a very little bit of
intensity to make things sound amazing. But other times blending the effect in heavily can sound
really huge. I have a really cool example where I recorded a drum-kit with ONE mic in front of the
kit. Using Bomber on Present, I was able to make it sound like I had close mics on the kit too, it was
pretty incredible.

Mixes/Masters
Here I would probably use Fat or Tight, and a little goes a long way. Hit the Bomb icon on the
meter, and then slowly blend it in. You’ll notice the mix starts to take on a more 3D effect, the
percussion gets punchier, the vocal gets clearer.

For Mastering when you are hitting a limiter that is crushing the impact of the mix, Bomber can
pre-compensate in a way that makes everything sound just like the mix.

Vocals
Bomber can make the vocals sound much more articulate and clear. This is especially true when
you compress a vocal first to make it sit in the mix. Sometimes the consonances of the words
become a bit muffled, and Bomber can bring it back. Try it on Present and see if that makes the
vocal pop, and again, sometimes all it takes is just a little turn of the intensity knob for it to work.

Bass
Bomber can make a bass sound incredible. Try it post compression on the present setting, and in
this case play with the Drive and Intensity to see where it makes the bass pop out in an expressive
way.

Playing with Drive / Intensity Interaction

The Drive and Intensity are very interactive. Get to know how they play off each other. You can
decrease the percussiveness of the effect by overloading the drive past the Bomb icon, and then
compensating with less (but sometimes more!) Intensity.

Conclusion
The FG-BOMBER can be used to enhance the impact and dimension of any track or mix. Used with
low intensity, it can be the perfect process to ‘wake up’ a mix that needs some more excitement.
On vocals, it can increase the clarity of the words, and make the vocals stand out more in busy
mixes. For drums, it can be used on the buss to make them more punchy, lively, and deep.

Overall, the FG-BOMBER will be the perfect companion to your other Slate Digital tools, and will
ensure your mixes stand out above the rest!

38
Virtual Preamp Collection
The Virtual Preamp Collection brings the authentic tone of two of the audio industry’s most classic
microphone preamplifiers to your digital audio workstation. Each preamp uses state of the art
analog modeling technology to recreate every aspect of the preamp circuit from mild coloration to
full on saturation and distortion.

The Virtual Preamp Collection or “VPC” was originally designed to be used with the VMS-1
Hardware Mic Pre, but it can be used with any clean sounding preamp to add extra vibe. VPC can
also add real analog preamp tone to any track or mix, and even create rich sounding distortion
effects.

FG-73
The FG-73 preamp module is modeled after one of the most
famous British discrete solid state preamps in the audio
industry that has been used on countless recordings. It has a
bold, present, and warm sound that sounds great on any audio
source and even full mixes.

Bulb
The Bulb indicates the amount of saturation applied to the
input signal. It will begin to light up at the first point of
saturation and glow even brighter as the input level or Virtual
Drive is increased.

Virtual Drive
The Virtual Drive knob simulates the action of increasing the
amplifier input gain while automatically decreasing an internal
output trim, so it can set the gain staging of the preamp easily.
For most color and tone effects, the left part of the knob
should be used. For more saturation and full on distortion, the
virtual drive can be pushed to the right side or even fully
cranked.

Trim & Phase Reverse

The Trim Control is an output gain control.

The Phase Reverse switch is very classical: in Mono and

Stereo, it flips the signal’s polarity for all channels, right after
the input, before entering the preamp algorithm.

39
FG-76
This FG76 preamp module is modeled after a classic vintage
tube preamp that has been used on many classic recordings. It
has a thick, warm, and colorful tone that can make tracks and
mixes sound more ‘alive’. The bottom end saturates in a very
unique and musical way, making it a great module for bass
guitar and kick drum tracks.

Bulb
The Bulb indicates the amount of saturation applied to the input
signal. It will begin to light up at the first point of saturation and
glow even brighter as the input level or Virtual Drive is
increased.

Virtual Drive
The Virtual Drive knob simulates the action of increasing the
amplifier input gain while automatically decreasing an internal
output trim, so it can set the gain staging of the preamp easily.
For most color and tone effects, the left part of the knob should
be used. For more saturation and full on distortion, the virtual
drive can be pushed to the right side or even fully cranked.

Trim & Phase Reverse

The Trim Control is an output gain control.

The Phase Reverse switch is very classical: in Mono and Stereo,

it flips the signal’s polarity for all channels, right after the input,
before entering the preamp algorithm.

40
Air and Earth Modules
The Air and Earth modules bring two of the easiest to use and best sounding features from Eiosis
AirEQ.

AirEQ Air
Air is a new type of filter that helps you to restore or to add brightness to the sound, while always
remaining natural. It allows you to gently add high frequencies, without adding harshness or
unpleasant digital artifacts. The smoothness of the Air allows you to bring an instrument to the
front of a mix, add a subtle brilliance to a sound or to make a vocal track breathe, simply by
increasing Air.

Always natural and smooth, this band has been designed specifically to allow very smooth high
frequency boosts, in a region of the audio spectrum where harshness can be quickly obtained.

HiCut
The HiCut is useful for attenuating frequencies above the cutoff
frequency. Unlike many digital equalizers, the Air module’s
HiCut filter is perfectly matched to an analog filter curve. This is
very important in order to achieve a natural attenuation in the
high frequencies.

Freq
Adjusts the filter’s cutoff frequency.

Q
Adjusts the resonance at the cutoff frequency.

Slope
Determines how quickly frequencies above the cutoff are
attenuated. Select between 6dB - 36dB per octave.

41
AirEQ Earth
Earth brings deep and solid sub-lows. It can be described as an “adjustable transformer.” Inspired
by real transformer behavior, it is now accessible with an easy, one-knob adjustment. The result is
always a tight and precise bass sound, exempt of muddiness and nonlinearities.

Being all linear in amplitude (i.e. without distortion or harmonics) is very useful to adjust bass in a
level-independent manner, without adding anything to the sound but what already exists in the
signal. The Earth is very useful to quickly add some consistent sub-lows to tracks like kick drums
and bass. However, it can be useful in many other situations, like sound effects, or any situation
when you need to make a track deeper or more powerful.

LowCut
The LowCut is useful for attenuating frequencies below the
cutoff frequency.

Freq
Adjusts the filter’s cutoff frequency.

Q
Adjusts the resonance at the cutoff frequency.

Slope
Determines how quickly frequencies above the cutoff are
attenuated. Select between 6dB - 36dB per octave.

42
FG-116 Blue Series
The FG-116 Blue Series offer a wide variety of analog modeled dynamic processing flavors in the
form of two Virtual Mix Rack Modules.

FG-116 Vintage
FG-116 Blue Vintage recreates the sound of two “rev A” FET compressors. Both compressors
sound rich, colorful, and musical.

Circuit 1 has the classic “mid forward” character that has made the blue striped FET compressors
so famous. It adds a wonderful coloration to the upper mids especially, and adds a warm presence
to vocals, bass, drums, and guitars. Compared to the Black 116, it will have a softer top and bottom
end, and more articulate transients due to the harmonic distortion in the midrange.

Circuit 2 is modeled after a “rev A” unit that had been updated and refurbished, and had a very
unique and musical sound. Compared to Circuit 1, this model has much bigger lows and smoother
mids and highs, making it sound quite stunning on drum room mics as well as vocals that need to
have more bigness and don’t require the midrange push of Circuit 1.

Both Circuits have a Hi Pass Detective Filter that prevents low frequency content from triggering
compression, which can sound really musical on a drum buss. Finally, the Mix/Knob allows you to
parallel compress right inside the module, which is an ideal way to use this type of compression.

NOTES: Remember, the magic sound of this compressor really lies in the release. Many top mixers
keep the release all the way to the right (fastest) which makes everything that goes through the
limiter much more forward, aggressive and exciting.

The attack time on this compressor is very fast even on its slowest setting which means it’s always
going to attenuate some of the source transient, but you’ll be able to tailor the attack time
depending on the desired effect. The attack fully to the right (fastest) will obliterate the transient
completely. I would recommend starting out with the slowest attack and fastest release and then
tweaking from there. Don’t be afraid to over-compress and dial back the mix knob!

43
 GR Meter
Displays the amount of compression in dB.

Input / Output11
Increasing your Input Gain will result in more compression. To
compensate for the gain reduction introduced, use the Output
Gain.

Ratio
Sets the amount of gain reduction. For example, if the ratio is
set to 4:1: this means for input level 4dB over the threshold,
1dB will be output.

Attack
Controls the speed at which compression occurs after the
signal has exceeded the threshold value. Turn clockwise for a
fast attack, and counterclockwise for a slow attack.

Shift+Click the Attack knob to turn compression on and off.

When set to off, the unit will bypass the compression, while
continuing to process with the Input and Output Gains. This
allows you to impart some nice transformer saturation, without
reducing the dynamic range of the track.

Release
Controls the speed at which compression stops, once the
signal has fallen below the threshold value. Turn clockwise for a
fast release, and counterclockwise for a slow release.

Circuit
Toggles between the two circuits.

High Pass Filter

Adds a high pass filter to the compressors sidechain.

Mix
Blends between dry and wet signals. This is very useful to achieve parallel compression without
any additional routing.

11
Moving the Input or Output Knob while holding the Shift key will inversely link the two controls. It
is very useful in Attack OFF mode to use the module as a line driver

44
FG-116 Modern
FG-116 Blue Modern is a custom revision of the classic FET compressor that offers two unique
circuits that blend the old school tone with new school topology. The output transformers have
been cleaned up so that it will have no output saturation, and the attack has been decoupled from
the release so that it can be set much slower than the hardware for more transient articulation.
Both circuits of the Blue Modern sound hifi, punchy, musical, and yet, they still can achieve the
classic aggressive tone that makes the FET compressors so famous.

Circuit 1 is somewhat similar to the Vintage in that it will have a bit of a forward sounding
character, but it is much cleaner and more pristine. The attack is slow enough that this compressor
can sound amazing on close drum mics with the slowest attack and fastest release. Try it on a
snare to bring out the punch while extending the decay. The mix knob works great in this situation
where you can slightly over-compress and dial it back. On bass you can get a very edgy sound on
this same setting. By backing down the release you’ll start to tighten up the sound which can be
great on kick drum.

Circuit 2 will have a more breathable and punchy low end and overall smoother response on the
top end. It sounds amazing on drum buss with the Hi Pass filter engaged, and even full mixes can
really benefit from this musical compressor! Yes, with the Blue Modern, with the attack on the
slowest and release on fastest, then with the HP filter on, you can use it on full mix and compress
about 10db, then back off the mix knob to about 25% for a seriously incredible energy and
excitement.. Even in combination with another mix buss compressor like FG-Grey or FG-Red. This
setting will be really great on a lot of mix material in all genres.. Try it on electronic drum beats too
to make them pound out of the speakers.

Overall, there is a lot to explore with these two processors. I hope you enjoy the many musical
flavors that they will give your mixes!

Happy Mixing!
Steven Slate

45
 GR Meter
Displays the amount of compression in dB.

Input / Output12
Increasing your Input Gain will result in more compression. To
compensate the gain reduction introduced, use the Output
Gain.

Ratio
Sets the amount of gain reduction. For example, if the ratio is
set to 4:1: this means for input level 4dB over the threshold, 1dB
will be output.

Attack
Controls the speed at which compression occurs after the
signal has exceeded the threshold value. Turn clockwise for a
fast attack, and counterclockwise for a slow attack.

Shift+Click the Attack knob to turn compression on and off.

When set to off, the unit will bypass the compression, while
continuing to process with the Input and Output Gains. This
allows you to impart some nice transformer saturation, without
reducing the dynamic range of the track.

Release
Controls the speed at which compression stops, once the
signal has fallen below the threshold value. Turn clockwise for a
fast release, and counterclockwise for a slow release.

Circuit
Toggles between the two circuits.

High Pass Filter

Adds a high pass filter to the compressors sidechain.

Mix
Blends between dry and wet signals. This is very useful to achieve parallel compression without
any additional routing.

12
Moving the Input or Output Knob while holding the Shift key will inversely link the two controls. It
is very useful in Attack OFF mode to use the module as a line driver

46
The Monster
“Check this out”, said Jeff, the engineer at a small recording studio built into a garage in my home
town of Westfield, NJ.

Jeff proceeded to press all the buttons in on his vintage FET compressor, and then raised the fader
on his Mackie 8 Buss mixer. The drums, which were once neat, tight, and slappy, were now big
explosive cannons! It was a really cool moment that has stayed in my memory ever since (in
comparison, I have no clue what I ate for breakfast this morning).

The ALL BUTTONS IN effect is famous… no actually it’s infamous. The sound is big, it’s rude, it’s
extreme, it’s over the top, and when it finds the right source, it creates a monstrous tone that slams
out of a mix. And that’s why we call this plugin that recreates that infamous tone, THE MONSTER.

But the Slate Digital MONSTER isn’t content just being a classic emulation of the ALL BUTTONS
IN.. no it takes the sound into the 21st Century, with newly added features such as high and low
frequency sidechain manipulation, attack processing to add more punch but keep the legendary
sustain, and a mix knob to parallel compress right inside the processor.

So go ahead, abuse your tracks with THE MONSTER, and create new and unique sounds that will
have people ducking for cover. This MONSTER has some BITE!!

Steven Slate

47
 GR Meter
Displays the amount of the compression in dB.

Attack
Controls the speed at which compression occurs after the
signal has exceeded the threshold value. Turn clockwise for a
fast attack, and counterclockwise for a slow attack.

Release
Controls the speed at which compression stops, once the
signal has fallen below the threshold value. Turn clockwise for
a fast release, and counterclockwise for a slow release.

Input / Output
Increasing your Input Gain will result in more compression. To
compensate for the gain reduction introduced, use the Output
Gain.

Moving the Input or Output Knob while holding the Shift key
will inversely link the two controls.
Punch
Enables an additional attack for adding more impact to
transients.

High Pass Filter

Adds a high pass filter to the compressors sidechain.

High Frequency Detection

Pushes a high frequency bell filter into the sidechain to mellow highs.

Mix
Blends between dry and wet signals, which is very useful to achieve parallel compression without
any additional routing.

48
Virtual Tube Collection
The Slate Digital VIRTUAL TUBE COLLECTION is a set of three plugins for Virtual Mix Rack that
recreate the sound of classic vintage tube circuits. Each module can act as a preamp, a saturator,
and even a virtual tube summing console. Using VTC, you can add color, warmth, depth, and vibe
to your mixes and masters. VMS users can also use VTC preamps with the microphone models for
rich and vibey tone on their tracks.

The Modules

London is inspired by some vintage tube circuits originating from Europe. The sound is big, warm
and bold in the lows and low mids, and slightly smooth in the top end. The transient response has
a subtle thickness to it without being overly aggressive. London sounds amazing for fattening up
tracks in preamp mode, or thickening things up with it’s preamp saturation, and can add fat analog
body in Console mode on the whole mix.

49
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 tightness and impact. New York is aggressive in the mids, and
tighter in the lows due its unique dynamic harmonic saturation. It can add incredible focus and
punch to tracks in preamp mode, especially in push mode. It’s also an all around winner for many
genres in console mode when used on the master fader. You really dial in the saturation with New
York and then find the perfect blend with the mix knob.

Hollywood is perhaps the most colorful of the three modules, and it has got some beautiful air,
depth, excitement, and some really big bottom! Use it on push mode and make your tracks come
alive. It’s fantastic when paired with some of the vintage VMS mics to add some extra top end
flavor and warm lows. In console mode, it can simply transform a lifeless into something larger than
life.

Features

VU Meter
The VU Meter displays the RMS level of the signal at the Output of the module, i.e., after the Mix.

The meter is calibrated to display 0VU when being fed by a 1kHz sine wave with a peak level of
-18dBFS by default.

You can recalibrate this level by adjusting the screw below13.

Clipping Bulb
The Bulb indicates the amount of clipping applied to the input signal. It will begin to light up at the
first point of clipping and glow even brighter as the input level or Saturation is increased.

Mode (Preamp/Console)
This chooses which algorithm is selected in each VTC module. Preamp models a tube preamp
circuit, and therefore the saturation will emulate cranking the input amplifier while attenuating an
output trim. In Console mode, the module emulates a tube summing circuit including unique
crosstalk and saturation properties.

Color (Normal/Push)
In Normal mode, the Module recreates realistic properties of the studied tube circuits. Push
amplifies these nonlinearities to add even more expression, color, and vibe.

Saturation
In Preamp Mode, this will emulate the tone of preamp saturation. For most audio sources, this will
be more subtle up to 12 o’clock, and then start to get more severe, likely ending up in rich tube
distortion. In Console Mode, the saturation replicates mix buss overdrive (such as when you push
faders hot into the master section of the console), so it is more forgiving and can add a thick,
glued, colorful tone when pushed.

13
The meter calibration is a shared setting affecting all Output VU Meters of VMR Modules.

50
High Pass Filter
When used as a preamp to enhance the tone of clean preamps, the 6db/oct hi pass can clean up
low rumble if needed.

Output Gain
Controls the output level of the processor.

Mix
Blends between dry and wet signals. This parameter is great when using preamp mode to add
some thick distortion (like to a snare drum or vocal), and then blending the distortion back.

Example Uses
● Use Preamp with Push across tracks to add vibe and color and remove digital cleanliness.

● Use Console as first insert on mixbuss with a bit of saturation to add weight, glue, and
analog color to the whole mix.

● Use Preamp or Console saturation on drums, vocals, guitar, keys.

● Use Preamp distortion with mix knob to add thickness and warmth to tracks like vocals,
snare, toms, drum buss, or even whole mix.

● Use Console saturation in mastering chain to reduce peaks in a warm and punchy way.

51
FG-Stress
The FG-Stress module offers all the controls from the EL8 Distressor, plus an additional Mix knob
to blend between dry and wet signals.

Input
Input Gain before the compressor, going from 0 to 10.5.
Increasing this parameter will result in more compression.
Default value is 5.

Attack
Controls the speed at which compression occurs after the
signal has exceeded the threshold value. Attack time goes from
0 to 10.5, with default value at 5.

Release
Controls the speed at which compression stops, once the signal
has fallen below the threshold value. Release time goes from 0
to 10.5, with default value at 5.

Output
Output Gain after the compressor, going from 0 to 10.5. Use this
parameter to compensate the gain reduction introduced by the
compression. Default value is 6.5.

Ratio
Ratio defines the amount of gain reduction. For example, if the
Ratio is set to 4:1, this means for input level 4dB over the
threshold, 1dB will be output. Default Ratio is 6.

NUKE Ratio has a limiting curve, meaning that any input level
over the threshold will be clipped.

Shortcuts
● Moving the Input or Output Knob while holding the Shift key inversely links the two
controls. It is very useful with 1:1 Ratio to use the module as a line driver.

● Switch to higher Ratios by left-clicking on the Ratio button

● Switch to lower Ratios by right-clicking on the Ratio button
● Switch to any Ratios by clicking on the Ratio LED

● Trigger the Opto Mode (Attack 10 and Release 0) by holding the Shift key when clicking on
the Ratio 10:1 LED

52
Detector
Activate one of these detector modes to modify the sidechain signal:

● HP: Add a 86 Hz high-pass (6dB/oct) to stop low frequency modulation.

● Bell: Push a 6 kHz bell to increase the compression sensitivity in the mids.
● Link: Combine Left and Right inputs before feeding a single mono signal to the detector,
therefore the same GR is applied on Left and Right. Please note that this mode is effective
with stereo tracks only.

Audio
Activate one of these audio modes to modify the overall output signal:

● HP: Add a 80 Hz high-pass (18dB/oct) to smoothly attenuate lows.

● Dist 2: Add a 2nd harmonic in the compressed signal.
● Dist 3: Add a 3rd harmonic in the compressed signal.

Please note that Dist 2 and Dist 3 cannot be on at a time, thus 5 states are available:
● HP
● HP + Dist 2
● Dist 2
● Dist 3
● HP + Dist 3

Mix
Blends between dry and wet signals.

Visual Indicators

GR Meter
The GR meter has 16 LEDs and is scaled in dB.

In Stereo, without Link engaged (true Stereo operation), the GR meter displays the maximum GR of
both channels. In other cases (Mono or Stereo + Link), there is only one GR signal so no need to
specify.

Distortion Indicators
● REDLINE
● 1% THD

From 0.25% of the Total Harmonic Distortion, the yellow LED 1% THD lights up, and from 3% of the
THD, the REDLINE lights up and 1% THD goes off.

This indicator is especially useful when the Audio Distortion options are enabled and/or when the
compressor is off (1:1 Ratio).

53
Audified U73b
The U73b is a faithful emulation of a vintage German broadcast compressor/limiter which was
often used for mastering between 1960 and 1980. It is an all-tube vary-mu compressor/limiter with
adjustable release time option. The circuit has been exactly kept as it was originally designed and
only added an input and output gain before and immediately after the compressor circuit to assist
with proper adjustment of the compression.

GR Meter
Displays the amount of compression in dB. Please note that the
Meter does not react with the Compression Amount parameter.

Calibration
The Calibration allows you to easily change the operational
range of the compressor effect. By increasing its value, the
module will require a hotter signal to compress and saturate,
and inversely. We suggest to set this parameter to the
headroom you use in your DAW recordings or headroom of your
audio interface.

The default setting is -18 dB and it is loaded every time you

load the module.

High-Pass Filter
Adds a High-Pass Filter connected in the compressor/limiter
circuit with around 100 Hz cut-off frequency and 6dB/octave
slope.

Although this filter helps to create the unique sound of the

U73b compressor, the bass roll-off might not be suitable for all
instruments when mixing, or for all genres when U73b is used
for mastering.

Compression Mode
The Comp. Mode knob switches between the Compressor and Limiter mode. The Compressor
mode has a lower threshold setting and very gentle increasing ratio, in opposite, the Limiter mode
provides a higher threshold setting with higher ratio but still with a smooth knee.

Release
The first three positions offer fixed release time, the other three positions marked with red labels
provide adjustable release time dependent on program content.

54
Input/Output
Increasing the Input knob will result in more compression. To compensate the gain reduction
introduced, use the Output knob.

Moving the Input or Output Knob while holding the Shift key will inversely link the two controls. It is
very useful to use the module as a line driver when Comp. Amount is null.

Compression Amount
The Comp. Amount allows you to adjust the compression effect while benefiting the module’s
saturation and color. Therefore, this is not a dry/wet parameter.

55
FG-A
The FG-A reproduces the sound and characteristics of one of the most famous American
Equalizers that is known for its musical tone and saturation.

EQ Bands LF-MF1-MF2-HF
The EQ Bands have two controls: Frequency and Gain. These
controls are stepped by default and continuous through fine
adjustment mode (right-click + drag or cmd/ctrl + drag).
LF and HF Bands can be set to Shelf shape through LF/HF
buttons.

FLTR
Activates a band-pass filter to the overall signal, with cutoffs at
50Hz and 15kHz. This filter is OFF by default.

OPAMP
Activates non-linearities (slight saturation and harmonics) to the
overall signal. This feature is ON by default.

LF/HF Buttons
Change the shape of HF and LF Bands from Bell to Shelf. This is
set to Bell by default.

Output Gain
Usual output gain from -12dB to +12dB.

56
Gate Bundle
The gate is one of the most important weapons in an audio engineer’s arsenal. Used tactically, it
can eliminate or reduce unwanted bleed or background noise from recorded source material. Used
creatively, its applications are just as powerful.

Gate:Classic is a traditional, straightforward gate, highly efficient in removing background noise

from guitars, vocals, and other acoustically-recorded source material.

Gate:Drums is a highly-sophisticated drum application. It combines a gate based on transient

detection with smart dynamic filtering so you can achieve far cleaner drum tracks than with a
conventional gate.

Let’s dive deeper into these two world-class gate modules!

Gate:Classic

Threshold
The Threshold is the most important control. It defines the level
at which the gate will open. It appears directly in the Input
Meter through a white indicator, and it is controllable with the
fader.

When Input Meter is above the indicator, the gate will be open,
meaning that signal is not affected. When Input Meter is below
the indicator, the gate will be closed, meaning that signal is
reduced or cut.

Ratio
Where a gate simply applies a fixed amount of reduction, the
expander reduces gain proportionally according to the Ratio
setting.

Here we can set the Ratio to an infinite value (= Gate Mode) or

fixed values (for example 3:1 = Expander Mode).

Range
The Range sets the maximum amount of attenuation to be
applied to the signal when the gate is closed.

When Ratio is set to infinite value (100:1), Range is the amount

of attenuation applied to the signal when the signal is closed.
When Ratio is set to lower values (4:1, 6:1, etc.), the amount of
attenuation will be either based on the Ratio or Range,
depending on the input signal.

57
Attack
Attack parameter defines the length of time the gate takes to change from closed to fully open. It
is the fade-in duration. Minimum attack is recommended to preserve transients, but depending on
the source, you may increase this value to avoid audio clicks.

Release
Release parameter defines the length of time the gate takes to change from open to fully closed. It
is the fade-out duration.

Release Slope
The Release Slope defines the shape of the release envelope.

100% Exp Hardware like timing that feels really natural

Good compromise between a natural sound and the efficiency to

50% Lin
cut the tail

Same timing but sharper slope that is really efficient to gate the
100% Lin
tail of the sound

Gate Mode
Gate Mode changes internal parameters in order to better suit the detection algorithm to the
source.

Classic: standard detection based on the signal amplitude only. The input signal can be filtered
with the HP & LP Detection Filters. Knee is fixed at 3dB.

Vocal: introduces an internal filtering that aims to better detect the breathing of the singer. Knee is
also fixed at 3dB and a special timing circuit is added to smooth the opening and closing of the
gate.

Sidechain Filters
Filter the signal before it hits the threshold, so the gate only reacts to certain frequencies. A band
pass behavior is possible by holding SHIFT when dragging one of the faders. This will
automatically move the other fader accordingly.

58
Listen

Solos the sidechain input

Option to auto-activate the sidechain listen as soon as you touch the filters

Listen states are temporary, they are not saved in presets and not automatable.

Input Meter
Input Meter displays the peak level of the sidechain signal, after sidechain filters. It goes from -72
to 0 dBFS, and displays the maximum peak level between L and R in stereo operation.

LEDs Open/Closed
These LEDs indicate when the gate is open or closed, with a gradient depending on the gain
reduction.

59
Gate:Drums
Unlike Gate:Classic, which is based on amplitude, Gate:Drums is based on transient input. This
means that the gate is triggered by sharp and soft transients rather than volume levels.

With this unique processing, you can separate the transient from the signal tail, and apply different
processes to each.

Transient: this is what we want to preserve, so the gate is open and dynamic filters are flat.

Tail: this is what we want to clean, so the gate is closed and dynamic filters are active. For
example, it is possible to preserve a kick hit and reduce cymbal bleeds by using dynamic filters in
high frequencies.

Following the workflow, the module is divided into three sections, from top to bottom:

Transient Detection: the first step of the workflow, i.e., adjusting the detection to catch only the
desired transients.

Gate: the second step of the workflow, i.e., adjusting the floor and timing of the gate.

Debleed: the last step of the workflow, i.e., filter the tail when a transient is caught.

Transient Detection

Transient Detection
Transient Detection controls the ability of the gate to detect
more or less transient.

With low values, only the sharp and strong hits are detected.
With high values, softer and more complex transients like ghost
notes can be detected.

Detection Threshold
Above this Threshold, Transients can be detected. Below,
Transients cannot be detected. By excluding low levels, you
can focus on a specific amplitude range and have a more
precise Transient Detection.

Detection Filters
Filter the signal before the detection, so the gate only reacts to certain frequencies. A band pass
behavior is possible by holding SHIFT when dragging one of the faders. This will automatically
move the other fader accordingly.

60
Listen

Solos the sidechain input

Option to auto-activate the sidechain listen as soon as you touch the filters

Listen states are temporary, they are not saved in presets and not automatable.

Gate

Range
The Range sets the maximum amount of attenuation applied to
the signal when the gate is closed.

Release
Release parameter defines the length of time the gate takes to
change from open to fully closed. It is the fade-out duration.

Auto Attack
Engages an attack time only when necessary. Auto Attack detects signal inconsistencies that can
cause clicks and pops and helps smooth them automatically with a timing that depends on the
frequency of the signal.

Off No attack is applied

Different attack times are applied per band to preserve high

Tight
frequencies.

Attack is applied on the overall signal, depending on low

Smooth
frequencies amount.

61
Release Slope
The Release Slope defines the shape of the release envelope.

100% Exp Hardware like timing that feels really natural

Good compromise between a natural sound and the efficiency to

50% Lin
cut the tail.

Same timing but sharper slope that is really efficient to gate the
100% Lin
tail of the sound.

Debleed

Debleed On/Off
Enable the Dynamic Filters.

Release
Controls the speed of filter activation, once a transient has
been detected.

Dynamic Filters
Once a transient has been detected, Dynamic Filters are Flat, and then they are progressively
applied to the tail, depending on the Release and Range settings. Top fader is used to cut lows,
whereas bottom fader is used to cut highs.

A band pass behavior is possible by holding SHIFT when dragging one of the faders. This will
automatically move the other fader accordingly.

Listen

Solos the sidechain input

Option to auto-activate the sidechain listen as soon as you touch the filters

Listen states are temporary, they are not saved in presets and not automatable.

62
Signal Flow

Quickstep Guide
This example will be illustrated with a kick track: we want to remove bleed (snare, cymbals, toms)
on a kick recording.

Transient Detection
1. Adjust the Transient Detection knob to catch the kick hits only.
2. If it is hard to find an optimal position (i.e. catching kick hits without catching other drum
hits), try to use Detection Filters to focus on kick frequencies: detection will be more
reactive on kick hits only.
3. If it is still hard to find an optimal position, try to use the Detection Threshold to focus on a
specific amplitude range: detection will react on signal above this threshold only.

Gate
1. Adjust the Release depending on the kick tail you want to keep. A short release rapidly cuts
the tail, whereas a long release lets the tail natural but lets pass other drum hits.
2. Adjust the Release Slope if you want a fade-out more or less abrupt.
3. Adjust the Auto Attack if audio clicks appear when a kick is detected.
4. The Range can be used at the end to soften the overall gate effect.

Debleed
1. Now that the kick is isolated, we may want to filter the tail to remove extra bleed cymbals
for example.
2. Adjust Dynamic Filters, especially the LP to cut high frequencies and let the kick intact.
3. Adjust the Release to make the dynamic filtering more or less effective.

63
FG-2A
The FG-2A perfectly reproduces one of the most legendary opto compressors in the history of
recording, capturing its classic warmth, saturation, and signature smoothness.

Peak Reduction
Allows to set the compression amount.

Gain
Controls the amount of make-up gain applied after
compression.

Mix
Blends between dry and wet signals.

Limit/Compress
Increases the ratio of the compressor, changing the character
to make it slightly more aggressive.

High Frequency Filter

Internal side-chain filter that increases the sensitivity to high
frequencies when turned to the left.

Stereo Link
When linked, the Left and the Right channels receive the same
Gain Reduction, which is the average of the two signals. This
can be used to control the stereo image of the output.

64
Custom Opto
The Custom Opto reproduces a classic vintage opto circuit, adding several new controls for timing
and tone to give producers unprecedented control and versatility.

Peak Reduction
Dial in the amount of compression you want here.

Ratio
Decide how aggressively you want to compress your sound.

Speed
Set how fast the compressor reacts to your audio signal here.

Output Gain
Control the amount of make-up gain applied after compression.

Tone
Use our internal sidechain filters to add different flavors to your
compressed signal.

Stereo Link
When linked, the Left and the Right channels receive the same
Gain Reduction, which is the average of the two signals. This
can be used to control the stereo image of the output.

Mix
Use the Mix knob to blend the balance between dry and wet
signals.

65
FG-Dynamics
Capture the punch and snap of one of the most iconic analog consoles of all time. We modeled
every last nuance of its famous VCA Compressor and Gate so modern producers can at last run
their tracks through this classic console's beloved Dynamics module.

COMP

Ratio
The ratio knob adjusts the slope of the compression curve.

Hard Knee
Changes the compression curve characteristics. When
engaged, the compression goes from soft to hard knee. It also
raises the threshold by 6dB.

Threshold
Sets the point at which compression will occur after an audio
signal's amplitude exceeds this set level. The threshold and
ratio knobs control an automatic makeup, so when the signal is
compressed, the output gain is automatically raised.

Linear Release
Changes the release curve from logarithmic to linear, providing
different colors of compression.

Fast Attack
Changes the attack time from slow to fast. This allows the
compression from smooth to aggressive when needed.

Release
Changes the release time constant of the compressor.

66
GATE

Range
Determines the maximum attenuation of the gate/expander
when the signal goes under the threshold.

Threshold
Sets the level under which the signal will be reduced. In gate
mode, the gate’s opening threshold is lower than its closing
threshold. This prevents the gate from opening when the signal
is low.

Expander / Gate
Changes the gain reduction algorithm from gate to expander.

Release
Controls the release time of the gate/expander.

Fast Attack
Changes the attack time of the gate to react almost
instantaneously when a signal rises above this threshold.

OUT

Stereo Link
Applies the same compression gain reduction to the left and right channels.

Out
Adjusts the output gain of the signal after processing.

Mix
Blends between dry and wet signals.

67
FG-DS 902
Eliminate harsh sibilances with our perfect emulation of one of the most famous de-essers in
recording history.

HF ONLY Mode
When HF ONLY mode is off, gain reduction applies to the full
bandwidth signal. When HF ONLY is enabled, gain reduction
only applies to high frequencies.

Listen

Enables monitoring of removed sibilances

Auto-activate the “Listen” feature as soon as you

adjust the Frequency knob.

Frequency
Selects the desired frequency bands for detection and
processing (HF ONLY mode).

Level independent detection is based on a comparison

between high frequencies and full bandwidth energy.

Range
Defines the maximum range of gain reduction for de-essing in
dB. The “Norm” range produces a subtle, soft and natural
de-essing effect.

Out
Adjusts the output gain of the signal after processing.

Mix
Blends between dry and wet signals.

68
FG-36A
Add some shimmer to your high end with this faithful emulation of one of the most popular vintage
exciters in recording history. Two knobs is all you need to totally refresh your tracks and dial in that
picture-perfect sparkle in seconds.

Metering
The Metering section reflects the overall intensity of the effect.
It is directly linked to the Intensity knob: as the intensity
increases, the meter’s color steadily shifts from green to red.
The redder the meter, the more intense the effect! The arrows
in the middle indicate the 0 VU calibrated at -18dBFS (RMS).

Intensity
Adjusts the amount of effect applied to the audio.

Output
Adjusts the output gain of the signal after processing.

69
Transient Shaper
Have reliable control over the snappiness of your tracks with the most efficient, versatile, and
intuitive zero-latency Transient Shaper.

Transient
Adjusts the gain of detected transients. Transient detection is
level independent, meaning a threshold is not necessary to
adjust the detection and you can change the overall level of the
track without affecting its behavior.

Warmth
Adds saturation to the transients. Warmth is independent from
the Transient Gain, meaning that you can add bite to transients
in the track without having to crank the Transient parameter up.

Focus
Filters the processing signal. Also impacts the sidechain signal
used for detection. A band pass behavior is possible by holding
SHIFT when dragging one of the faders.

Sustain
Adjusts the gain of detected sustain parts. In a nutshell, this is
the tail part of hits.

Time
Adjusts the length of the transient to be processed. It
reciprocally affects the sustain.

Listen
Routes a specific signal path to the output: Transient, Sustain or
Out, with all the different processes applied to each portion.

Stereo Link Mix

When "On", a mono signal is used for sidechain Blends between dry and wet signals.
detection.
Safety Clip
Makeup Gain
Hardly clips the output to 0 dB FS in order to
Controls the amount of make-up gain applied keep a safe gain staging at the expense of a
at the end of the signal path. clipping effect.

70
SD-PE1
Enjoy the fat and smooth sound of this legendary 3-band passive EQ composed of a high shelf, a
high bell, and a low shelf. This module recreates all the idiosyncrasies of the original and includes
some extras functions not possible with the original hardware.

Tube
A passive EQ has the side-effect that the processed signal is
much lower in volume than the original signal being fed into it.
As a result, an amplifier stage is added after the EQ to bring the
audio level back to normal. The original hardware uses a tube
amplifier which adds its own color and saturation to the sound.
Switch this off to bypass the tube amp behavior and just make
use of the curves created by the EQ. Leave it on for an
authentic emulation of the entire EQ device.

High Shelf
The high shelf of this EQ is only capable of attenuating
frequencies. Use the ATTEN SELECT knob to choose the
frequency, then use the top ATTEN knob to adjust the amount
of attenuation; unlike what you may expect, the attenuation
increases as the knob is turned clockwise towards 10.

High Bell
The high frequency bell is only capable of boosting frequencies
and is controlled by three knobs in the middle of the module.
Use the HIGH FREQUENCY selector to set the center
frequency, the BANDWIDTH knob to set the width of the bell
(turning the knob clockwise makes the bell wider), and use the
BOOST knob to set the amount of boost for the bell—the
amount increases as the knob is turned clockwise.

Low Shelf
The low shelf is interesting because it is the only band in the EQ
capable of boosting or attenuating the frequency—in fact, it can
do both at the same time. While it may seem counterintuitive to
use boost and attenuation on the same exact band, the original
EQ uses different circuits for the boost and attenuation so their
respective curves don’t match exactly. You can therefore
achieve interesting low-shelf curves by turning up both the
BOOST and ATTEN knobs simultaneously—you can even hold
the SHIFT key while turning one knob to automatically turn the
other. The frequency of the low shelf is selected with the LOW
FREQUENCY selector.

71
Special Behaviors
The original device only allows the frequencies printed on the panel to be selected—the selectors
snap to the settings shown. However, if you hold the CMD/CTRL key and move these selectors,
you will find that you can select frequencies between those printed on the panel. These new
curves are obtained by interpolating between the fixed curves of the original. If you’re after a purist
experience, don’t hold the CMD/CTRL modifier and the selectors will snap exactly to the curves of
the original.

There are different variants of this hardware EQ which implement different combinations of
frequencies on the selectors. We have combined all of these settings into this module to give more
choice when selecting frequencies.

The ATTEN SELECT also has two additional frequencies—3 and 30—not present on any hardware
version. We added these to offer more options, but you should only use the 5, 10, and 20 settings
if you are seeking a purist experience.

72
Contacting Support
All technical support inquiries must be logged through our help desk for attention.

Please login to your help desk account at Slate Digital Support. Click “SUBMIT A REQUEST" and
choose the respective category relevant to your product/query. Be sure to include the information
log within the ticket comments or as an attachment.

User System and Hardware Information Log

● Open the About Panel.
● Right click on the version number to open a hidden menu.
● Select "Copy plugin info to clipboard”.
● Open a text editor, an e-mail or a support ticket, and paste.

Example of information displayed:

Plugin & Host Information: -----------------------------------------------------

Version: <version number> - 64 bit
Build: <build number> <date> <time>
Format: <VST2, VST3, AudioUnit, AAX>
Host: <DAW name>

OS Information: ----------------------------------------------------------------
Name: <operating system name and version>
64 bit: yes

Hardware Information: ----------------------------------------------------------

CPU: Unknown
Num cores (per cpu): 4
Num cores (total): 16
Speed: 2400 MHz
Max Cache: 12582912 bytes
CPU Flags: <mmx, sse, sse2, sse3, ssse3, sse4.1, sse4.2, etc...>
RAM (MB): 8192
Page size: 4096

Language Information: ----------------------------------------------------------

User Lang: <FR, ENG, GER, etc...>
Region: <FR, ENG, GER, etc...>
Display Lang: <FR, ENG, GER, etc...>

73