- Slate Digital's latest release is the Virtual Mix Rack, or VMR. From a design standpoint, it echoes the popular 500 series lunchbox effects suites and, for now, the modular plug-in can host to up to five separate processors. There is little doubt that further titles will follow, but the currently available modules are named FG-N, FG-S, FG-116, FG-401 and Revival, which we'll come to a little later.
The mix rack concept is simple—once you've downloaded and authorised the software (which requires an iLok 2 dongle), you'll find the modules listed down the left side of the interface. From here they can be double-clicked or dragged into the rack to the right. You can reorder them by dragging, and each rack slot features solo and power bypass options. An A/B comparison option is also available. You can use the same module several times in a single rack. You'll find lots of presets for each module, too, but since none feature an overwhelming array of parameters, it's much more interesting to build treatments of your own. Indeed, the VMR concept is simple, quick and easy to use. But don't let that fool you into thinking that it doesn't take signal processing extremely seriously.
Though the names don't say so explicitly, the design, feature-sets and sound of these modules will be familiar to those who are interested in classic effects processors and analogue outboard gear. The FG-N is based on the classic Neve 1073 EQ and provides low- and high-shelf bands with +/-16 dB of boost or cut, and Neve's original single mid-band bell design is doubled to provide two layers of EQ shaping between 360 Hz and 7.2 kHz. Additionally, a high-pass filter allows you to scoop out bass frequencies up to 300 Hz, and you can also modify gain structure. A level rotary can provide up to 24 dB of additional gain (watch your speakers!), and when the Drive button is engaged, the same dial adds saturation to the input signal. Fortunately, as the effect of this is much more subtle, the dial resets to zero to stop you inadvertently adding 24 dB of gain when unclicking Drive.
The second EQ processor is the FG-S, which emulates the tone controls of the SSL 4000 E series mixing consoles. High, upper- and low-mid and low frequency bands are provided, with frequency selection and cut/boost dials in each, and the mid bands also benefit from a bandwidth dial. By default, the outer bands are shelf-based designs, but they can be switched to bell curves via a single button. This module, like the Neve emulation, also provides a low frequency filter. In both EQ modules, the emulation is extremely detailed—the unique qualities of each manufacturer's approach to tone control have been impressively captured.
The first of VMR's compressors is closely and successfully modelled on a classic, too. The Urei 1176 compressor remains highly coveted, with UAD and Waves among those who have produced software emulations and Warm Audio the latest hardware manufacturer to mimic its sonic behaviour. Slate's version is the FG-116. Below the gain reduction meter at the top, you'll find the input/output controls. Neatly, whenever the gain settings equal 48 dB, the compressor operates at unity gain. Even more helpfully, holding the Shift key while adjusting one dial will compensate the other to preserve this relationship. Otherwise, as per the original hardware, ratios of 4:1, 8:1, 12:1 and 20:1 are offered, though there's no way to punch down all four at once, as both the hardware and some 1176 software emulations allow. There are attack and release controls and a useful Mix dial, which allows for instant parallel compression treatments whenever any value less than 100% wet is selected. A noise reduction button completes the line-up.
The second compressor is also modelled after a classic: the bus compressor from SSL's E series consoles. But at some point in its development, it clearly deviated to become a hybrid compressor, offering functions beyond the hardware from which it takes inspiration. As with the FG-116, gain reduction is offered via a VU meter at the top, before threshold, ratio, attack and release dials provide key compression parameters. Notably, the lowest ratio offered is 1:1, which means it's possible to run signals through the sonic character of the modelled hardware without actually applying compression. Below these dials, output gain makeup and mix dials are offered. The hybrid nature of the software comes to the fore below them, with transformer modelling and selection between one of two circuit models. Circuit 1 is designed for punchier, more dynamic input signals, while Circuit 2 is clearer and more transparent, favouring space around bass frequencies. In practice, of course, it's more fun to use your ears to decide which model works best in your given circumstances.
These four processors make up the core of the VMR concept but a fifth, free plug-in, Revival, is also available. This has two inflation circuits, designed to fatten and sonically enhance treble and bass. The treble end is controlled by a parameter named Shimmer, and it provides a form of excitation, lifting highs and bringing extra air. The lower dial is labelled Thickness and is self-explanatory. Both dials remind me of Waves' approach with their One Knob series, where a single rotary dial provides sonic enhancement. Despite the limited parameter set, I found Revival to be hugely useful and remarkably effective.
VMR is, broadly, a strong offering. It's not without flaws and, in particular, adding dedicated input/output controls to each module would help greatly. The circuit modelling is beautiful, but it's so detailed that there are substantial performance differences between gentler and louder processing, so to be able to boost or cut volume pre-processing, before adjusting output volume across the board, would be an added benefit. Additionally, the manual is sketchy on the detail of some parameters, such as the FG-116's noise reduction option, which is at best an oversight. Otherwise, and particularly at this price, VMR provides detailed and accurate emulation of classic analogue gear. Whether you're buying the plug-in because you want the sound of Neve, SSL or the 1176 compressor, or whether you're buying because you just want great-sounding EQ and compression processors, you won't be disappointed.
Ratings:
Cost: 4.5
Versatility: 3.8
Sound: 4.2
Ease of use: 4.6