Slate Digital VCC Explained®
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4:41 Introduction
Hear a basic background sample of digital audio and why we need a product like this break up its 'perfection.'
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4:40 Basic Interface
Take a tour around the primary controls of the VCC interface.
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7:06 Simple But Effective Uses
Learn two simple, but still really powerful ways of setting up your virtual console.
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12:49 Grouping
Explore the real power of the VCC, the ability to link consoles and parts of consoles together and to make simple or complicated hybrid designs.
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2:31 Track List
Learn about customizing the GUI to replicate all of your track names.
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4:29 Calibration Settings
Dig into the settings to calibrate the plug-in to respond at the same levels as your analog console of choice.
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4:03 Output & VU Settings
See how you can match the different consoles to perform equally if you choose, as well as set preferences for meter and LED behavior.
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3:46 Oversampling Settings
Explore the various options the VCC offers for oversampling in order to gain maximum benefit for minimum CPU output.
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4:06 Display Settings
Learn how to customize the GUI elements and behavior to match your personal preferences.
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3:15 Track as Group Automation
Gain flexibility by designating just one member of your console group as the automation master.
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0:35 Conclusion
Michael leaves you with some parting thoughts and says goodbye and thanks.
Product Overview
Do you long for the sweet analog warmth of yesteryear in your recordings? Well Michael Costa is going to show you how the Slate Digital VCC does just that.
Michael Costa breaks the VCC down in simple to understand terms and covers topics such as why we need a product like this, a tour of the VCC controls, linking consoles for simple or complicated hybrid designs, customizing the GUI to replicate your track names, calibration, matching console outputs, oversampling for CPU management, display settings, making a automation master and much more.
Learn the ins and outs of this awesome vintage console emulator and see what it can do for your mixes today.
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Reviews
Submitted 1 year ago
Well explained but...
Would have preferred more musical examples. Also somewhat unfortunate that time was wasted talking about bugs either in pro tools or the plugin itself.
I am a: Hobbyist, Musician, Producer, Audio Engineer
Ease of Use Quality of Videos Value of Training Access to Videos
Submitted 2 years ago
Helpful
Helpful
I am a: Semi-Pro, Musician, Producer, Beat Maker, Sound Designer, Ableton Live, Pro Tools
Ease of Use Quality of Videos Value of Training Access to Videos
Submitted 2 years ago
Very Helpful tutorial !
It has helped me alot !
I am a: Student, Producer, Ableton Live, FL Studio, Cakewalk Sonar
Ease of Use Quality of Videos Value of Training Access to Videos
Reviews
Submitted 1 year ago
Well explained but...
Would have preferred more musical examples. Also somewhat unfortunate that time was wasted talking about bugs either in pro tools or the plugin itself.
I am a: Hobbyist, Musician, Producer, Audio Engineer
Submitted 2 years ago
Helpful
Helpful
I am a: Semi-Pro, Musician, Producer, Beat Maker, Sound Designer, Ableton Live, Pro Tools
Submitted 2 years ago
Very Helpful tutorial !
It has helped me alot !
I am a: Student, Producer, Ableton Live, FL Studio, Cakewalk Sonar
1. When did you start dabbling in music?
I was classically trained in piano from the age of 7 and had a strong obsession with popular music right throughout my youth. I played keyboards in various rock bands in the mid 80's but found a pronounced leaning towards the technology and computer side of music as samplers and computers became more attainable in the late 80's.
2. What training have you had?
In 1989 I completed my Bachelor of Arts, majoring in Music Technology from La Trobe University in Melbourne, Australia. Much of my tech knowledge in those pre-internet days came from devouring issues of Keyboard, Mix and EM - monthly, without fail.
3. When did you get into recording?
I started getting into recording in 1984 with a Tascam 244 4-track cassette system. In 1989 I moved to a Digidesign Sound Tools II system - a true random access 2 track editor - and that was the beginning of a long association with Digidesign products. I married this hardware up to Opcode's Studio Vision for many years as well as getting in at the ground floor with Pro Tools v1 in 1991. I've been a Pro Tools user since then right up to the current day.
4. People you have worked with/for?
I've been lucky enough to work with a huge cross section of talent within the Australian music scene. Names like: INXS, Little River Band, John Farnham, Kasey Chambers and Richard Clapton. Plus music editing on breakout movies like Shine and Strictly Ballroom with Oscar nominated composer, David Hirschfelder.
5. Why are you so good at training people?
I think I'm good at training because I really love this stuff - I genuinely want to show people how cool these tools are. Even as a fully grown adult, I still find myself getting excited like a little kid about the magic we can do with our systems these days and wondering how far it can go in the years to come. I hope that enthusiasm is contagious!
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