The recordings were done very quickly and feature lots of roomy drums, bass, electric and acoustic guitars, banjo, fiddle and plenty of male and female vocals. IN USE: I used the VCC on mixes for the first EP by NYC-based Americana band The Lexington Express. THE INTERFACE: The VCC consists of two separate plug-ins: The VIRTUAL CHANNEL for each of your individual DAW tracks and the VIRTUAL MIX BUS for your master fader, or any master bus. Five different analog consoles are available to choose from and can be mixed and matched to create the ultimate console tailored specifically for your mix. Individual channels and master sections of famous analog consoles were extensively measured, tested and captured to digitally recreate their dynamic response characteristics. WHAT IT DOES: The Virtual Console Collection is a plug-in package designed from the ground up to model the characteristics of an analog mixing console channel and its summing amp. An iLok2 is required for the VCC and can be purchased separately or bundled with VCC at the time of purchase for an additional $20. Formats are RTAS, AU and VST and 32 and 64-bit where available.
TECH SPECS: The Virtual Console Collection (or VCC) is a Native-only plug-in for MAC and PC and retails for $249. So, when I started hearing all the buzz about Steven Slate’s Virtual Console Collection plug-in, I was excited to check it out with the hope (if not expectation) that it would help further blur the lines between analog and digital summing, providing a depth and realism to my mixes. Over the last couple years, plug-ins like Mellowmuse’s SATV and CS1V as well as SoundToys Decapitator and Devil-Loc have made it so I can mix in-the-box and still get those gritty harmonic qualities of the analog gear I’d grown to love in my analog mixing days.
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