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of course, i can't say i've used every single vmr 2.0 plug-in. but out of everything i've used in the past couple of years, i've been most impressed by the new slate digital vmr plug-ins. you get a full set of plug-ins that are extremely flexible, they're easy to use, and they sound great. there's even some great presets in the bundle. i've been using the fg-s eq for years, and i've used the fg-n eq for a few months now. i really like the way the vmr plug-ins emulate analog gear, and they sound even better than the old slate digital vmr plug-ins. i'll be sure to report back with my impressions of the rest of the plug-ins in the bundle in a future update.
below is a list of some of the slate digital plug-ins included with the vmr 2.0 bundle: fg-n equalizer, fg-s equalizer, fg-116 compressor, fg-401 compressor, fg-mu equalizer, fg-black equalizer, fg-grey eq, fg-midi eq, fg-midi compressor, g-ladder digital delay, and g-dsp digital reverb.
next-generation slate digital complete bundle crackequalizer. featuring custom latency-free analog curves, a super-fast and intuitive workflow, unique filter and m / s options, plus professional presets like mike dean and oak felder, infinity eq helps you put your musical ideas into practice with ease.. with infinity eq, you can manipulate your idea titles with the least amount of mouse movement, clicks and modifier keys. the smooth surface allows for a very fast selection of filters, gradients, amplification, clustering, m / s, and bypass.
like the original, fg-mu has no ratio control. the fairchild 670 was originally designed as alimiter, but typically for avariable-mu tube design its compression curve has avery soft knee, ranging from about 2:1 at the onset of compression to full limiting (about 30:1). its soft characteristics, along with its rather fast attack and longish release times, mean that it is not always ideally suited to today's hard-hitting pop music. after all, it was designed before rock & roll made any real impact. with its separate attack and release controls, slate's fg-mu is abit more versatile than the original, but it is not your typical modern mix-bus compressor. however, fg-mu performs nicely on everything for which people typically use afairchild these days, which is mainly vocals, string sections and slow-moving stuff, and it does work well as amix-bus compressor on songs without drums, or vintage-flavoured tracks with the percussive elements mixed further back. 2516d825b2