If this does 1/2 as good as intended/advertised, it will be a game changer.
I can see this working as the front end of my workflow… recording and such… and then I can just go on with the rest as usual. I’d be interested in the monitoring arrangement details as that’s the only obstacle I have in my current situation. But even if I stick to just tracking drums, $2500-3000 would tie it up in a neat package…
Guess I’ve gotta fix/sell some more axes…
I just want to posted the news here Lol hahaha
damn I was thinking selling my whole system into this… let’s hear what other saying
Well, the price is right, that’s for sure!
He’s going to sell a truckload of these. I’m very happy with my studio at present, so I won’t be shelling out, but it does represent excellent value for money for someone starting out who wants to record full, live bands.
Steve’s “Audio Life Coach” “sell, sell, sell” demeanour turns me off, but I have to admit, I love his plugins and use them extensively.
I’m exactly the same way. Too hard for me to take him seriously.
I don’t have 35 minutes spare to watch a video. Anyone care to summarise please?
It’s a system that incorporates an 8 channel preamp/interface, the Virtual Microphone Systems (LDC and SDC) and all his software preamp and processor emulations, running native with a newly designed configuration that allows for lower latency than even dedicated DSP systems - less than a millisecond, apparently.
Set it and forget it.
I just purchased the all plugin bundle… can’t wait to hands on the plugins…
how’s your experience with the plugin coldroom ?
I have a ton of Slate stuff, almost by accident, Lol! I originally just wanted to try out his SSD 4 software, because I had a severe lack of drums in my life. Joe West, the Nashville-based producer I was working under at the time had a Slate rep come by and give him every single plugin Slate made at the time, so I got plenty of time to mess around with it all. Fell in love with the software and the excellent job it did, so I started buying it up. Even won the Virtual Mixing Rack from the Slate Digital Facebook page.
The fact that Steven will personally answer any questions you have on either Gearslutz or the Facebook pages that are set up for his products tells me he wants to go above and beyond for his user/fan base.
That being said, I haven’t had a chance yet to try out his hardware (No need to, I really don’t track at this point in time). But seeing the rave reviews from his VMS, I have no doubt that the product will do exactly everything he describes it will do. Once I get to a place where I’m able to effectively track live instruments, I will certainly go this route instead of assembling the preamps I originally wanted to solder.
I am not realy tracking yet, cause I don’t have a decent room to do it in, but isn’t having very flat pre-amps with a (at least what he says) very good DAC already a very nice thing to have ? I don’t have the experience of testing out multiple interfaces and pre-amps or even mic’s, so I would like to here some thoughts on that.
Can some one (from the specs alone) compare for instance the presonus firestudio to this interface ? The grade of pre-amps and DAC etc. used ?
UAD = mic preamp modeling
Slate = mic preamp AND microphone modeling
@DeRebel, oh yes, having those kinds of converters for D/A is absolutely great. The headphone amp alone would make excellent reference. I guess what I was trying to say is that for the package he’s offering everything, I would rather save up some money over time to grab it instead of slamming it on the ol’ credit card, haha!
The FtN ratio on that thing is crazy good, sitting at 124dB.
To give some examples;
PreSonus FireStudio specs are listed as ">101dB"
RME Fireface UFX is listed as 110dB RMS, 113dBA
Focusrite Scarlett 18i20 is listed as 109dBA
Horus ADDAC Dynamic Range (A-weighted, typ), ref +13 dBu 119.5 dB
The Bricasti in that all bundle is amazing.
-The 1176 knockoffs sound real good on a lot of things, but if you need to adjust the attack and release settings your screwed. They work very poorly. You don’t have an all button on those either, so if you want it to act like a Rev A bluestripe or a Blackface D, you need the Universal Audio ones instead.
-The Red 3 is great for a 2 bus. Better than the Focusrite’s own Red 3 plugin hands down.
-I use the bomber often. Its amazing BUT WATCH THE VIDEOS!! The drive and intensity knobs DO NOT do what you’d think they would.
-The Custom Lift series is nice, but remember its fixed parallel with preset ratios. Not a normal EQ.
-I personally think his emulated preamps are a joke compared to UAD…but I’ll kindly respect Andrew if he chooses to disagree with me on that one.
Flat is misleading to being with. You can have a flat mic that picks up shit for detail, only has one polar pattern, and hums like a jedi lightsaber, but its still technically ‘flat’-er than a U47. Does NOT make it a better mic. Same with preamps.
Discussions I had with others on the womb forum and at the Blue Mics factory seemed to suggest that transparency had to do with the quality of the design of the power supply and way it processed transient information. If I recall correctly, Brandon in his Rane MS-1 analysis also attributed this to the design of a particular computer chip.
So you can’t judge a mic or a preamp, or anything for that matter by how flat the frequency curve appears. You can’t even do that with studio monitors.
…and I think its a stretch to claim those are the best converters in the world. Here’s the data sheet for those AK5578’s. Remember 1 fs = .001 ps. So 250 fs = .25 picoseconds. Same thing, different name.
Thanks for the insight Now I’m even more currious to, if that product lives up to its promiss ! Sometimes its just good commercials that mislead you, but sometimes its also good commercials, and its a great product so
On a side not, I have the SSD4 and am verry happy with it thus far.
That announcement ended up completely different than I expected. The title had me thinking that it would be something along the lines of ARC for room correction or something.
That’s the problem with some of these products. They lead you to believe (of course they do, they’re trying to sell!) that having this kind of setup will give you “pro” recordings, but if you’re recording and mixing in a less than ideal room, it’s still going to reflect (pun) that in the final product.
I had sort off the same feeling At the end I was just like, oh so you just made a “nice” (results stil awated I guees ) converter stated to be good for modeling . . .
I don’t disagree with you, but I believe the only reason the mic and preamps are needed to be as flat as possible is so that the software can emulate one of the mic/preamp models using some EQ and whatnot. The modelled mics aren’t really flat to begin with.
That being said, I’m not sure how I would feel about using this system with non-modelling mics?