The Slate Digital VMS-One is a super linear, ultra low-noise preamp designed specifically for the Slate Digital Virtual Microphone System by Paul Wolff of API and Tonelux
As modern recording musicians, perhaps we would have been better off not knowing what we know now about recording equipment. After all, how do you compete with studios such as Allen Sides’ Ocean Way, where an engineer has the ability to put a $30k pair of AKG C12 on drum overheads, a $15k vintage Neumann U47 on kick, and $30k for a vintage Telefunken ELAM 251 or a $10k Sony 800G on vocals, and we haven’t gotten into preamps yet. Well, Steven Slate feels your pain and has made it his mission to make millions of dollars worth of vintage equipment available to all. Since we’re on the subject of mics and preamps, the Slate Digital VMS-One is a preamp designed for ultra-linear, ultra-transparent response by no less than Paul Wolff, former owner and principle designer for API and Tonelux. When coupled with the Slate ML-1 microphone and VMS software, the Virtual Microphone System gives you access to the sonics of those very mics we just talked about and more, plus two of recordings most famous preamps—all for a shockingly low price.
Slate Digital Virtual Microphone System—Just the Facts:
- Super linear, ultra wide-bandwidth preamp
- Designed by Paul Wolff, former owner API, founder of Tonelux and Fix Audio
- Virtual preamp collection featuring astonishingly realistic models of the Neve 1073 discrete preamp and Telefunken V76 tube preamp
- Track through virtual preamps and mics in real time
Slate Digital VMS-One—Under the Hood
In order for the preamp modeling software to work properly, the hardware has to get out of the way for the software to work its magic. Any unwanted coloration from the hardware will adversely affect the accuracy of the software physical models. To accomplish this remarkable feat, Slate Digital employed master designer Paul Wolff. In a life, Paul was the owner of API, designing API’s most popular products, including the 5502 and 550B equalizers, the 3124 and 512b preamps, 2500 compressor, and API Legacy, Legacy+ and Vision consoles. He later left to found Tonelux in response to the changing needs of the industry. Currently, Paul lends his considerable design skills to set a new benchmark in hybrid audio as a leading member of the Slate Digital design team—enter the Slate Digital VMS-One.
The objective of the VMS-One’s design was to achieve what is in essence, “a straight wire with gain.” That requires a circuit with no transformers or capacitors in the circuit path, with zero DC offset. The performance has to be super linear in order for the frequency response of the modeled preamp to act without uncharacteristic bumps. The VHS-One uses a state-of-the-art amplifier that easily surpasses the performance of discrete circuits. Also, in order to make sure that the harmonic distortion mirrors the amp model, the VMS-One’s THD+Noise is a remarkable 0.0089% or -100dB. Wolff, who’s known for his API and Tonelux preamps, says that the VMS-One is the most linear preamp he’s ever designed. Not only does the VMS-One provide the platform for the Slate Digital models, it’s also a highly useful preamp on its own, particularly if transparency is what you’re after.
The VMS-One has controls for output volume, pad, phase, mic / line input selection, and phantom power. It also has a power on / off switch.
The VMS plugin module the ability to transform your recordings with reproductions of classic microphones and preamps that are virtually indistinguishable from the original hardware. The VMS-One models two of the most used and highly regarded preamps in all of recording history. Between these two models, you can handle any vocal or instrument with the classic sound heard on records for decades.
The FG-73 preamp models the venerable Neve 1073, one of the most famous discrete solid state preamps in the industry, countless recordings. It has a bold, present and warm sound that works great on any audio source—even full mixes.
The FG-76 preamp module is modeled after the extremely rare Telefunken V76 tube preamp, a perennial favorite for bass and kick drum. It has a thick and colorful tone that can make tracks and mixes sound more “alive,” while the low-end saturates in a very unique and musical way, hence the preference for bass and kick.
Along with the sonic advantages of the FG models, you don’t have to wait until mixdown to see which model you prefer. You can record in real time, since the processing blocks add no latency to the signal. Additionally, if you use a low-latency Thunderbolt or USB 3.0-enabled interface at 96kHz with a low buffer size, you can track through the VMS software without any audible monitoring delay.
Slate Digital ML-1 microphone
The ML-1 microphone is designed to be the “voice” of the Virtual Microphone System. This large diaphragm mic has a shock-mounted Mylar capsule with gold and custom-made components. Designed simultaneously with the VMS-One preamp, the ML-1 gives an exceptionally flat output for the microphone models in the preamp software.
Now available as a standalone purchase, you can have a stereo pair or more for multi-mic recording with Slate Digital ML-1 and ML-2 microphones. For more information, call or chat online with your PAD Studio Specialist today.
- 57 dB maximum gain
- -2dBu in max input level without pad
- +18dBu maximum input level with pad
- +27dBu max output
- -30 in = +27 out with full gain
- -30 in adjusted to +4 out, noise below –100dBu
Minimum System Requirements
- Quad Core i5 Processor
- 4GB of RAM
- Mac OS X 10.7 or Later
- Windows 7 & Above
- iLok 2 or 3 Required
Recommended System Requirements
- Quad Core i7 Processor
- 8GB of RAM
- Mac OS X 10.9 or Later
- Windows 7 & Above
- iLok 2 or 3 Required
- Intel Mac 32bit: VST2, VST3, AU, AAX
- Intel Mac 64bit: VST2, VST3, AU, AAX
- Windows 32bit: VST2, VST3, AAX
- Windows 64bit: VST2, VST3, AAX