Virtual Tape Machines 11

Slate Digital - Virtual Buss Compressors
Virtual Tape Machines

1.1
Downloaded from www.Manualslib.com manuals search engine

Slate Digital -‐ Virtual Tape Machines 2
Slate Digital Virtual Tape Machines

Version 1.1
Advanced Algorithms™ by Fabrice Gabriel
!
!
!
!
!
!
!
!
!
!
!
Fabrice Gabriel : Algorithm Design & Tuning
Steven Slate : Plugin Design & Tuning
Romain Moret : Project Management
Vincent Travaglini : DSP Development
François Best : Architecture & GUI Development
Niccolo Comin GUI & Plugin Development
Anthony Tagliane? : QA Lead & Beta Management
Yannick Bonnefoy : GUI Design & Rendering
!
!
!
!
!
!
!
!
!
!
!
Slate Digital Thanks: The amazing designers who made these legendary machines, Deborah
Lintz, Howie Weinberg, Wade Norton, Ross Hogarth, and our “fiBh Beatle” Jay Baumgardner.
!
User Manual by Anthony TaglianeJ, Steven Slate, & Fabrice Gabriel 

Introduction! 5!
Virtual Tape Machines! 6!

Machine Types! 6!
Tape Types! 6!
Tape Speed! 6!
Tape Bias! 7!
Virtual Tape Machines - Overview! 8!

Front Panel! 8!
Settings Panels! 9!
Virtual Tape Machines - Quick Start! 10!
Grouping! 11!
Using Groups! 11!
Isolating the Gain Stage from a Group! 12!
Automating VTM Groups! 12!
Frequently Asked Questions! 13!

How hard should the tape be hit?! 13!
What is the preferred order of processing?! 13!
Advanced Settings! 15!

Calibration Levels! 15!
Default Calibration! 15!
VU Average Position & Sound! 16!
Noise Reduction! 16!
Bass Alignment! 16!
Wow & Flutter! 17!

Hiss Automute! 17!
VU Ballistics! 17!
Using Key Commands! 17!
Preset Bar! 18!

Saving a Preset! 18!
Preset Options Panel! 18!
Navigating Presets! 18!
Snapshot Slots! 18!
Hide Reels! 18!
Installation! 19!
Redeeming Your iLok License! 19!
Installing Virtual Tape Machines! 19!
System Requirements! 20!
3rd Party iLok License Transfer Fee! 20!
Contacting Support! 21!

User System and Hardware Information Log! 21!
Making the Virtual Tape Machines! 22

Introduction!
By Steven Slate!
The first Pme I put a reel of tape on a tape machine, I was a fiTeen-‐year-‐old coffee boy,
interning at a northern New Jersey recording studio. Even though placing the reel on the
machine was similar to leYng your kids push the floor bu\on on an elevator, I remember being
ecstaPc that I was given the opportunity to perform this crucial role. Playing back in my brain
was a montage of Kirk, the head engineer, showing me how to properly wrap the tape around
the heads. With my heart beaPng fast, I followed his tutorial with exact precision. Once the
session began, I felt a great sense of accomplishment as I watched the reels spinning.
!
I grew up in the industry listening to tape machines.
!
Back then it was not clear how magical these machines were. In fact, I recall when the first
ADAT digital machines became available. One day, the head engineer at the studio where I was
working at came into the control room with a confident grin and announced to us all “Say
goodbye to that noisy hiss truck and get ready for the future… digital!” He set up the 16bit VHS
recording machine next to the Studer 2-‐inch machine, and we tracked 8 mics of drums into it.
His smile quickly faded. “Something must be wrong, this doesn’t sound good at all,” he said, as
the lifeless and somewhat harsh digital tracks played back. And I realized back then that digital
was likely going to solve a lot of problems for this industry… but one thing that it was not going
to do, was sound like tape.
!
Digital has come a long way since the first 16bit VHS recorders. Using a nice converter and clock,
you can record an extremely detailed and high bandwidth sound with great resoluPon and
dynamic range. There is surely nothing “wrong” with digital. And perhaps that’s the problem.
!
Two years ago we released a plugin called the Virtual Console CollecPon, which replicated the
signal path of an analog desk. We did this because it was clear that many pro engineers sPll
preferred the sound of old vintage analog desks. And we soon discovered why:

The nonlinear arPfacts of analog are pleasing to the human ear.

And just as it is with the circuit of a console, the tape machine has a very unique set of dynamic,
nonlinear traits that cause our ears to hear warmth, glue, depth, space, and width. So just as we
did with the VCC, we sought to make the absolute most authenPc replicaPon of the analog tape
machine that the industry has ever heard. And I think we have succeeded.

ATer more than a year of scienPfic research and algorithm development, Slate Digital, led by
our Chief Technical Officer and head algorithm developer Fabrice Gabriel, have created the
Virtual Tape Machines digital audio plugin. Using this plugin, you can have the sound of both, a
2inch 16 track analog deck or a ½” 2 track analog deck… right in your DAW.
!
Your mixes will come to life. Things will be easier to balance. Tracks will need less EQ and
compression. Depth, space, and warmth will be achieved like you’ve never heard before.
Welcome to the sound of Analog Tape. Your music deserves it.

Virtual Tape Machines!

Many of you out there are familiar with the physics of tape machine, it’s speeds, and the various
tape formulas that have been introduced over the last few decades. For those of you who are
not, here is a crash course.
Machine Types!
2-Inch 16-Track!
This is the 2-‐inch Studer A827 with 16-‐track headstock from NRG Recording Studios. This
machine has recorded some of the biggest albums in the world. It has a fat, punchy, thick sound
with a very detailed top end. This is the ulPmate tracking machine.
½ Inch 2 Track!
This is the 2-‐track Studer A80 RC with ½-‐inch headstock from Howie Weinberg Mastering. Many
recordings have been mastered onto this deck, and it’s obvious why! It has a thick low end, nice
rich midrange, and a smooth top that perfectly takes away the digital edge in the most natural
way.
Tape Types!
The tape formulaPons that we modeled are two of my favorites, the classic 456 and the more
modern GP9. I picked these tapes based on my years of using both, and my knowledge that
these represent two very unique sounds.
FG456!
456 was introduced in 1975 as a “high output” tape formula that was needed since new tape
decks at the Pme were able to handle higher headroom signals in their electronics. 456 is
known as a “+6” tape, which means it’s +6dB over the 185 nWb/m standard… which means you
have an addiPonal 6dB of headroom before tape saturaPon occurs.
FG9!
GP9 is a more modern tape that has an even thicker layer of oxide and is known as a “+9” tape
(570 nWb/m). GP9 became very popular because you could record at ho\er levels and not have
the same introducPon of saturaPon and distorPon.
 
While the sound of these tapes is subjecPve, what we noPce is that 456 is a bit more colorful
with slightly thicker lows. Switching to GP9, you’ll noPce more punch, due to the fact that you
have 3db more headroom before saturaPon. You may also noPce more definiPon throughout
the frequency spectrum, and a slightly more forward sound. Both of these tape types sound
really good, and we suggest to experiment with both of them.
Tape Speed!
“IPS” means inches per second, as in the number of inches of tape that spin around the heads
per second. The two professional recording tape speeds are 15ips and 30ips, which were the
speeds that we modeled on both of our 2-‐inch and ½-‐inch decks.
!
So what are the sonic differences between these speeds? This is a quesPon that is based on
many factors including the machine type, the way it is aligned, and the tape formula.

30ips!
The faster speed seYng, 30ips, has less noise, an overall fla\er frequency response, and a
slightly extended high-‐end. On both of our machine models, 30ips is relaPvely flat above
200Hz, and then has some emphasis in the higher porPon of the low-‐end.
!
This is a great speed seYng for a prisPne sounding high-‐end with smooth saturaPon on peaks,
and a nice thickening of the upper low-‐end.
15ips!
15ips has a higher noise floor, and a more non-‐linear frequency response. First you’ll noPce that
the low-‐end extension is driven down to the sub-‐lows, below 100Hz. This is one of the reasons
why 15ips is oTen said to be “fa\er” sounding. The midrange of both of the machines is a bit
extended, which adds a nice presence and bite.
!
Overall, the 15ips Speed seYng on both models is definitely great when you want to add more
aYtude and flavor to your recordings. And the best part is that you can overcome the extra
noise by reducing it with the Noise ReducPon slider in the “SeYngs” panel!
Tape Bias! !
The recommended Bias (Normal) is dependent on the Tape Type, Tape Speed, and Record Head
Gap length. When you switch Machines, Tape Types or Tape Speeds, the Bias is automaPcally
adjusted to the recommended value, internally.
!
We also modeled two addiPonal Bias seYngs above and below the recommended Bias value.
These addiPonal seYngs change the frequency response and saturaPon for each Machine,
Tape, and Speed configuraPon.
!
With the Bias set to High, High Frequencies will saturate earlier. When set to Low, High
Frequencies will saturate later, with increased dynamics. 

Virtual Tape Machines - Overview!

Front Panel 
Input / Output! VU Meters!

Use the Input level to adjust the level going Displays the signal level, post calibraPon
to tape. The ho\er the signal, the more tape and input gain.
saturaPon and compression will occur. Use
Output Level to adjust the level coming off Slate Digital Logo!
tape. Opens the info panel, which includes the
credits, version number, & link to user
Input / Output Link!
manual.
When acPvated, this opPon allows for
Constant Gain Monitoring, making it easy to Machine Type!
quickly reference the Processed and Selects between the 2-‐inch 16-‐track
Bypassed signal, without any difference in (A827); or the ½-‐inch 2-‐track (A80RC)
volume.1 tape machines.
Group Assignment Selector! Tape Type!
Assigns the plugin to one of VTMs eight Selects between the vintage FG456 tape,
Groups. See the secPon on Grouping for and the modern FG9 tape.
more details.
Tape Speed!
Process / Bypass!
Selects between 15 / 30ips Tape Speeds.
Bypasses plugin processing.
Bias!
Settings!
Selects a High, Normal, or Low Bias. 
Opens the SeYngs Panel.
!
1 Input / Output Link is a User Interface only. This means that automaPon will only be wri\en or read for the
parameter you click on. If you wish to automate both Input and Output parameters, they will each require their
own automaPon lane.

Settings Panels2!
All of the seYngs in the VTM SeYngs Panels (with the excepPon of Group CalibraPon Levels)
are GLOBAL. Noise ReducPon, Wow & Flu\er, Bass Alignment, Hiss Automute, VU BallisPcs and
Default Group SeYngs will affect EVERY instance of VTM in your session. 
Noise Reduction! Bass Alignment!

We’ve taken great care to model the noise Allows for fine control over the low-‐end
characterisPcs of each machine, tape type response of each tape machine.
and speed. This may be undesirable in some
VU Ballistics!
situaPons. This slider allows you to fine tune
Adjusts the VU Needle Response to either
the amount of tape hiss in your mix. Dragging
Fast, Mid, or Slow.
this slider to the far leT will remove noise
enPrely. Default Group!
Wow & Flutter! Determines which Group the VTM is assigned
to upon instanPaPon. This is very useful for
The subtle pitch and amplitude variaPons
seYng up groups quickly! 
inherent in tape machines have been
faithfully reproduced with VTM as well. The
effect intensifies as the slider is dragged to
the right.
Hiss Automute!
AutomaPcally mutes the tape hiss when no
signal is present at input.
!
2 Unlike VCC, SeYngs are stored in the Session File and not a separate seYngs file on your hard drive. If you wish to
have your own default seYngs, we recommend saving VTM presets for recall in your DAW. Please consult your
DAW’s user manual for instrucPons on saving presets, and seYng a User Default preset.

Virtual Tape Machines - Quick Start!

!
1. Insert the Virtual Tape Machines plugin on the first insert of any track in your mix.
2. Assign this instance of VTM to Group 1.
!
!
!
!
!
!
!
!
!
!
!
!
!
3. Copy this instance of VTM to the other tracks in your mixer.
4. Using any of the VTM instances, select a Tape Machine, Tape Type, Tape Speed, and Bias. All
instances of VTM will slave to these changes.
!
5. Start playback. Depending on your material, you may need to boost or a\enuate the input
level of each track to achieve the desired level of tape saturaPon.
!
!
!
!
!
!
!
6. Finally, insert the Virtual Tape Machines plugin across your stereo buss. You can assign it to
the same group, or leave it ungrouped to emulate prinPng your mix to a ½-‐inch machine!
!
7. Mix your song! 

Grouping!
Using Groups!
Groups make using the Virtual Tape Machines plugin very simple, quick, and intuiPve. At its
most basic use, you can set all instances to the same group and use the Virtual Tape Machines
to emulate mixing off a single tape machine.
!
You could also use several groups and make your own hybrid tape
machine. You can mix and match Machine Types, Tape Types, Tape Speeds,
and even Bias!
!
The Virtual Tape Machines has 8 Groups that enable you to slave mulPple
Tape Channels together. This means that from a single instance, you can
control the Bias, Machine Type, Tape Speed, Tape Type, Process/ Bypass,
and Input/ Output for every Tape Channel in the Group.
!
To assign a Tape Channel to a group, click the Group Assign pull-‐ down
menu and choose one of VTM’s 8 Groups. VTM is now assigned to that
group.3 4

Default Group!
You can quickly assign mulPple Tape Channels to a group by using
the Default Group feature in the SeYngs Panel. Click “SeYngs” and
change the Default Group to the VTM Group of your choice. All
new instances of Virtual Tape Machines will be assigned to this
group by default. This makes group setup quick and easy!

Process / Bypass !
You can bypass the Tape Channel processing for an enPre Group by hiYng the
Process/ Bypass switch on the front panel. This switch also disables processing
for a single Tape Channel if it is ungrouped.
!
3 When assigning VTM to an empty Group, current parameters will stay the same. When assigning VTM to a Group
with at least one other instance of VTM in it, all of its parameters will adjust to the Group parameters.
4Pro Tools MulP-‐Mono: Due to the nature of our grouping system, the Group Assign parameter will not Link to
other MulP-‐Mono Channels. It is recommended that you use the Link funcPon, instead of our grouping system in
this configuraPon. VTM’s front panel parameters will link correctly across all channels.

Isolating the Gain Stage from a Group!

SomePmes you will want to customize the Input or Output of a parPcular track within a group.
For instance, you may have your drums in a group with your Input at +2dB. However, you want
to add more saturaPon to only your snare.
To isolate the gain stage from the group, simply click the “Link” symbol between the Group
Assign menu and the Input value display. The symbol will dim to show the change. Now, you can
adjust the gain secPon of this channel independently from the group. To add it back to the
group, simply click the “Link” symbol again!
!
The isolated Input and Output value is not cumulaPve to the group value; it is absolute.
Automating VTM Groups!

It is possible to automate every parameter of the Virtual Tape Machines plugin. When an
instance is grouped, you may automate any of its parameters on any track. This allows for
ulPmate ease of use and flexibility.
!
However, it is up to you to ensure there are no automaPon conflicts across mulPple instances of
a group – otherwise, your automaPon will not be wri\en/ read correctly.

Frequently Asked Questions!

How hard should the tape be hit?!
This depends on what you want to achieve and what is your mix.
!
If you have a lot of bass in a Hip Hop mix, you can try to saturate the tape a lot. For a clean
sound, you don't want too much saturaPon. Slowly raise the Input of your track unPl you begin
to hear distorPon (this level will depend on the content of your mix or tracks). Then back off on
the input by .5dB.
!
HiYng 0dB VU is the best way to maximize the tape sound, i.e. the best noise/saturaPon raPo.
As always, experiment and use your ears!
What is the preferred order of processing?!

By Fabrice Gabriel!
To simulate the typical signal flow when mixing a mulP-‐track session recorded to tape, we
recommend the following:
!
1. VTM as the first insert on every track in your mix, set to the 2” 16-‐Track Machine.
2. Set Tape Type, Speed, and Bias to taste.
3. VCC Channel as the second insert on every tack in your mix.
4. VCC Mixbuss as the first insert on your Master Fader.
5. VTM as the last insert on your Master Fader (but before any limiPng), set to the 1⁄2” 2-‐Track
Machine.
6. Set Tape Type, Speed, and Bias to taste.
!
This effecPvely reproduces the signal flow of mixing off a 2” 16-‐Track tape machine, into console
channels, through it’s mixbuss, and prinPng the mix to a 1⁄2” 2-‐Track tape machine.
!
Of course this all depends on what you want to achieve for the order of processing. What is cool
with plugins is that you can do whatever you want. It’s totally up to you!
!
Personally I'd use a different order of plugins depending on my track. For instance on a vocal
track, I'd use the following chain:
!
Dessser > VTM > EQ > VCC
!
I want to use the deesser with the more pronounced sibilants possible, and fix them as soon as
possible in the processing chain with both the deesser and the Virtual Tape Machines. If you
push the VTM, it acts as a vocal smoother and a kind of deesser, very complimentary from a
regular deesser.
!
In this scenario, I want to take advantage of the Virtual Tape Machines harmonics, smoothing,
and distorPon to warm it up, and to even a\enuate/boost them with the EQ. I’d also want to

take advantage of the compression aspect of the VTM to feed the VCC, where I can add some
final subtle flavor.
!
I'd try several bias seYngs depending on the high frequency reducPon behavior I want (which
are all far different from a simple EQ). So for instance, I'd use the 2" with FG456, 30ips High Bias,
and play with the Input / Output linked levels to have the highs I want.
!
For a piano track, I would use a different configuraPon:
!
VCC > EQ > VTM
!
For the piano, I'd use the VCC Mixbuss to get some cool stereo and harmonic effects, then EQ,
then VTM with not too much noise and just a li\le bit of flu\er. Here, I just would like to add to
the sound. A li\le bit of smoothness for high amplitudes, but I don't want to use the VTM as the
same high frequency reducPon tool than for the vocals. I just want to warm up the sound a li\le
and make it less sterile.
!
In this scenario, I’d use the ½-‐inch FG9 15 ips with Normal Bias. 

Advanced Settings!
Calibration Levels!
The Virtual Tape Machines CalibraPon SeYngs are useful to quickly set up the processing of the
tape, to get it ho\er (more saturaPon and be\er signal-‐to-‐noise raPo), or quieter (less
saturaPon, and a higher noise floor).
!
In order to be properly calibrated, the VU meters
need to display 0dB with a 1kHz sine wave is
played at -‐18dBFS, with an -‐18dB CalibraPon
Level.
!
To get the signal ho\er, you have to decrease the
calibraPon level. If you process a -‐18dBFS peak
sine wave, and change the calibraPon level to
-‐24dB, the VU meter will show +6 dB VU, thus
the tape processing will be ho\er, i.e. with more
saturaPon. Increasing the calibraPon will yield
less saturaPon, with a higher noise floor.
!
!
Default Calibration!
By Fabrice Gabriel!
We wanted the needle to not be too hot by default, because we wanted the user to use the
Virtual Tape Machines at the right calibraPon, preferably with the needle around 0dB VU.
!
I also wanted the VU CalibraPon and the Model CalibraPon to be coherent with what I
measured with the real tape, knowing that there is no "right" calibraPon with real tape, for
several reasons:
!
• CalibraPon, i.e. relaPon between Input/ Output/ SaturaPon levels, depends on the
technician who set up the machine, on the tape, etc.
!
• The same tape formula could be calibrated in several ways, i.e. the GP9 has more
headroom, but some engineers chose to have the same headroom with a lower noise
floor, which, at the end, is the same thing on the tape itself, but regarding the input/
output, is not the same.
!
• CalibraPon also depends on the machine maintenance, model, etc.  
!
What I did for the algorithm was achieve coherence between all Tape Type / Machine Type /
Tape Speed variaPons. For instance, the FG9 has more headroom and less noise than FG456; the
1⁄2" Machine has more headroom than 2" machine, etc.
!

This is representaPve of the fact that when two tape machines are calibrated the same way with
same Input / Output gains, but which may not be the case with far different calibraPons or
configuraPons.
!
That's why aTer discussing with many tape technicians, we found it very useful to feature
calibraPon seYngs, which are representaPve of reality.
!
We set the Virtual Tape Machines default calibraPon to -‐15dB because we thought it was more
representaPve to the default saturaPon level a real tape machine would exhibit, with typical
RMS levels of digital files. In other words, we wanted the user to load the VTM and to have the
"typical" tape sound with the most common digital files.
!
Wade Norton (NRG Recording Studios), who is one of the best tape technicians in Los Angeles,
calibrated the tape machines for tesPng. We also hired several other tape techs, and it was very
interesPng to see that the calibraPon and the SOUND was different with the same tape
machine, according to the calibraPon which was done by different techs. The best sound we got
from the tape machines was from Wade's calibraPon.
VU Average Position & Sound!

The VU meter level indicates the level post calibraPon and input gain. The Clipping LED will
illuminate at the point in which the algorithm begins to react in a non-‐linear fashion. This is
normal tape saturaPon -‐ not digital full-‐scale clipping.
Noise Reduction!
We believe that Tape Hiss is an important component in the sound of tape. We have
mePculously modeled the noise characterisPcs for each Machine, Tape, Speed, and Bias
configuraPon. The “noise” you are hearing is not the product of a noise generator. It is a faithful
replicaPon of Tape Hiss.
!
Noise ReducPon is adjustable from -‐80dB to 0dB. By default, Noise ReducPon is set to -‐24dB.
You may find the tape hiss to be too much, especially if you have mulPple instances spread
across an enPre mix! Luckily, you can dial in the perfect amount of tape hiss using the Noise
ReducPon slider, located in the SeYngs Panel.
Bass Alignment!
In a real tape machine, the Bass Alignment would be dependent on the tech's calibraPon. The
bass alignment seYng is not a simple EQ that modifies bass roll off. It takes care of the bass
behavior of the tape, and then enhances or reduces it. The Bass Alignment slider influences
bass and sub-‐bass frequencies.
!
Thus, it’s different for each tape model, tape machine and speed since the calibraPon made by a
tech on a real tape machine would be dependent on these parameters as well. 
!
It could be very useful in different mixing situaPons, similar to the changes a tech would make
according to a mixing engineers request. For example, one may want to add some typical bass

from a tape, especially for Hip Hop, RnB, etc. It may be easier using the Bass Alignment to get
the right amount of bass in your mix.
For mastering purposes, it may be useful to lower the Bass Alignment to have a more neutral
behavior in the bass and the way that tape processes the bass frequencies will help that, while
sPll keeping the typical tape bass sound.
Wow & Flutter!

Wow & Flu\er is intended to precisely emulate what happens in a real tape machine. The subtle
pitch and amplitude variaPons inherent in tape machines have been faithfully reproduced with
VTM. The effect intensifies as the slider is dragged to the right.
!
Our measurements show that a precisely tuned and carefully maintained tape machine had a
flu\er which corresponds to the 25% SeYng.
!
Most tape machines are around the 50% seYng, and not very well maintained tape machine is
at 100%, which can be sPll interesPng. While this may be undesirable in some circumstances, it
would have been completely unrealisPc to omit this aspect of analog tape from the Virtual Tape
Machines.
!
You can turn off the Wow & Flu\er effect by seYng the slider to 0%.
Hiss Automute!
AutomaPcally mutes the modeled Tape Hiss when there
is no audio present at the input.
VU Ballistics!
Chooses the speed at which the VU Meter needles react
to the audio signal. The Fast mode will react very quickly
and precisely, where the Slow mode will react less
precisely.
!
Using Key Commands!
Reset Parameters to Default!
• Mac: Opt + Click
• Win: Alt + Click
Fine Adjustments!
• Mac: Cmnd + Drag
• Win: Ctrl + Drag
Enable Automation Dialog (Pro Tools only)!
• Mac: Ctrl + Opt + Cmnd + Click
• Win: Ctrl + Alt+ Click 

Preset Bar!
Saving a Preset!
Save!
Clicking ‘Save’ will overwrite the current preset state.
Save As !
Clicking ‘Save As’ will open a dialog box, where you may opt to save the current state as a
preset, overwriPng it (same as Save), or save a preset with a new bank/preset name. To save
with a new bank/preset name, simply enter details in the respecPve fields and click ok.
Bank Import/Export!
Under the ‘Preset OpPons Panel’ you will see opPons for imporPng and exporPng banks.
Clicking the export opPon will bring up a dialog window for you to name and save the bank.
Banks are saved with the extension *.ebf
Preset Options Panel!

SelecPng the preset opPons panel will show a list of opPons for
the currently loaded Bank and Preset: -‐
• Bank <name>
• Rename bank
• Delete bank
• Export bank
• Import bank
-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐
• Preset <name>
• Preset informaPon
• Rename preset
• Delete preset
• Reload preset in slot > A/B
Navigating Presets!
You may navigate presets within a bank using the up/down arrows directly to the right of the
Bank/Preset selecPon area.
Snapshot Slots!
The Virtual Tape Machines plugin has two snapshot slots ‘A’ and ‘B’, in which each can have
different preset seYngs. SeYngs may be swapped between each A to B, B to A by clicking the
arrow bu\on. The corresponding le\er will flash orange to indicate transfer.
Hide Reels!
You may hide the spinning reels by clicking this menu bar opPon.
!

Installation!
Redeeming Your iLok License!
Before downloading the iLok license for Virtual Tape Machines, you’ll need to install the new
iLok License Manager. You can find more informaPon about the iLok License Manager here.
!
You can download the latest installers here:
!
• iLok License Manager for Mac
• Mac OS X10.5 and above (Intel Only)
!
• iLok License Manager for Windows
• Windows 32-‐bitXP, Vista®, 7, 8
• Windows 64-‐bit XP, Vista®, 7, 8
!
In order to download your iLok license to your iLok 2 dongle, please visit the link that was given
to you in your email receipt and enter the required info including the issued passcode.
!
This will unlock your iLok AcPvaPon Code.
!
1. Launch the iLok License Manager and sign in to your iLok account.
2. Click this bu\on in the upper right corner of the window
!
!
!
!
!
!
3. Enter your AcPvaPon Code and click "Next"
4. Select your iLok 2 Dongle from the AcSvaSon LocaSon dialog and click "AcPvate"
5. You'll receive a confirmaPon message when the license is moved to your iLok 2 Dongle.
Installing Virtual Tape Machines!

Mac!
Double-‐Click on the INSTALLER icon and follow the onscreen prompts. You may choose to
customize your installaPon by clicking the customize bu\on to install those selected AAX, VST,
RTAS or Audio Unit plug-‐in formats listed.
Windows!
Double-‐Click on the INSTALLER icon and follow the onscreen prompts. You may choose to
customize your installaPon by selecPng those AAX, VST, RTAS or Audio Unit plug-‐in formats
listed. Choose the desired plug-‐in directory paths (those default are usually noted best), and
proceed. 

System Requirements!
PC Requirements (AAX, RTAS, VST)!
• Dual-‐Core Intel or AMD Processor (Quad-‐Core Recommended)
• 4GB RAM
• iLok 2
• Windows 7 or later
Mac Requirements (AAX, AU, RTAS, VST)!
• Dual-‐Core Intel Processor (Quad-‐Core Recommended)
• 4GB RAM
• iLok 2
• Mac OS X 10.6 or later
3rd Party iLok License Transfer Fee!

When reselling any Slate soTware product, there will be a $10 License Transfer Fee in order for
us to process the new customer into our user database. It is the responsibility of the seller to
inform the buyer of this fee at the Pme of sale.

Contacting Support!
All technical support inquiries must be logged through our help desk for a\enPon.
!
Please login to your help desk account at Slate Digital Support. Click "Ask A QuesPon..." and
choose the respecPve category relevant to your product/query. And, be sure to include the
informaPon log within the Pcket comments or as an a\achment...
User System and Hardware Information Log!

• Open the About panel.
• Right click on the version number to open a menu "Copy plug-‐in info to clipboard", click it.
• Open a text editor, an e-‐mail or a support Pcket, and paste.
!
Example of informa<on displayed:
!
Plugin & Host InformaPon: -‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐
Version: <version number> -‐ 64 bit
Build: <build number> <date> <Pme>
Format: <VST, AudioUnit, RTAS, AAX>
Host: <DAW name>
!
OS InformaPon: -‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐
Name: <operaPng system name and version>
64 bit: yes
!
Hardware InformaPon: -‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐
CPU: Unknown
Num cores (per cpu): 4
Num cores (total): 16
Speed: 2400 MHz
Max Cache: 12582912 bytes
CPU Flags: <mmx, sse, sse2, sse3, ssse3, sse4.1, sse4.2, etc...>
RAM (MB): 8192
Page size: 4096
!
Language InformaPon: -‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐
User Lang: <FR, ENG, GER, etc...>
Region: <FR, ENG, GER, etc...>
Display Lang: <FR, ENG, GER, etc...>

Making the Virtual Tape Machines!

By Fabrice Gabriel!
ATer the success of the Virtual Console CollecPon, Steven and I were convinced that the sound
of tape was sPll not authenPcally modeled in the digital domain. In fact, it didn’t seem that
anyone had accurately captured the essence and feeling of a real tape machine. We wanted to
change that.
!
I was convinced that I could design an algorithm that would be so close to the tape sound, that
you could not disPnguish a track recorded to the real tape machine versus the same track
processed with the algorithm.
!
The most important thing for us is to have the most absolute authenPc sound. At Slate Digital,
our mission is for people to not be able to differenPate from the real thing, so it's really
important to reproduce faithfully and accurately the exact sound and behavior of a real tape
machine, and here are the reasons.
!
First, our purpose is to make sound replicas, not average sound imitaPons. For years, there have
been a lot of companies who adverPse that they "precisely model" certain pieces of analog
hardware, and sPll today, there are a lot of products which "imitates" the analog sound, rather
than accurately replicaPng it.
!
For me, it's really easy to see in their algorithm what they did and how they did it, what they
missed and where technical issues are. Some people who are not familiar with the original
hardware may not be able to tell the difference. But any professional who has used the real
hardware certainly can.
!
In order to be authenPc, an algorithm must be faithful to every aspect of the original gear it is
intended to replicate. It means that both the original and the model should produce the same
output waveform with the same input waveform, with any kind of waveform. It also means that
the frequency response should be the same in every situaPon, every amplitude.
!
But there are a lot of other aspects, which need to be reproduced, like the dynamics, the
harmonic behavior, the saturaPon characterisPcs, and so on.
!
Most importantly, the scienPfic tests are nothing without real life listening tests. That’s why
Steven and I compare and test the algorithms against the real thing, and then several
experienced mixing and mastering engineers validate them.
!
We stop refining the algorithms when we can’t tell the difference between the original and the
algorithm in a blind listening test.
!
We chose to offer a tape replicaPon because it was clear that tape had not properly been
represented in the digital domain yet.

I guarantee that I took care of being very faithful to every aspect of the original tape sound and
behavior, that is our mission at Slate Digital, and this is the reason why we say “Advanced
Algorithms.”
!
Steven and I are so involved in making the best replicaPons on the market, we hope that people
enjoy our products, appreciate their authenPcity, and overall, make great music!
!
Thanks for reading!
!
Fabrice Gabriel

Virtual Tape Machines 11

Uploaded by

Copyright:

Available Formats

Virtual Tape Machines 11

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Virtual Tape Machines 11

Uploaded by

Copyright:

Available Formats

Slate Digital - Virtual Buss Compressors

Virtual Tape Machines

Downloaded from www.Manualslib.com manuals search engine

Slate Digital Virtual Tape Machines

Steven Slate : Plugin Design & Tuning

Romain Moret : Project Management

Vincent Travaglini : DSP Development

François Best : Architecture & GUI Development

Niccolo Comin GUI & Plugin Development

Anthony Tagliane? : QA Lead & Beta Management

Yannick Bonnefoy : GUI Design & Rendering

Downloaded from www.Manualslib.com manuals search engine

Virtual Tape Machines! 6!

Virtual Tape Machines - Overview! 8!

Virtual Tape Machines - Quick Start! 10!

Isolating the Gain Stage from a Group! 12!

Automating VTM Groups! 12!

Frequently Asked Questions! 13!

What is the preferred order of processing?! 13!

Advanced Settings! 15!

Default Calibration! 15!

VU Average Position & Sound! 16!

Noise Reduction! 16!

Bass Alignment! 16!

Wow & Flutter! 17!

Downloaded from www.Manualslib.com manuals search engine

Hiss Automute! 17!

Using Key Commands! 17!

Preset Bar! 18!

Preset Options Panel! 18!

Navigating Presets! 18!

Snapshot Slots! 18!

Hide Reels! 18!

Installing Virtual Tape Machines! 19!

System Requirements! 20!

3rd Party iLok License Transfer Fee! 20!

Contacting Support! 21!

Making the Virtual Tape Machines! 22

Downloaded from www.Manualslib.com manuals search engine

Downloaded from www.Manualslib.com manuals search engine

Virtual Tape Machines!

Downloaded from www.Manualslib.com manuals search engine

Downloaded from www.Manualslib.com manuals search engine

Virtual Tape Machines - Overview!

Input / Output! VU Meters!

Downloaded from www.Manualslib.com manuals search engine

Noise Reduction! Bass Alignment!

Downloaded from www.Manualslib.com manuals search engine

Virtual Tape Machines - Quick Start!

Downloaded from www.Manualslib.com manuals search engine

Downloaded from www.Manualslib.com manuals search engine

Isolating the Gain Stage from a Group!

Automating VTM Groups!

Downloaded from www.Manualslib.com manuals search engine

Frequently Asked Questions!

What is the preferred order of processing?!

Downloaded from www.Manualslib.com manuals search engine

Downloaded from www.Manualslib.com manuals search engine

Downloaded from www.Manualslib.com manuals search engine