Slate Digital Modeling Chart - Wyatt Avery

	A	B	C	D	E	F	G	H
1	Slate Digital Modeling Chart
2	Plugin	Bundle	Model	Type	Emulation	Operating Tips	Notes	Usage Suggestions

3	VMR	Free	Revival	EQ/Exciter	N/A	0VU = peak level of -18dBFS.	The closest hardware would be something like an Aphex Aural Exciter or BBE Sonic Maximizer.	Adds bottom end weight or airy top end.
4	VMR	Free	The Monster	Compressor	UREI 1176 All Buttons Mode		Adds high and low frequency sidechain manipulation, attack processing to add more punch, and a mix knob to parallel compress.	Great on drums.
5	VMR	VMR	Trimmer	Trim	N/A	0VU = peak level of -18dBFS. Adjustable via screw under VU meter
6	VMR	VMR	FG-116	Compressor	UREI 1176 compressor Rev D	Shift-click attack knob to toggle compression on/off.	FET based compression.	Great on everything like lead vocals, drums, and bass guitars.
7	VMR	VMR	FG-401	Compressor	SSL 4000/Empirical Labs Distressor/dbx 160A		SSL 4000 channel compressor with characteristics from Empirical Labs Distressor, dbx 160A, etc. VCA based compression.	Circuit 1: Punchier and more dynamic. Circuit 2: More transparent and gives more space to the bass.
8	VMR	VMR	FG-N	EQ	Neve 1073 EQ	Clicking on the frequency labels will snap the knob to the value.	Two mid-bands, instead of the original hardware’s one, and the settings are not stepped (see Operating Tips).	Compliments the VCC’s "Brit N" console.
9	VMR	VMR	FG-S	EQ	SSL EQ	Clicking on the frequency labels will snap the knob to the value.		Compliments the VCC’s "Brit 4k" console. It is great for surgical cutting strokes, or wide bell and shelf strokes for making drums and guitars punch out of the speakers.
10	VMR		FG-Bomber	Compressor	N/A	Use the drive knob to hit the sweet spot, the bomb icon, as a starting point.	Combines transient processing, dynamic frequency manipulation, specialized compression, tube saturation, harmonic generation, filtering.	It can increase impact and dimension, enhance energy and liveliness, improve front to back depth, add tons of punch, and make sounds explode out of your speakers.
11	VMR		FG-Stress	Compressor	Empircal Labs Distressor
12	VMR	Blue	FG-116 Modern	Compressor	UREI 1176 Rev A	Hold Shift while adjusting input/output to link the two controls in opposition.	Modern revision with no output saturation. Attack is fast even on the slowest setting; it will attenuate transients.	Circuit 1: Similar to Vintage; forward sounding character, but cleaner and more pristine. Attack is slow enough to sound amazing on close drum mics: slowest attack and fastest release. Try it on a snare to bring out the punch while extending the decay. Same setting on bass. Kick: back down the release and the sound will tighten up. Circuit 2: Breathable, punchy low end and smoother top end response. Drum buss/full mix: Hi Pass filter engaged. Attack on the slowest, release on fastest, HP filter on, use on full mix and compress about 10db, back off the mix knob to about 25% for energy and excitement. Combine with FG Grey or FG-Red. Try it on electronic drum beats.
13	VMR	Blue	FG-116 Vintage	Compressor	UREI 1176 Rev A	Hold Shift while adjusting input/output to link the two controls in opposition.	Circuit 1: Completely original model Circuit 2: Refurbished model with altered tone	Circuit 1: Adds colouration to the upper mids; warm presence to vocals, bass, drums, and guitars. Compared to the Black 116, it has a softer top and bottom end, more articulate transients due to the harmonic distortion in the midrange. Circuit 2: Bigger lows and smoother mids/highs. Great on drum room mics and vocals for bigness and don’t need the midrange push of Circuit 1. Keep the release all the way to the right to make everything more forward, aggressive and exciting.
14	VMR	CS	CS-EQ	EQ	N/A		Every single band’s boost and cut is customized with combinations of the best analog filters.	The ultimate companion to the FG-N and FG-S.
15	VMR	CS	CS-Lift	EQ	N/A
16	VMR	A&E	Air	EQ	Eiosis AirEQ			It can be used on any track to bring back some life and breathe.
17	VMR	A&E	Earth	EQ	Eiosis AirEQ			Makes the sound tight and punchy. Great to add sub lows, without adding any boominess. Negative values can be used to remove muddiness without loosing the punch and presence of the bass.
18	VMR	VCC	Virtual Channel	VCC Master	VCC Slave	0VU = peak level of -18dBFS. Adjustable via screw under VU meter	Place on individual mixing channels.
19	VMR	VCC	Virtual Mixbuss	VCC Master	VCC Slave	0VU = peak level of -18dBFS. Adjustable via screw under VU meter	Place in first module slot on first insert of the master channel.
20			Brit 4k E	VCC Slave	SSL 4000E			Tight but punchy low end, warm low mid, and punchy and present mids. You can really hit the mix buss hard by using “Link I/O”, and it gives you an amazing saturation and makes transients sit in the mix much better.
21			Brit 4k G	VCC Slave	SSL 4000G		Specifically: Ameraycan Studio A	Known for a rich, fat, and warm sound.
22			Brit N	VCC Slave	Neve 8048			Clean, punchy, wide, and slightly aggressive quality that has made it the go-to for rock, pop, metal, and hip hop. Push it hard to get some extra grit to the transients.
23			RC-Tube	VCC Slave	RCA Broadcast Tube Consolette		A 1950 hybrid BC-6B/BC-3 model, based on a combination of two BC-6Bs and a BC-3.	Super thick midrange, smooth high end, and fat and warm bottom end.
24			Ψ	VCC Slave	Trident 80B			The ultimate rock desk, with a wide soundstage, smooth highs, and fat low end. Push it hard for some extra fatness.
25			US A	VCC Slave	API 1604			Known for a thick and fat tone with lots of vibe and midrange punch.
26	VMR	VPC/ VMS	FG-73	Preamp	Neve 1073 Preamp	Bulb will glow brighter as more saturation is being applied.		It has a bold, present, and warm sound that sounds great on any audio source and even full mixes. Virtual Drive settings: Colour and tone effects, < 50. Saturation and full on distortion, > 50.
27	VMR	VPC/ VMS	FG-76	Preamp	Telefunken V76 Preamp	Bulb will glow brighter as more saturation is being applied.		Thick, warm, and colourful tone. The bottom end saturates in a unique way, great for bass and kick tracks. Virtual Drive settings: Colour and tone effects, < 46. Saturation and full on distortion, > 46.
28	VMR	VMS	FG-12	Mic	AKG C12			Incredibly rich and smooth sounding.
29	VMR	VMS	FG-47	Mic	Neumann U47			Big, thick, present, and warm. Thick and full-bodied low end, rich and present midrange, and smooth top end. Sounds great on thick lead vocals, or on kick drum, room, guitar, horns and strings.
30	VMR	VMS	FG-67	Mic	Neumann U67		Has the low pass filter mod, brighter than a typical U67.	Slightly dark, bold and thick. Great on vocals, rooms, horns, piano, and toms.
31	VMR	VMS	FG-251	Mic	Telefunken ELA M 251			Bold, clear, with a classically shimmery top end. Crisp, warm and flattering on a variety of voices. Great on drums, guitars, and acoustics.
32	VMR	VMS	FG-269	Mic	Neumann M269		Same circuit as the U67, but with a different tube that makes it more open and clear.	Great on vocals.
33	VMR	VMS	FG-800	Mic	Sony 800			Go-to choice for pop and hip-hop vocals. Extremely bright and airy, with a warm bottom end. Using on vocals will give you an instant polished ‘pop’ sound. Great on overheads and acoustic guitar.
34	VMR	VMS	FG-800M	Mic	Sony 800M			Slightly fatter, darker, and less sibilant compared to the stock 800.
35	VMR	VMS	FG-M7	Mic	Shure SM7B w/ U47		True to the SM7B, but adds the tube stage of the U47.	Extremely punchy and crisp, with incredible mids that make vocals cut through the mix.
36	VMR	VMS/ CT3	FG-37A	Mic	Sony C-37A			Excellent vocal mic. Great on acoustics, drum overhead and piano.
37	VMR	VMS/ CT3	FG-44	Mic	RCA R44		Custom tube stage to give more harmonics and subtle saturation.	Great on anything that needs ultra smooth vintage vibes.
38	VMR	VMS/ CT3	FG-47 MK II	Mic	Neumann U47			Similar to the stock U47, but has a slightly smoother upper midrange and top, along with a fatter low mid. Great for vintage vocal sounds, kick drum or bass cabinet.
39	VMR	VMS/ CT3	FG-67 MK II	Mic	Neumann U67		Stock U67.	Somewhat dark on the top end, with beautiful, lush lows.
40	VMR	VMS/ CT3	FG-49	Mic	Neumann M49			Dominant and rich midrange along with a slightly airy and smooth top end. Shines as a drum room, piano, horn or kick drum mic.
41	VMR	VMS/ ML2	S-47F	Mic	Neumann U47 FET		A more closed in and flat sounding fet version of a tube U-47	The FET 47’s high SPL-handling capability quickly made it a firm favourite for capturing kick drums, bass instruments, guitar amps, brass and many other demanding instrumental applications.
42	VMR	VMS/ ML2	S-67	Mic	Neumann U67		Warm proximity and clear high end. V	oice, room mics, general tube workhorse.
43	VMR	VMS/ ML2	S-7	Mic	Shure SM7b			Kicks, toms, gtr, bass, radio announcer.
44	VMR	VMS/ ML2	S-E20	Mic	Electrovoice RE-20		Versatile fat dynamic microphone.	Radio vo, gtr, kicks.
45	VMR	VMS/ ML2	S-57 Vintage	Mic	Shure SM57 80s			Gtr, snare
46	VMR	VMS/ ML2	S-Custom Snare	Mic	Shure SM57 Modified			Snare
47	VMR	VMS/ ML2	S-57 Modern	Mic	Shure SM-57		Smoother mids and sizzle highs.	Gtr, Snare.
48	VMR	VMS/ ML2	S-112	Mic	AKG D112			Kick, bass cab.
49	VMR	VMS/ ML2	S-421	Mic	Sennheiser MD421			Toms, kick, gtr, bass, horns. Punchy low.
50	VMR	VMS/ ML2	S-Custom Tom	Mic	Sennheiser MD421 Modified		More highs and lows, less low mid.	Toms
51	VMR	VMS/ ML2	S-414	Mic	AKG C414	Normal and Dynamic modes	Versatile, natural	Overheads, guitar cabs, for things that don't have to cut through a mix with extra sizzle.
52	VMR	VMS/ ML2	S-12	Mic	AKG D-12		Crisp top, Fat low mid, warm bottom	Kick
53	VMR	VMS/ ML2	S-Custom Kick	Mic	AKG D-12 modified		Extra attack, punch, scooped mids, defined lows	Kick
54	VMR	VMS/ ML2	S-121	Mic	Royer R-121	Normal and Dynamic modes	Use on bright sources needing warmth and taming in the highs	Horns, strings, room, gtr, overheads
55	VMR	VMS/ ML2	S-222	Mic	Schoeps 222		Smooth, sweet	Overheads, acoustic guitars, sfx, strings.
56	VMR	VMS/ ML2	S-451	Mic	AKG C451		Clear, peaky highs, sharp	Overheads, hh, toms, guitar to cut.
57
58	VMR	VTC	London	Preamp/ Saturator/ Console		0VU = peak level of -18dBFS. Adjustable via screw under VU meter Bulb will glow brighter as more saturation is being applied.	Inspired by some vintage tube circuits originating from Europe.	Big, warm and bold in the lows and low mids, and slightly smooth in the top end. The transient response has a slight thickness to it without being overly aggressive. London sounds amazing for fattening up tracks in preamp mode, or thickening things up with it’s preamp saturation, and can add fat analog body in Console mode on the whole mix.
59	VMR	VTC	New York	Preamp/ Saturator/ Console		0VU = peak level of -18dBFS. Adjustable via screw under VU meter Bulb will glow brighter as more saturation is being applied.	Inspired by some vintage tube circuits with a hint of some New York solid state discrete circuits to give it some tightness and impact.	Aggressive in the mids, and tighter in the lows due its unique dynamic harmonic saturation. It can add focus and punch to tracks in preamp mode, especially in boost mode.
60	VMR	VTC	Hollywood	Preamp/ Saturator/ Console		0VU = peak level of -18dBFS. Adjustable via screw under VU meter Bulb will glow brighter as more saturation is being applied.		Air, depth, excitement, and some really big bottom. Fantastic when paired with some of the vintage VMS mics to add extra top end flavor and warm lows.
61
62	VBC		FG-Grey	Compressor	SSL 4000 Buss Compressor		With a St. Ives transformer modification	Fairly transparent in auto release mode, very aggressive in manual mode. Great on drums and guitar.
63	VBC		FG-Red	Compressor	Focusrite RED 3 Compressor		True to the hardware but with the output transformer effect controlled by the drive knob.
64	VBC		FG-Mu	Compressor	FairChild 670/Manley Laboratories Variable Mu		Hybrid of a FairChild 670 and a Manley Laboratories Variable Mu.
65
66	FG-X		FG Comp	Compressor	N/A		The algorithm is based on two different compression topologies, photo optical cell, and VCA.
67	FG-X		FG Level	Compressor	N/A
68
69	VTM		Virtual Tape Machine	Tape Machine	Machine/Tape/Speed/Bias Type
70			2" 16 Track Type	Machine	Studer A827		From NRG Studios	Fat, punchy, thick sound with a very detailed top end.
71			1/2" 2 Track Type	Machine	Studer A80 RC		Owned by mastering engineer Howie Weinberg.	Thick low end, nice rich midrange, and a smooth top that takes away the digital edge in a natural way.
72			FG456	Tape	Ampex 456		1975 “+6” tape, meaning it is +6dB over the 185 nWb/m standard. An additional 6dB of headroom before tape saturation occurs.	A bit more colourful with slightly thicker lows.
73			FG9	Tape	Quantegy GP9		A more modern tape that has a thicker layer of oxide and is known as a “+9” tape (570 nWb/m).	Has more punch, more definition throughout the frequency spectrum, and a slightly more forward sound.
74			30ips	Tape Speed	30ips		Faster speed setting.	Less noise, an flatter frequency response, and a slightly extended high-end. Relatively flat above 200Hz, with some emphasis in the higher portion of the low-end. Pristine sounding high-end with smooth saturation on peaks, and a nice thickening of the upper low-end.
75			15ips	Tape Speed	15ips	Overcome the extra noise by using the noise reduction slider in the settings	Slower speed setting.	Low-end extension is driven down to the sub-lows, below 100Hz. Fatter sounding. The midrange is. Bit extended on both machines, which adds a nice presence and bite.
76			High	Tape Bias	Dependant on choices		High Frequencies will saturate earlier
77			Normal	Tape Bias	Dependant on choices		Automatically adjusted to the recommended value based on choice of machines, tape or speed.
78			Low	Tape Bias	Dependant on choices		High Frequencies will saturate later, with increased dynamics.
79
80	VSC		Verbsuite Classics		Reverb Device
81			FG-480	Reverb Device	Lexicon LX480		Several programs that share a distinct and classic sound due to the units unique modulation that helps it cut through the mix.
82			FG-2016	Reverb Device	Eventide 2016		First created in 1982, this American made reverb was known for it’s realistic recreation of rooms.
83			FG-250	Reverb Device	EMT 250		First ever digital reverb from Germany. Its widely known as one of the best sounding reverbs till this day, despite having only 16k memory	It has a thick tone that mixes into source material with ease.
84			FG-QRS	Reverb Device	Quantec Room Simulator (QRS)		German made reverb from the early eighties.	Transparent for a digital verb, and is known for having minimal digital artifacts.
85			FG-2000	Reverb Device	Sony DRE 2000		Extremely rare Japanese made reverb has been the favourite drum verb for many top pros.	Perfect for drums, and great on guitars, piano, and vocals.
86			FG-16X	Reverb Device	AMS RMX 16		Microprocessor controlled digital reverb from the early 80’s.	It has a smooth and lush tone that is incredible on all types of source material. One of its most famous uses is Phil Collin’s drum tone on “In The Air Tonight”.
87			FG-6000	Reverb Device	TC Electronic 6000		Fairly modern Danish digital reverb. Several programs that are incredibly realistic, smooth, and deep.	Great for small and large spaces.
88			FG-BM-7	Reverb Device	Bricasti M7		Available from LiquidSonics using public domain Bricasti M7 Fusion-IRs. Recreates the true tone and character of the unit’s modulation.
89		224/ 224XL	FG-224	Reverb Device	Lexicon 224
90		224/ 224XL	FG-224XL	Reverb Device	Lexicon 224XL