The more you listen the more your ear gets refined so you can hear more, subtle, things. The process is dependent on what you do but if you want to make the best products, for example, hardware emulation plugins, you have to keep asking yourself, “ Does this sound the same” all the time. Nowadays there’s a need to have a process because there are more people involved and I never thought about our process until recently when I had to analyse it because I had to teach it. Could you tell us your process and how you achieve this “perfection”? We didn’t know that at the time, but when a plugin has a lot of success, there will be a lot of people criticising it and that’s what we learned happens after a successful release.īoth you and Steven have a drive for perfection and to only release something when you are 100% happy with it. Even some mastering engineers didn’t want to use it because they thought it made it a bit too easy. We took some heat and some people were a little pissed that we released that plugin. Then there was also some issues at the beginning because it was a very innovative plugin and there were some situations we didn’t anticipate. It was really good but it was also quite controversial because we tried to bring an easy process to a market that didn’t necessarily wanted it, so, we got a lot of criticism because of that. How was the first initial reception when it came out? Also, right after the release, we had to go back to modify it. The experience was painful and difficult because this was in the early days and I was designing all the algorithms myself, now I can’t because we have too many products. The first product you made together was the mastering plugin, the FG-X, how was the experience of developing that first plugin and what role did you specifically play back then? We shared some ideas between us and decided to start working together. Steven came up to talk to me because he knew my plugins and he was struggling to find someone who could work for him. I went to AES with my company, Eiosis, to show my product and to meet new people. The Bomber can literally help your mixes extrude from the speakers and emerge into the 3D space.Could you tell us why you went to AES back in the day and how you met Steven Slate there? Output – allows fine tuning of the output level Tone – selects one of the three preset effect styles: Present, Fat, and Tight. Large amounts of intensity can produce extremely punchy and fat sounding results. Small amounts of intensity can create subtle impact, space, and depth. Intensity – this parameter blends the effected signal with the dry signal. By pushing it past the bomb icon, more depth and sustain can be had. This setting will provide the most impact. It is suggested that the drive parameter be adjusted so that the VU needle peaks at the little bomb icon.
#PUSHING THE DRIVE ON SLATE VCC SERIES#
And it is for that reason that many people will find that the Bomber by itself can literally replace entire series of processing chains.ĭrive – controls the amount of signal sent to the effect processors. It accomplishes this by using one of our most complex and unique fully analog modeled digital circuit paths consisting of special harmonic generators, compressors, saturators, filters and more. It can make the elements of your mix extrude from the speakers, adding a front to back depth that can even translate to small speaker systems. It can make your tracks and mixes more dimensional, impactful, exciting, and more alive sounding. FG-Bomber is an Analog Modeled Dynamic Impact Enhancer.