Slate Digital VCC Virtual Console Collection


Console saturation plug-ins accurately model the responses of six famous recording consoles

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The Slate Digital VCC Virtual Console Collection gives your mixes the sound, separation, and imaging of six of the worlds finest analog consoles

Although many top mixers have switched to mixing ITB (inside the box) for the sake of convenience and recall-ability, it’s generally agreed than mixing through an analog desk gives the music a life and body that ITB mixing can’t. Ironically, it’s more apparent as track counts get higher, which is the same reason mixers have moved inside the box, for the sake of easier manageability. The Slate Digital Virtual Console Collection gives you the best of both worlds, with six painstakingly modeled consoles that recreate every subtle nuance of theses legendary consoles. With the Virtual Console Collection, your DAW takes on the personality of a real analog mixing desk. The imaging and depth improve, instruments are easier to place in the frequency spectrum, and mixing requires less effort to sound rich and musical.

Slate Digital VCC Virtual Console Collection in one take:

  • Two plug-ins faithfully reproduce console channel and mix bus signal paths
  • Choose from six meticulously modeled analog consoles
  • Group function streamlines console control

Two plug-ins faithfully reproduce console signal paths

The Virtual Console Collection comprises two plug-ins, the Virtual Channel and Virtual Mixbuss. Both let you choose from one of six modeled consoles. The Virtual Channel is applied on individual cannels, while the Virtual Mixbuss goes on the first insert of the master fader. Like hardware console, the Virtual Channel and Mixbuss modules have VU meter with a clip indicator, and allow you to set a global reference level for the session via a “screw” underneath the meter. Input and output trim controls can be linked, which enables you to add more input signal while maintaining the same output level, making it easier for you to hear the effects of increased input without higher levels fooling the ear.

The Console Drive control found on both plug-ins lets you determine the amount of saturation you want without changing levels. Both modules have selectors that let you choose between each of the six consoles, a noise-reduction button, and a group knob that lets you assign each instance to one of eight groups so you can create a custom hybrid console. A group bypass button lets you bypass processing for the selected group. Group I/O can be linked as well. And finally, like an analog console, you can even push the DAW faders up to find each mixer’s sweet spot.

 Six meticulously modeled analog consoles

From left to right on the Virtual Channel and Mixbuss selectors:

Brit 4k E (SSL)—The first choice for mixers such as Chris Lord Alge, this setting models the SSL E-4000, which has a uniquely fat tone. This desk has a tight but punchy low end, warm low mid, and punchy and present mids. You can hit the mix bus hard and it gives you amazing saturation and makes transients sit much better in the mix.

Brit 4k G (SSL)— The most popular mixing console in the industry, used on countless platinum albums, this desk has a clean, punchy, wide, and slightly aggressive sound that made it the go-to desk for rock, pop, metal and hip-hop. Push it hard to get some extra grit in the transients.

US A (API)—The API, Mid-1970s vintage console, is one of the most sought after in the industry; an American made discrete console, famous for it’s 550/560 EQs, if features a thick, fat tone with midrange punch.

Brit N (Neve)—This classic console has been the staple of the recording industry for over thirty years. The Neve 80 series consoles fitted with the 1081 preamp, achieved legendary status throughout the 70s, used by artists such as Queen, Led Zeppelin, and many more.

 Symbol (Trident)—This setting models the Trident A-Range console designed and built by Trident Studios’ Malcolm Toft and Barry Porter. Though not as expensive as the other desks modeled in the Virtual Console Collection, it’s considered to be the best desk for rock and roll ever built, thanks to its wide soundstage, smooth high end, and fat low end.

RC Tube—This setting models a heavily modified RCA RC 550 console, which was a broadcast desk introduced in the 1950s. It’s known for “a super thick midrange, smooth high end, and fat and warm bottom end.”

Steven Slate recommends a mixture of the consoles for a killer flavor: Brit N on guitars, US A on drums, Brit 4k on the rest for channels. On the mix buss, 4k followed by the RC-Tube.

Group function streamlines console control

Groups make using the Virtual Console Collection very simple, quick, and intuitive. At its most basic use, you can just set all VCC Channels and the Mixbuss to the same group, emulating mixing through one console. With ability to create up to eight groups, you can make your own hybrid console. When a VCC module is grouped, you can control Input and Output, Input/Output Link, Console, Console Drive, and Noise reduction all from a single instance.

Slate Digital Virtual Console Collection full feature list:

  • Includes two plug-ins that faithfully reproduce the signal path of the consoles channel and mix bus
  • Choose from 6 meticulously modeled analog consoles
  • Input Level control
  • Drive control
  • Sophisticated Grouping System
  • Global and Group Level Calibration Settings
  • VU Meter Ballistics
  • Console Output Trims
  • Real-time and Offline Oversampling Settings

Slate makes the leap from analog console summing to mixing ITB easy with the Virtual Console Collection plug-ins. For more information, call or chat with your Westlake Pro sales consultant today.

Additional information

OS Requirements - PC

Windows 7 (SP1) or later


AAX Native, AU, VST2, VST3

iLok Required




Download / Boxed




e-Licenser Required


OS Requirements - Mac

OS X 10.8.5 or later, iOS 8 or later


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