Let's move on to the structure of the ML-1: its head is adorned by a black wire mesh basket, the classic shape of which is protected by a frame made of metal struts. Two transducers whose sound results the VMS tries to emulate among others. The basic structure and placement of the logo speak - surely not entirely unintentionally - a design language that places it between the microphone classics Neumann U 47 and Sony C800G. The glued-on emblem with the gothic slate "S" further supports this "evil" impression. The metal body in galvanized matte black, combined with the glossy black paint of the other metal parts, gives the microphone a certain "Mad-Max" look. Visually, the ML-1 fits seamlessly into Slate's all-black line of studio gear. A reducing thread is included right away. The locking ring of the spider is equipped with a felt washer, which is supposed to protect the microphone body when fastening it. Its interior houses the ML-1 and an associated elastic suspension. Its workmanship is absolutely fine for the transport and storage of a studio device. The VMS microphone is supplied in a non-lockable microphone case.
SLATE DIGITAL VMR MANUAL PDF
And the diagrams in the PDF manual indeed show that the frequency response seems to be extremely linear and the noise behavior is respectable. Slate Digital advertise the Virtual Microphone System with the VMS ONE's linear frequency response, low noise and clear sound, among other things.
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A value that plays pretty much in the regions of preamps like the Millennia HV-35 or the TL-Audio PA-1.
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The maximum input level with activated pad is +18 dBu. Therefore, you should work with the international studio level for line signals at the input of the following audio interface in the signal chain. The VMS ONE is designed for an output reference level of +4 dBu. The XLR part can handle balanced microphone signals, the jack socket of the combo plug is a Hi-Z input for unbalanced instrument signals.įrom the manual and FAQ section of the VMS I have collected some information about the inner values of the set, which should help you to better classify the microphone and preamp. To save space, a Neutrik combo jack for XLR/TS connectors has also been installed for incoming signals. They both output mono signals and are balanced. In addition, an XLR and a TRS connector are available as output jacks. In addition, there is an output socket for passing through the power supply voltage for another VMS ONE. The preamp is supplied with 15 V DC via a seven-pin socket. It all looks very tidy and very well laid out.Īll connections are located on the back of the VMS ONE. A small multicolored LED is supposed to indicate the optimal level and overdrive of the output signal. In addition to an input selector switch for the instrument or microphone input, there are switches for a phase rotation, activation of the 20dB pad and 48V phantom power, and an on/off switch. Five toggle switches make up the remaining controls. This is at least 15 dB and can be raised up to 60 dB. It can be used to continuously adjust the preamplification of the microphone signal. The VMS ONE is a completely black single-channel desktop preamp whose exterior reminds me of common monitor controllers, because there is a large rotary control in the center of the device. This could indicate that the preamp consumes power even when it is switched off (quasi in "standby"). Although the preamp has an on/off switch, the original power cord has a separate power switch. In addition to a proprietary power supply with a 7-pin connector, a power cord designed for US outlets is found in the box. The preamp that comes with the Virtual Microphone System is called VMS ONE.
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Of course, at gemstrack, we don't miss the opportunity to test and review the latest edition of the "revolutionary" microphone and preamp modeling system for you. Slate Digital's Virtual Microphone System has been announced for a long time and was eagerly awaited by many of us.