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To take things beyond the hardware that inspired it and give you even more creative flexibility, we've created a second plug-in, Devil-Loc Deluxe. The Deluxe version adds a "Darkness" control for tone, switchable slow or fast release times and the ability to mix the original back in right on the front panel. The addition of these controls opens up the sonic palette immensely. Dark thundering drums, to driven lo-fi loops, and more, and the mix control saves all that tedious routing and lets you automate mix to keep the Devil from taking over the soul of your tracks. This time, evil is good. But it isn't free.
A Bit of History
The original Shure Level-Loc from the 1960s was a brick wall limiter designed to be used in public address systems. Its extreme compression and gritty sound eventually became a secret weapon of some well-known and very creative engineers and producers. It's an extreme effect, and can create huge sounds with drums and room mics, and in small amounts can add sizzle to things like vocals or acoustic guitar. The controls were very simple, with only a switch for three "distance" settings based on how far from the mic you were. The M62V upped the control a bit by adding an input level knob. The reason it became famous was largely thanks to SoundToys user Tchad Blake and his desire to push, abuse, and do deliciously evil things to his tracks. He discovered that the Level-Loc was gritty, dirty, and unusual. The kind of compression that made drums gigantic and nasty - which is a good thing.
Devil Loc is the most fun, useful and inspiring audio destruction plugin I've come across since Decapitator came out. Totally addictive.
- Fabrice "Fab" Dupont - Jennifer Lopez, Santigold, Brazilian Girls, Sean Lennon
HOLY CRAP!!! JUST PUT IT ON THE MIX BUS AND IT WAS FREAKING AWESOME!!!
- Joe Barresi - Melvins, Tool, Weezer, L7
Now Pro Tools 11 AAX Compatible!
Comprising of three distinct models of dynamic processors, designed to create authentic and professional emulations of classic hardware.
This is created by not only modelling the character of the equipment, but the individual parts as well - anything from transformers and tubes to the harmonic distortion and timing elements. It leaves you with a virtually-manipulated imprint on your tone that will bring an analogue-style vitality to every mix.
The FG4014 is described as having a "modern, clean, pristine" sound, capable of compressing without colouring the tone. An all-rounder that works equally well across recording, mixing and mastering, it's an invaluable addition to the studio. Slate recommend all instruments, drums and percussion when it comes to possible applications.
Next up is the FG8014 - think Neve and Focusrite Red-3 for an approximation of the sort of hybrid creation that Slate Digital has aimed for. It's all about the punch and a sonic tightness that will do a great job of giving power to your tracks without the sound becoming unwieldy, it's been designed for modern production as the "dream buss compressor".
And Finally the FG MU, a Fairchild 670 in a virtual guise with a modern twist - bags of character and warmth, and a depth that provides space and transient sparkle. It's a tried and tested classic, and like the other two in the range, the FG MU has filters and controls true to the original ideas the VBC's have been based on. They can be arranged in sequence as necessary too - the range of compression options available in manipulating your sound is therefore staggering. You could even add this to Slate's Digital FG-X Virtual Mastering Processor Plugin for a comprehensive analogue-emulating compression setup that'll articulate and transparent or character-laden at the twist of a few virtual knobs.