Slate Digital VMS 2

Version 2 of Slate Digital’s Virtual Microphone System offers new hardware, a comprehensive software refresh — and the fruits of one of the best‑stocked mic lockers in the world.

I first reviewed Slate Digital’s Virtual Microphone System (VMS) way back in 2016. Microphone modelling wasn’t an entirely new concept at the time, but Slate Digital’s approach was unique: while other systems were entirely software‑based, the VMS relied on the use of a specific reference microphone that could provide a blank canvas on which software emulations of classic mics could be projected. Eight years later, in January 2025, I took a fresh look at the VMS, to see how the system had evolved and expanded since its original release.

When I was asked if I wanted to look at a brand‑new version of the VMS, my first question was whether there were enough changes to talk about since my last review! The answer was compelling: the VMS 2 features a brand‑new modelling microphone, as well as a dedicated plug‑in for handling the software emulations (previously this was done using Slate Digital’s general‑purpose Virtual Mix Rack plug‑in). We’ll be taking a detailed look at both of these new components, as well as exploring a brand new pack of microphone models based around selected items from the extremely well stocked mic locker at Radio France.

The New Mic

Slate Digital have given the new ML‑1A microphone a cosmetic refresh, and it certainly has a more modern, stylish look than the original ML‑1. And, although they are giving little away in terms of the origins of the capsule or electronics, the specs have also been improved, with lower self‑noise, greater sensitivity and a higher maximum SPL rating. This last improvement seems the most significant on paper, with a maximum SPL of 145dB (when the ‑20dB pad is engaged) being very impressive and perhaps allowing for more flexibility when it comes to replicating mics that are typically used for close‑miking very loud sources.

The new mic ships with a shockmount (but is also compatible with standard swivel mounts) as well as a compact Peli‑style case. This is something I’ve always considered a much more sensible option than a large hard case, and much more practical for a mic that will often be moving about between bedrooms, studios and practice rooms.

I mentioned in my previous review that the original ML‑1 mic was a good‑sounding capacitor mic in its own right, and I can confirm that the new ML‑1A also ticks that box: I ended up using the ‘raw’ mic as part of my drum setup before getting the new software installed, and the ML‑1A sounded clear and punchy above the kit. I feel this is important to mention for a couple of reasons. First, it allows you to use the mic even if your setup doesn’t let you monitor through the software in real time, so you can still focus on your microphone technique. Second, in a busy session it’s unlikely to be practical to scroll through the many emulation options available (this is one of the aspects of using virtual mics that still makes me feel a little uneasy), but the fact you’re getting a good‑sounding mic in its own right allows you flexibility in terms of how you use the whole package. Finally, a good‑sounding mic will always be a useful and future‑proof investment!

As well as being more efficient, the new dedicated VMS plug‑in features some interesting new options to play with, such as a stereo widener and an ‘Interpolate’ feature...

The Software

I was pleased when I heard that Slate Digital had decided to give the VMS its own dedicated software. While the original system worked fine, it did sometimes involve having to make more mouse clicks than was ideal when auditioning the different models. As well as being more efficient, the new dedicated VMS plug‑in features some interesting new options to play with, such as a stereo widener and an ‘Interpolate’ feature that allows you to combine the qualities of two mic models of your choice. The new software also maintains two features I found useful in my previous review: the Proximity control, which allows you to mimic the tonal differences imparted by the distance your mic is positioned from a source, and the Intensity control, which gives you the ability to exaggerate — or reduce — the inherent character of a particular model. I’ll share a few thoughts about how I got on with these features later but generally, I found the new VMS plug‑in to be easier to use than Virtual Mix Rack, and very well thought out.

The microphone modelling is now handled by a dedicated VMS plug‑in, rather than in the Virtual Mix Rack host plug‑in as before.

Finally on the plug‑in, if you’ve already invested in the previous ML‑1 mic you’ll be pleased to hear that this new software is also intended to work with that mic. When opening the plug‑in you are asked which Slate Digital microphone you are using; it will then automatically switch to the correct model every time you open the plug‑in.

Vive La France!

In the UK, the BBC is part of the fabric of our lives, so it was interesting to learn a little about the French equivalent. Like the BBC, Radio France was a pioneer of early broadcasting technology, and over the years it has amassed a huge collection of microphones — over 5000 in total, covering 300 different models! Slate Digital chose to model 10 of those for their Radio France Signature Mic Pack, and it’s an intriguing selection (see box for the full list). Sensibly, Slate Digital have focused on adding variation here, as the heavy hitters from the large‑diaphragm capacitor mic world are already well represented in the existing packs. It’s great to see ribbon mics as well as some dynamic and small‑diaphragm capacitor options included.

Radio France’s unusual reporter’s mic being modelled by the Slate Digital team.

However, one of the key aspects of this technology is that it offers us engineers access to the sound of mics we’re highly unlikely to ever own. Whilst some of the ‘rarities’ included in this pack certainly tick that box, many of the models are still very much available. What I can say, though, is that even as a studio owner of nearly 20 years, I haven’t personally used the majority of the Radio France mics that Slate Digital have modelled, which perhaps validates the choices made by the VMS team. I was especially keen to hear the RF‑42B, which is an emulation of the largest ribbon mic ever made, and the RF‑21B, which is based on a quirky omnidirectional dynamic mic that is used by Radio France for interviews ‘in the field’. We also have the RF‑X25 (based on a well‑known American model), as well as the RF‑H64, which is based on a German pencil microphone designed for handheld use with speech, or as a targeted spot mic in busy recording sessions.

In Use

Vocals were the obvious place to start with the VMS 2, and it was revealing to audition the options from the Radio France pack on an excellent male rock vocalist I was recording at my studio. The top end of his voice opened up in a lovely way using the RF‑BB6 model, and I also liked how the RF‑X25 brought some extra presence to his voice. The 149 emulation was really interesting, as it seemed to retain more of the sound of the ‘raw’ mic but with a little extra body and a touch more softness. The small‑diaphragm options also worked nicely on my singer, with the reduced low end not proving to be an issue in the context of a mix. The RF‑H64 Bonnette (a version of the RF‑H64 with the foam pop filter attached) also worked nicely for taming a little sibilance. Although they didn’t deliver the right tone for the genre of this recording session, it was interesting to hear how the large ribbon mic models sounded on my singer. Any sense of sibilance was quickly reduced, and his voice seemed darker and more chesty‑sounding.

These 42B models would work superbly on certain female voices, I think, and they do present an authentic ribbon mic flavour in a mix. I mentioned earlier that I was looking forward to trying out the reporter’s mic, as I love the idea of options that present something obviously different or unusual‑sounding. But, while the RF‑21B did sound more ‘lo‑fi’ than the other models, in this session it wasn’t distinct enough, and left me a little underwhelmed. It did sound more dramatic on drums, however, which is where we’ll head next...

Drums

On the same session, I put up the ML‑1A as an additional mono overhead mic for the drum recording. How a mic fares with loud, often harsh‑sounding cymbals is a great test for a new mic and, as I mentioned earlier, the raw sound from the mic was clear and punchy, with the cymbals sounding respectable if a little sterile. Auditioning a couple of the large‑diaphragm mic models had the desired effect of ‘sweetening’ the top end, and I liked how the RF‑X25 sounded in that regard. The RF‑149 model produced quite a dramatic change to the midrange, which had the effect of bringing out the transients in the ride cymbal in particular. It was also nice to hear how the dynamic mic models blended with the rest of my kit mics. I’ve long been a fan of having a dynamic mic above a drum kit in conjunction with more standard overhead options; it sounds unimpressive on its own but can bring out a nice sense of 1‑2 kHz detail in a guitar‑heavy mix, and the RF‑21B model worked well for this.

My favourite model in this drum setting, though, was the RF‑42B in its ‘Musique’ setting: the high end of the cymbals was rolled off and it was great to hear that ‘thumpy’ low end you can get using large ribbon mics on drums. It was also interesting to play with the new Interpolate feature here: whilst the sound of large ribbon mics can be pleasing on drums, I often find myself heading for the EQ to add more presence or definition in the context of a mix. By blending in something brighter — like the small‑diagphragm FR‑H64 — I was able to find that ‘mix ready’ sound without reaching for an EQ plug‑in. I should add that Interpolate is not the same as a mix function. It doesn’t simply blend between the sound of one mic and another: rather, it continuously morphs between two models. (If you do want a straightforward blend you can of course duplicate the track and use a second instance of the plug‑in).

Mics For Days!

I have focused on the new Radio France pack here, but do check out my review from January this year where I covered the Blackbird, Strongroom and Classic 87 packs that now come included with the All Access Pass subscription: www.soundonsound.com/reviews/slate-digital-vms. At the time of writing, that bundle will give you access to no fewer than 36 mic models.

Whilst not containing many especially rare or famous mics, the Radio France pack adds a good amount of variety, and it seems a sensible call from the VMS team to not go down the path of modellng more high‑end studio mics from Neumann and the like, as these are already well covered in other packs. The inclusion of more dynamics and ribbons is very welcome, and I’d like to see even more obvious character and effect options in future packs.

Final Thoughts

The new ML‑1A seems a solid upgrade on the previous version, but perhaps not to the extent that people who recently bought the V1 should feel let down! The big plus for me with this new release is the dedicated VMS software, which will benefit users both new and old. When feeling my way around a new piece of software, it’s quite rare for every guess I make in terms of trying to access a feature to turn out to be right first time, but that was definitely the case here.

I found myself tweaking the Proximity and Intensity controls the most when mixing, and found both to be very handy indeed for fine‑tuning mics in the context of a mix.

There are a lot of mics to choose from now too, and it’s important that the software allows you to quickly audition the options intuitively. The extra processing features are also worthwhile. I found myself tweaking the Proximity and Intensity controls the most when mixing, and found both to be very handy indeed for fine‑tuning mics in the context of a mix. I also found the Interpolate option useful on occasion; as described earlier, it proved quite effective at giving darker‑sounding mics a bit more edge, and vice versa. I’m not a fan of stereo widening myself, but I know many engineers who are, and they will enjoy having that option included. The Radio France pack is a nice extra feature for this new version 2 launch, and it offers engineers like me the chance to try out a few mics we haven’t used before as well as offering a different ‘feel’ from the other mic packs.  

You can hear some audio examples of the Slate Digital VMS 2 in action at: https://sosm.ag/slate-digital-vms2