VMS ML-2 Quick Start

Transcription

1 VMS ML-2 Quick Start

2 This quick start guide will help you get acquainted with your VMS ML-2 so you can start making the best sounding music with it, fast. Making Connections 1. Connect your ML-2 via a standard XLR cable to any high quality flat preamp such as the VMS ONE Ultra Linear Preamp. 2. The ML-2 requires phantom power, so turn on the phantom power on your preamp. 3. If you are using the ML-2 on a loud source like drums or guitar cab, switch the microphone into dynamic mode. 4. Insert the VMR plugin onto your audio track, and select the Classic Instruments Module from the Mics tab, and start virtual micing! Understanding Latency If you are new to native recording, let s talk about latency. To get the lowest latency, go to your hardware playback settings, and choose the lowest buffer size. If you have plugins that add latency, you will need to bypass them before recording with VMS because those plugins will slow your roundtrip latency times. At a sample rate of 96 khz, with a Thunderbolt interface, you ll be able to get down to roundtrip latency times of 2ms, which is less than our little human brains can decipher. Pro Tools HDX and TDM Systems If you have a Pro Tools HDX or TDM system, here is a trick for how to record and monitor live through your HD system. Put the DSP version of the EQ3 or EQ7 plugin on the first insert. Don t do anything with it, just park it there. It will not affect the sound if you don t adjust its parameters. Insert the VMR in the next slot, with the Classic Instruments Module. Now you can monitor live through the VMS!

3 Optimal Recording Levels The Classic Instruments Microphones are calibrated so that an input signal peaking around -12 to -10dBFS will match the original mic tone most accurately. You can use the VMR Trimmer Module before the Classic Instruments Module to monitor your input level as you record or adjust it later in the mix. For special effect, you can drive the Classic Instruments Module harder to get more harmonics and tube saturation, and you can further amplify these characteristics with the intensity knob. Proximity The Classic Instruments Module have a proximity slider that controls a custom proximity curve modeled on each microphone. In general, increasing the proximity will increase the low frequencies, and vice versa. This can be especially useful when micing low frequency instruments like kick drum, but can also be very useful on other instruments like guitars.

4 Getting to Know the Mics S-57 Vintage The model is a recreation of an early 80 s dynamic 57, perhaps one of the most famous dynamic microphones in audio history. It s known for its punchy midrange and smooth top end, which is why it is a top choice on guitar and snare drum. S-57 Modern A brand new dynamic 57, this mic sounds very similar to the vintage model but with slightly smoother mids and more sizzly highs. S-7 This is a dynamic mic that became famous as a broadcasting microphone, but its present mids make it ideal for all sorts of instruments such as kick, toms, snares, guitars, bass, and more. S-421 Another classic dynamic mic, this model is perfect on toms, kick, guitar cab, bass cab, and horns. It has thick low mids and punchy lows. S-E20 This is a model of a dynamic microphones that became popular in the seventies. It has a very even frequency response while remaining fat-sounding, so it can be useful on all sort of different sources - from vocals and electric guitar to kick drum. S-112 This is a model of a famous modern kick drum microphone. It has a classic bouncy midrange and fat low end. S-112B This is a model of a famous kick drum microphone in a different position. Due to the major physical differences in the moving coil design of this microphone versus the static condenser of the ML-1, it was easier to capture specific positional sounds. For the B, this position is in front of the sound hole of the kick. S-12 This is a model of a vintage kick drum microphone. It has a crisp top, fat low mid, and warm bottom end. S-451 This is a model of a famous small diaphragm condenser that is smooth and clear, with a beautiful high end. It s great on snare, overheads, hi hat, toms, and guitar cabs if paired with one of the dynamic models.

5 S-222 This is a model of a famous small diaphragm tube mic. It s bright but not harsh, with a smooth midrange and flat low end. It s ideal for drum overheads, acoustic guitars, and string instruments. S-121 Normal This is a cardioid model of the classic ribbon mic, and like the real thing, it has fat lows and slightly dark highs, making it perfect on horns strings, room mics, guitar cabs, and overheads. S-121 Dynamic This emulation is the same source microphone as the S-121 Normal, only it has been optimized for use with the ML-2 when it s in Dynamic mode. Use this model and ML-2 s Dynamic mode when micing very loud sources. S-67 This is actually a model of a large diaphragm tube mic! It has smooth and slightly dark highs, thick mids, and big lows. Great on room mics, overheads, toms, snares, guitars, bassess, and everything else! S-47F This famous German FET microphone model is known for round highs, fat mids, and huge low end. It s a standard on kick drum and bass cab, but also sounds great on toms. S-414 Normal This is a model of one of the most famous FET large diaphragm mics. It has clear punchy mids, slightly extended highs, and a very fat low end. It s perfect on overheads, guitar cabs, bass cabs, toms, and horns. S-414 Dynamic This emulation is the same as the S-414 Normal, only it has been optimized for use with the ML-2 when it s Dynamic mode. Use this model and the ML-2 s Dynamic mode when micing very loud sources. S-Custom Kick This is a modified version of the S-12 that adds more attack and punch, with less low mids and more defined lows. S-Custom Snare This is a modified version of the S-57, with added curves from famous EQ s to enhance the sound producing the ultimate polished snare sound. S-Custom Tom This is a modified version of the S-421 that adds more high and lows, and has less low mid, creating the ultimate tom sound for both rack and floor.