Recording - March 2017 - 35

Now hear this

Input signals can be routed to a choice of three sets of
monitors-A, B, and C-and each has its own LFE (subwoofer)
button. Rather than a single on/off for your sub, you can predetermine which monitors have it active. The only downside of this
that I found is there is no way to just listen to the LFE channel on its
own, unless one of the three output sets has no speakers attached.
The A monitor output is fixed inside the unit, but B and C each
have their own topmounted trims for super-fast level matching
with the A signal. This may seem like a little thing, but as an
engineer who switches monitors often, it is one of my favorite
features of the unit. It's also handy for when outside engineers
and producers travel with their own sets of monitors.
The master level control for the monitors is handled by the large
silver knob labeled YOU. It is center-detented as a fixed point of
reference, and there is also a selectable precalibrated setting (available via the CAL button) which bypasses the level control altogether.
Further monitoring options include left and right cuts for the
speakers, a mono button, adjustable speaker dim, and polarity
flip. The ability to put the unit in mono and then cut signal to one
of the speakers is crucial for true mono listening, and yet surprisingly it is a rarity on many current monitor controllers. You can
hear L-R by engaging polarity flip and mono at once.
Next on the Slate Control are a pair of top-mounted 1/4"
headphone jacks with a shared volume pot and a source
selection control. There is also a similar Cue control section
for routing signals to a set of monitors or a headphone amp
in the tracking room.

Talk it up!

This takes us to the talkback section of the Slate Control,
which is one of the most full-featured and robust that I've seen
or used in a desktop studio controller. Talkback can be sent to
a multitude of sources, like the headphones and various Cue
mixes. There is even an Auto Talkback mode that engages
talkback automatically when music is not detected.
Next there is a button marked Slate. This doesn't put Steven
Slate himself in your headphones offering tech support; it
sends the talkback mic to an additional output that you patch
back into your DAW. It's used for slating takes-recording
"Baby I'm Yours, lead guitar overdub, take eleven" on a spare
track so you know where you are (an old-school idea but a
good one). For talkback duties, there is a choice of an adjustable
onboard electret talkback mic or a switchable input for your
own external dynamic talkback mic.
In the "But wait, there's more" category, the Slate Control
offers a secondary external mic input for Reverse Talkback-a
talkback mic for the talent in the tracking room, known to
some engineers as "listenback". This may seem unnecessary
when tracking a vocalist, since he or she has a mic right
there, but you would be surprised at the number of times
I've seen a drummer grab the snare mic and twist it up to his
mouth to say something to the control room, ruining the mic's
positioning. Besides, having the talent able to talk to you
easily is a very important habit to get into; it speeds up the

tracking process and reassures the band members that you
care about their input.
The last bonus feature of the Slate Control is a pair of USB
slots, allowing the unit to function as a hub for your dongles
or provides a handy port when a client needs to grab a rough
mix on a thumb drive. This hub connects to your DAW with a
mini-USB cable, and it can even charge your phone.

In use

While the face of the Slate Control looks jampacked and
overwhelming at first, like the cockpit of a jet plane, the most
complicated part is setting up your ins and outs on the D-Subs
and integrating them in your studio. Slate includes setup
suggestions for using the Slate Control with a patchbay and
more in the downloadable manual. I recommend it as a good
read, not only to learn the ins and outs of the Slate Control
after you've bought it, but also to research if the Slate Control
is a good choice for your wants and needs before you buy!
I had a bit of initial worry about using a unit with clicking
relays in my control room where I also sometimes track, but
all of the headphone controls one would be prone to adjusting
during a control-room take are silent and relay-free. In use,
the relays allow you to be very precise and detailed when
dialing levels while keeping unnecessary pots and switches
out of the audio path. The buttons, pots, and switches are
incredible-feeling, and the overall workmanship of this unit is
best described as overbuilt!
The sound of the unit is wide, open, and simply pristine.
Nothing is in the way of your music or your mixes. The
headphone outs are very clean and powerful, and the
onboard talkback mic does its job well without putting your
Neumanns in fear of being fired.
My only complaints are small cosmetic/taste nitpicks; for
example, I think labeling the master volume knob "YOU" is a
bit Batcave-like. But none of this has any bearing on the Slate
Control's smooth operation or fantastic sound!

Conclusion

This is where I tell you that this impeccable sound, level of
build quality, and extreme functionality does carry a serious
price tag, even without the A/D and D/A conversion found in
other units in this price range. However, I cannot think of any
competing unit with this much old-school studio routing flexibility.
If you just need simple monitor selection and routing for a
mix or two, the Slate Control is certainly overkill for you, but if
you have been wanting to go fully in-the-box but were halted
by all the functions you were about to lose when your console
was retired, then it's a top contender. An impressive device all
around, whether used with the RAVEN or on its own!

PRICE: $2499
MORE FROM: Slate Media Technology,
www.slatemt.com
RECORDING MARCH 2017

http://www.slatemt.com

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