Slate fgx update1/2/2023 Even though the FG-X is primarily marketed as a mastering plugin, I was hopeful that mixing through the FG-X would give a lens to what the finished product could be and guide me in mixing accordingly to that end. I have always hated the sound of the more popular limiter plug-ins and was left to work each track individually in a mix with compression, peak limiting, saturation, or, more than likely, a subtle combination of all three. I wanted to close that gap between my mixes and mastered references by implementing a limiter to control the transients, lowering peak level, and increase RMS level. The problem is that the journey of the track is not over at the end of the mix: It’s probably going to need anywhere from 3-8 dB of RMS gain during mastering. However, I find myself referencing mastered material and working my track so it’s competitive with that master. I’ve refused to limit my mixes just so the client can hear them louder. Lately, I’ve been reevaluating how I go about mixing, particularly my non-use of a digital limiter across the buss. Whether it’s improving my listening environment, upgrading my hardware, or getting new software, I’m down for whatever it takes so that I can get better results in less time and do more work. I’m always looking to gain more control over my work. However, after a couple of weeks of using the Slate Digital FG-X Virtual Mastering Processor, I’m not so sure that paradigm will exist much longer. Up until now the problem has been that you could not get too loud without the fatigue and transient loss. At the same time most artists don’t want their music to sound smaller than their genre peers. The desire to be the loudest and most ear-catching track has led to music that is robbed of dynamics and is fatiguing to listen to for long periods of time. The Slate Digital FG-X Virtual Mastering Compressor is a Mac/Windows plugin for VST, RTAS and AU, and priced at $249.
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