Slate Digital FG-X Mastering Plugin Review – TheRecordingRevolution.com

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Slate Digital FG-X Mastering Plugin Review – TheRecordingRevolution.com
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30 thoughts on “Slate Digital FG-X Mastering Plugin Review – TheRecordingRevolution.com”

  1. There’s no golden plugin that does everything (not even Ozone.) This is a
    tool, use it as such. I personally use it as a mixing limiter, then
    deactivate it to print before mastering. Chances are, if you’re trying to
    use only one plugin (Ozone, FX-G, etc) to master, you haven’t the slightest
    clue of what mastering actually is. 

  2. We wait for the 64 bit version please whats the matter?

    Pour faire passer tous vos plugs 32 bit en 64 utilisez “32 live”…

  3. As long as you know what your doing izotope ozone is top 3 mastering tools
    to use on your masters

  4. Put on some studio monitor headphones whenever listing to material like
    this. It will clearly bring out what he’s doing.

  5. Monster LMA.. Not all Daws sound the same at all. I use Magix Sequoia and
    it sounds much fuller and natural than Presonus Studio 1 for example. This
    Daws all sound the same nonsense simply isn’t true!!

  6. I tried it and I have to say its best mastering plugin for maximum loudness
    I ever tried. It made my masters sound like it came from a mastering
    house. Its was loud, clear, punchy, and with great saturation in a
    pleasant way with no terrible distortion. Now you can push it to the point
    of insane distortion but any and all mastering limiters can do that. And
    all mastering limiter sound good up to a certain point before they start to
    break up and distort. If set right FG-X can get as loud or even louder
    than industry standard levels before it starts to distort. I’ve tried
    Ozone, T racks, Waves (L1 L2 L3), Brainworx BX XL V2, Vexengo Elephant,
    Flux Elixir, and FabFilter Pro L… FG-X beat all them! Flux Elixir and
    FabFilter did really well but when push hard they both fell apart before
    reaching industry standard levels. I mainly produce hip hop, pop, and R&B,
    and it works amazing on those styles of music. I am truly impressed. THE
    KEY IS SETTING UP RIGHT AND KNOW WHAT YOU’RE DOING. 

  7. hey what is the name of the song you are playing in the background??? i
    love it!!!

  8. Question: when you’re mastering a song using fg-x, and you start raising
    your gain etc…are you supposed to red peak your master fader after
    turning off constant gain button? It seems in order to get the track to an
    RMS of 10, there’s no way you stay under red peaking a master fader. That’s
    what I can t figure out. Please help. Thanks! 

  9. Sonnox Oxford mastering plugins and the FGX can achieve keeping the
    transients intact no matter how much lift you put on a Clipper or the
    Limiter.
    From what I can hear and see on the 2-buss Wav file or a digital spectrum
    reader, the DYNAMICS are intact and show very little square off if any at
    all.

    I praise the INTELLIGENCE behind the FGX and Sonnox plugins.. THUMBS UP!

  10. “It’s not a limiter” — Actually, the last/bottom section (FG Level) *is* a
    limiter.

  11. Thanks for the run down, but please use demo tracks minus distorted vocals.
    It’s tough to hear what’s distorting when the back tracks have distorted
    guitars and vocals. I always use Donald Fagen’s “The Nightfly” during live
    sound checks for this reason. This track is not my cup of tea and it sounds
    lo fi, but that’s just my opinion. Thanks!

  12. Holy Shit!!!! Once you took off that constant gain monitoring that thing
    cranked! I currently use Ozone and that thing is so complicated, I get my
    levels loud but not this loud…Gotta get my hands on this.

  13. what about dither, if i plan on exporting my final project. in ableton live
    it has a option to dither but I’m confused with if i should use it if i am
    already dithering through this plugin

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