How to Use Slate Digital FG-X Mastering Processor for Mastering in Any Genre
Slate Digital FGX Mastering Processor VST RTAS 112: A Review
Mastering is the final stage of music production, where you polish your mix, enhance its loudness, balance, clarity, and consistency, and prepare it for distribution. Mastering can make or break your music, as it can either elevate your mix to a professional level or ruin it with unwanted distortion, pumping, or dullness.
Slate Digital FGX Mastering Processor VST RTAS 112
However, mastering in the digital domain can be challenging, as digital audio has some limitations that can affect the quality of your master. For example, digital audio has a fixed maximum level (0 dBFS), which means that any signal that exceeds this level will be clipped or distorted. This can happen easily when you apply compression, limiting, or other processing to your mix. To avoid this, you need a mastering tool that can control your dynamics without altering your transients, punch, or mix balance.
This is where Slate Digital FGX Mastering Processor VST RTAS 112 comes in. Slate Digital FGX Mastering Processor VST RTAS 112 is a powerful and versatile mastering plugin that can help you achieve loud, transparent, and dynamic masters with ease. It combines a transparent compressor, a loudness enhancer, and a comprehensive metering panel in one plugin, and offers four different modes and two different views to suit your needs and preferences.
In this article, we will review Slate Digital FGX Mastering Processor VST RTAS 112 and show you how to use it effectively for mastering. We will cover its main features, modes, views, and tips and tricks. By the end of this article, you will have a better understanding of how Slate Digital FGX Mastering Processor VST RTAS 112 works and how it can improve your mastering workflow and results.
FG-X Mastering Processor Overview
Slate Digital FGX Mastering Processor VST RTAS 112 is composed of three main modules: FG-Comp, FG-Level, and the metering panel. Each module has its own controls and functions, and they work together to provide you with a complete mastering solution. Let's take a closer look at each module.
FG-Comp: A Transparent Compressor
FG-Comp is the first module in Slate Digital FGX Mastering Processor VST RTAS 112. It is a transparent compressor that can control the dynamics of your mix without affecting its transients, punch, or mix balance. It uses a proprietary algorithm that mimics the behavior of analog compressors, but with more precision and flexibility.
FG-Comp has four main controls: Threshold, Ratio, Attack, and Release. The Threshold sets the level at which the compression starts to apply. The Ratio sets the amount of compression applied to the signal that exceeds the threshold. The Attack sets how fast the compressor reacts to the signal that exceeds the threshold. The Release sets how fast the compressor returns to its normal state after the signal drops below the threshold.
The benefits of using FG-Comp for mastering are:
It can reduce the dynamic range of your mix without compromising its transients, punch, or mix balance.
It can smooth out any peaks or spikes in your mix that might cause clipping or distortion.
It can add glue and cohesion to your mix by making it sound more consistent and balanced.
It can enhance the perceived loudness of your mix by making it sound more dense and full.
How to use FG-Comp effectively and what are some tips and tricks?
Start with a low ratio (2:1 or 4:1) and a moderate threshold (-10 dB or -15 dB) to apply a gentle compression to your mix.
Adjust the attack and release times according to the tempo and genre of your music. For faster and more aggressive music, use faster attack and release times. For slower and more relaxed music, use slower attack and release times.
Avoid using too much compression or too high ratios (10:1 or higher), as this might make your mix sound flat, lifeless, or overcompressed.
Use the bypass button to compare your compressed mix with your original mix. Listen for any changes in transients, punch, or mix balance. If you hear any negative changes, reduce the amount of compression or tweak the settings until you find a sweet spot.
FG-Level: A Loudness Enhancer
FG-Level is the second module in Slate Digital FGX Mastering Processor VST RTAS 112. It is a loudness enhancer that can increase the loudness of your mix without introducing any distortion, pumping, or artifacts. It uses a proprietary algorithm that preserves the natural dynamics and transients of your mix while maximizing its loudness potential.
FG-Level has four main controls: Gain, Ceiling, Constant Gain Monitoring (CGM), and ITP (Intelligent Transient Preservation). The Gain sets the amount of gain applied to your mix before it reaches the limiter. The Ceiling sets the maximum output level of your limiter. The CGM enables or disables a feature that automatically adjusts the output level to match the input level when you change the gain setting. This allows you to hear the effect of gain without changing the loudness. The ITP sets the amount of transient preservation applied to your mix by the limiter.
The benefits of using FG-Level for mastering are:
It can make your mix louder without clipping or distorting it.
It can preserve the natural dynamics and transients of your mix while increasing its loudness.
It can make your mix sound more competitive and professional in terms of loudness.
It can add warmth and saturation to your mix by emulating the sound of analog tape and tubes.
How to use FG-Level effectively and what are some tips and tricks?
Start with a moderate gain (3 dB or 6 dB) and a low ceiling (-0.3 dB or -0.5 dB) to apply a moderate loudness enhancement to your mix.
Adjust the ITP setting according to the amount of transients in your mix. For more transient-rich mixes, use a higher ITP setting (80% or 100%). For less transient-rich mixes, use a lower ITP setting (40% or 60%).
Avoid using too much gain or too high ceiling, as this might cause distortion, pumping, or artifacts in your mix.
Use the CGM feature to compare your loudness-enhanced mix with your original mix. Listen for any changes in dynamics, transients, or tonality. If you hear any negative changes, reduce the amount of gain or tweak the settings until you find a sweet spot.
Metering Panel: A Comprehensive Monitoring Tool
The metering panel is the third module in Slate Digital FGX Mastering Processor VST RTAS 112. It is a comprehensive monitoring tool that can help you analyze and optimize your mix for mastering. It provides you with various meters and indicators that show you the level, loudness, peak, RMS, dynamic range, and clipping of your mix.
The metering panel has four main sections: Input Meter, Output Meter, Loudness Meter, and Clipping Indicator. The Input Meter shows the level of your mix before it reaches the FG-X Mastering Processor. The Output Meter shows the level of your mix after it passes through the FG-X Mastering Processor. The Loudness Meter shows the perceived loudness of your mix in LUFS (Loudness Units Full Scale). The Clipping Indicator shows if your mix is clipping or not.
The benefits of using the metering panel for mastering are:
It can help you monitor the level and loudness of your mix and avoid clipping or distortion.
It can help you compare the input and output levels of your mix and see how much gain reduction or loudness enhancement you are applying.
It can help you achieve a consistent and competitive loudness level for your mix across different platforms and devices.
It can help you optimize the dynamic range of your mix and avoid overcompression or undercompression.
How to use the metering panel effectively and what are some tips and tricks?
Use the input meter to set a healthy input level for your mix. Aim for an average level of -18 dBFS or -12 dBFS, with occasional peaks of -6 dBFS or -3 dBFS.
Use the output meter to set a safe output level for your mix. Aim for an average level of -12 dBFS or -9 dBFS, with occasional peaks of -0.3 dBFS or -0.5 dBFS.
Use the loudness meter to set a target loudness level for your mix. Aim for an average loudness of -14 LUFS or -16 LUFS, depending on the genre and platform of your music.
Use the clipping indicator to check if your mix is clipping or not. Avoid any red lights on the indicator, as this means that your mix is clipping and distorting.
FG-X Mastering Processor Modes
Slate Digital FGX Mastering Processor VST RTAS 112 offers four different modes that affect how the FG-Level module works. Each mode has its own characteristics and advantages, depending on the type and style of music you are mastering. You can switch between modes by clicking on the mode buttons at the top of the plugin window. Let's take a closer look at each mode.
Mode 1: Transparent Limiting
Mode 1 is the default mode in Slate Digital FGX Mastering Processor VST RTAS 112. It is a transparent limiting mode that applies a smooth and gentle limiting to your mix without affecting its transients, punch, or tonality. It uses a proprietary algorithm that preserves the natural dynamics and transients of your mix while maximizing its loudness potential.
When to use mode 1 and what are its advantages and disadvantages?
Use mode 1 when you want to achieve a loud, transparent, and dynamic master without changing the character or color of your mix.
The advantages of mode 1 are:
It can make your mix louder without clipping or distorting it.
It can preserve the natural dynamics and transients of your mix while increasing its loudness.
It can maintain the original character and color of your mix without adding any unwanted artifacts or tonal changes.
The disadvantages of mode 1 are:
It might not be able to achieve the maximum loudness potential of your mix, as it is limited by the natural dynamics and transients of your mix.
It might not be suitable for some genres or styles of music that require more aggressive or colorful limiting, such as EDM, rock, or metal.
How to adjust the settings for mode 1 and what are some examples?
Use the gain control to increase the loudness of your mix until you reach your desired level. Use the ceiling control to set the maximum output level of your limiter. Use the ITP control to adjust the amount of transient preservation applied to your mix by the limiter.
For example, if you are mastering a pop song with a lot of transients and dynamics, you might want to use a high gain (9 dB or 12 dB), a low ceiling (-0.3 dB or -0.5 dB), and a high ITP (80% or 100%) to achieve a loud, transparent, and dynamic master.
If you are mastering a jazz song with a lot of subtleties and nuances, you might want to use a low gain (3 dB or 6 dB), a low ceiling (-0.3 dB or -0.5 dB), and a low ITP (40% or 60%) to achieve a moderate, transparent, and dynamic master.
Mode 2: Punchy Limiting
Mode 2 is the second mode in Slate Digital FGX Mastering Processor VST RTAS 112. It is a punchy limiting mode that applies a more aggressive and colorful limiting to your mix without affecting its transients, punch, or tonality. It uses a proprietary algorithm that adds some harmonic distortion and saturation to your mix while maximizing its loudness potential.
When to use mode 2 and what are its advantages and disadvantages?
Use mode 2 when you want to achieve a loud, punchy, and energetic master without changing the character or color of your mix.
The advantages of mode 2 are:
It can make your mix louder without clipping or distorting it.
It can preserve the natural dynamics and transients of your mix while increasing its loudness.
It can add some warmth and saturation to your mix by emulating the sound of analog tape and tubes.
It can enhance the perceived punch and energy of your mix by adding some harmonic distortion and saturation.
The disadvantages of mode 2 are:
It might not be able to achieve the maximum loudness potential of your mix, as it is limited by the natural dynamics and transients of your mix.
It might not be suitable for some genres or styles of music that require more transparent or subtle limiting, such as classical, ambient, or acoustic.
How to adjust the settings for mode 2 and what are some examples?
Use the gain control to increase the loudness of your mix until you reach your desired level. Use the ceiling control to set the maximum output level of your limiter. Use the ITP control to adjust the amount of transient preservation applied to your mix by the limiter.
For example, if you are mastering an EDM song with a lot of synths and drums, you might want to use a high gain (9 dB or 12 dB), a low ceiling (-0.3 dB or -0.5 dB), and a high ITP (80% or 100%) to achieve a loud, punchy, and energetic master.
If you are mastering a rock song with a lot of guitars and vocals, you might want to use a moderate gain (6 dB or 9 dB), a low ceiling (-0.3 dB or -0.5 dB), and a moderate ITP (60% or 80%) to achieve a moderate, punchy, and energetic master.
Mode 3: Dynamic Limiting
Mode 3 is the third mode in Slate Digital FGX Mastering Processor VST RTAS 112. It is a dynamic limiting mode that applies a smart and adaptive limiting to your mix without affecting its transients, punch, or tonality. It uses a proprietary algorithm that adjusts the limiting parameters according to the characteristics of your mix, such as frequency, dynamics, and loudness.
When to use mode 3 and what are its advantages and disadvantages?
Use mode 3 when you want to achieve a loud, dynamic, and natural master without changing the character or color of your mix.
The advantages of mode 3 are:
It can make your mix louder without clipping or distorting it.
It can preserve the natural dynamics and transients of your mix while increasing its loudness.
It can adapt to the characteristics of your mix and apply the optimal limiting parameters for each section or element of your mix.
It can avoid any unwanted artifacts or tonal changes that might occur with other limiting modes.
The disadvantages of mode 3 are:
It might not be able to achieve the maximum loudness potential of your mix, as it is limited by the natural dynamics and transients of your mix.
It might not be suitable for some genres or styles of music that require more aggressive or colorful limiting, such as EDM, rock, or metal.
How to adjust the settings for mode 3 and what are some examples?
Use the gain control to increase the loudness of your mix until you reach your desired level. Use the ceiling control to set the maximum output level of your limiter. Use the ITP control to adjust the amount of transient preservation applied to your mix by the limiter.
For example, if you are mastering a hip-hop song with a lot of vocals and beats, you might want to use a moderate gain (6 dB or 9 dB), a low ceiling (-0.3 dB or -0.5 dB), and a moderate ITP (60% or 80%) to achieve a loud, dynamic, and natural master.
If you are mastering a folk song with a lot of acoustic instruments and vocals, you might want to use a low gain (3 dB or 6 dB), a low ceiling (-0.3 dB or -0.5 dB), and a low ITP (40% or 60%) to achieve a moderate, dynamic, and natural master.
Mode 4: Saturation Limiting
Mode 4 is the fourth mode in Slate Digital FGX Mastering Processor VST RTAS 112. It is a saturation limiting mode that applies a more extreme and colorful limiting to your mix without affecting its transients, punch, or tonality. It uses a proprietary algorithm that adds more harmonic distortion and saturation to your mix while maximizing its loudness potential.
When to use mode 4 and what are its advantages and disadvantages?
Use mode 4 when you want to achieve a loud, saturated, and exciting master without changing the character or color of your mix.
The advantages of mode 4 are:
It can make your mix louder without clipping or distorting it.
It can preserve the natural dynamics and transients of your mix while increasing its loudness.
It can add more warmth and saturation to your mix by emulating the sound of analog tape and tubes.
It can enhance the perceived punch and energy of your mix by adding more harmonic distortion and saturation.
It can create a more unique and distinctive sound for your mix by adding more character and color to it.
The disadvantages of mode 4 are:
It might not be able to achieve the maximum loudness potential of your mix, as it is limited by the natural dynamics and transients of your mix.
It might not be suitable for some genres or styles of music that require more transparent or subtle limiting, such as classical, ambient, or acoustic.
It might introduce some unwanted noise or hiss to your mix due to the high amount of distortion and saturation.
How to adjust the settings for mode 4 and what are some examples?
Use the gain control to increase the loudness of your mix until you reach your desired level. Use the ceiling control to set the maximum output level of your limiter. Use the ITP control to adjust the amount of transient preservation applied to your mix by the limiter.
For example, if you are mastering a metal song with a lot of guitars and drums, you might want to use a high gain (12 dB or 15 dB), a low ceiling (-0.3 dB or -0.5 dB), and a high ITP (80% or 100%) to achieve a loud, saturated, and exciting master.
If you are mastering a blues song with a lot of guitars and vocals, you might want to use a moderate gain (9 dB or 12 dB), a low ceiling (-0.3 dB or -0.5 dB), and a moderate ITP (60% or 80%) to achieve a moderate, saturated, and exciting master.
FG-X Mastering Processor Views
Slate Digital FGX Mastering Processor VST RTAS 112 offers two different views that affect how the FG-X Mastering Processor interface looks and works. Each view has its own advantages and disadvantages, depending on your needs and preferences. You can switch between views by clicking on the view buttons at the bottom of the plugin window. Let's take a closer look at each view.
Easy View: A Fast And Loud Result
Easy view is the default view in Slate Digital FGX Mastering Processor VST RTAS 112. It is a simplified view that only shows the essential controls and meters for mastering. It is designed to provide you with a fast and loud result with minimal tweaking.
Easy view has four main controls: Gain, Ceiling, ITP, and Mode. The Gain sets the amount of gain applied to your mix before it reaches the limiter. The Ceiling sets the maximum output level of your limiter. The ITP sets the amount of transient preservation applied to your mix by the limiter. The Mode sets the limiting mode for your mix.
When to use easy view and what are its advantages and disadvantages?
Use