Manipulate the Dynamic Perception knob until the mix feels as though it's neither overly squashed, nor undertreated. Play with the Lo-Punch and Detail knobs until you hear the exact balance of low-end punch and midrange detail you'd like to preserve. Press the Constant Gain Monitoring button, which ensures that you will not hear any increase in loudness, no matter how much gain you apply.Īpply gain until you hear obvious distortion, then back off a little. An iLok 2 or 3 is required for operation, and is available separately. Please note that it is not a true peak limiter, and should not be pushed as such. Compressor settings and leveler settings are also accessible via dedicated Settings buttons, allowing you to change the compressor's ratio and threshold ranges, apply dithering, and change the output ceiling. You can change under-the-hood metering settings by clicking the Settings button. I Know I Know | VI-CONTROLīar-graph meters are on display to show you the RMS of your mix, as well as peak values and any overs you might incur. This Plug-in comes from a Demo, you cannot save Presets īut this is a Mastering Plug-In and you don't necessarily need to. After installation copy the unpaced plugins to your Plug-Ins folder!
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You only need to install from installer Slate Digital FG-X Demo Setup - Mac.mpkgīefore. Processor type(s) & speed: Dual Core Intel Processor A new algorithm was formed, and the process was named "Intelligent Transient Preservation", or ITP. New ADVANCED ALGORITHMS were created to execute the extremely complex communication system that would be needed to properly perform the new dynamic operations. What they found, was that in order to transparently add level to a mix, a dynamic and intelligent transient saturation system would have to be developed. After several months of study and hundreds of listening tests, they made some fascinating discoveries. They started by researching saturation curves and their effect on various types of transient material. Two years ago Steven Slate and expert algorithm engineer Fabrice Gabriel started working out the concept for a digital audio process that could increase the level of a mix without altering the punch and dynamic feel, or make the mix sound squashed and lifeless. Both static saturation and clipping have a small window of gain maximizing before audible distortion.
Clipping greatly reduces low end punch and is very poor at retaining sub bass. Static saturation curves are not universal in their ability to sound good on all transients. However, both of these methods, while better then peak limiting, have their downfalls. Another popular method is clipping the front end of expensive A/D converters. One of the more popular techniques is the use of saturation in both the analog and digital domain. Some of the top mastering engineers have found ways to combat this sonic degradation by using techniques other then Peak Limiting. Peak limiters attenuate transients and often reduce punch, stereo imaging, can greatly alter mix balances, and cause a fatiguing result to the ears. One of the main causes of this epidemic is the use of the Peak Limiter to achieve increased levels in the mastering stage. Masters have become louder and louder, at the expense of the music becoming harsh and lacking punch and dynamics. We have all been at the mercy of the "loudness wars" for over ten years now. Imagine mastering your mixes without causing the lifeless, squashed, and over compressed sound that has become so common in modern music.
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