FGX, by contrast, does a remarkable job of retaining impact and punch on drum fills and the like.And for audio engineers, making mixes loud looms high on this list.We can complain about the loss of those dynamic contrasts we put so much effort into capturing in the first place.
We can point out until were blue in the face that quieter mixes might actually sound better on the radio. ![]() Making a mix louder usually involves both ironing out macro, or medium to largescale dynamic contrasts such as the gulf in level between a quiet verse and a busy chorus, or between a loud snare hit and the space after it and taming microdynamics, the momentary peaks that are often known as transients. The former are usually tackled using a conventional compressor, while there are various approaches to dealing with transients. Traditionally, one would use a peak limiter (in other words, a compressor with a very fast attack and release, and an infinite ratio setting); some engineers find it more forgiving to apply other forms of signal distortion such as tapestyle saturation, or simply to clip the input of an AD converter, but there is always a tradeoff between sound quality and the degree by which transients can be attenuated. Called Intelligent Transient Preservation, or ITP, it is claimed to let the user raise the average level of the mix in other words, make it louder without reducing the impact and liveliness of transients within it. Slate Fgx Torrent Mac And PCFGX was developed in conjunction with Fabrice Gabriel, the man behind Eiosiss superb E2 Transienter, who clearly knows a thing or two about dynamics processing Its authorised to an iLok key, and is available on Mac and PC in all the usual plugin formats. This is not intended as a character device, but is designed to be as transparent as possible, and I think few would disagree that it meets this goal. There are no surprises in the parameter set, but one feature thats not immediately apparent is its ability to act as an autoleveller: with slow attack and release times, it wont affect the dynamics within a verse or chorus, but will invisibly balance levels on a songwide scale. So if, for instance, you want finer control over the Ratio setting and only ever use low compression ratios, you can have the dial run from 1:1 to 5:1 or 10:1 instead of the default 20:1. This is perhaps a good time to mention another consistent highlight of FGX: excellent and highly configurable metering. Not only can you switch the compressors VU meter to show input, output or gain reduction, for example, but you can also separately set the range of values and needle ballistics in each case. As on a typical peak limiter, the main control is a simple Gain knob. This, however, is joined by some rather less familiar functions, one of the most valuable of which is accessed by a small pushputton just next to the Gain control. Constant Gain Monitoring, as the name suggests, levelmatches the output of FGX with the dry signal, enabling accurate AB comparisons, so you can hear exactly what the processing is doing to your signal. It doesnt always get the level matching spot on, but its still very handy, and I wish all mastering processors implemented this feature. Metering for the FG Level processor is even more comprehensive than for the compressor: both the massive bargraph and the twin VUs are fully configurable, and you can switch between three different stored metering configurations with a simple click. And talking of meters, when you activate the FG Level section, the chances are that youll see your DAWs CPU consumption leap up. This is a complex plugin that demands significant computer resources to run: not a problem in a typical mastering session, but it will certainly cramp your style if you try to use it over the mix bus. Slate Fgx Torrent Plus A CharacterUser control over the process is managed through three dials labelled Lo Punch, Details and Dynamic Perception, plus a character slider, which sets the global characteristics of the transient saturation and runs from Hard to Soft. ![]() Conventional peak limiting usually causes these to sound smeared and weak when pushed too far.
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