It then optimizes a specialized set of saturation curves for that specific transient. The ITP process uses a complex lookahead detection algorithm to analyze oncoming transients and groups of transients. 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. When you’re ready to end the loudness wars and bring real-deal mixes to the table, while maintaining the dynamics and musicality today’s music has been lacking, you’ll know you’re ready for Slate Digital’s FG-X.Imagine mastering your mixes without causing the lifeless, squashed, and over compressed sound that has become so common in modern music. They know that the mix engineer worked hard to get the right color across the mix, so why alter it? Instead, FG Dynamics aims to maintain that quality, offering up incredibly transparent compression that gives you just the right oomph. What about the FG Dynamics compressor? Slate Digital recognizes that most top-level mastering engineers use very little compression, if any at all. Last up, you can use the “ITP” slider to prevent unwanted distortions or crackles, so you won’t get weird artifacts in your masters because a mix has small bursts of low-frequency energy here and there. And after the Slate Digital Gain maximizer, you’ll want to use the dynamic perception parameter to make your final master sound totally open and punchy. The Detail feature helps you add more clarity and focus – ideal for your buried kick or snare sounds.
Use the “Launch” parameter to transparently increase your tracks punch and dynamics, without unbalancing the mix. With Level, you can use the Transient knobs to fine-tune your mix transients. Slate Digital’s FG-X includes the FG Level maximization plug-in and the FG Dynamics compression plug-in.
Using “Intelligent Transient Preservation” technology, Slate Digital’s FG-X looks ahead at your mix and optimizes its response based on the transient coming up - it’s not some one-size-fits-all compressor, it’s custom-tailored to make your mix sound its best.
This plug-in bundle takes advantage of breakthrough DSP techniques to get your tracks pumping, without causing that lifeless, overly compressed sound. That’s why you need Slate Digital’s FG-X. In fact, they wear out the listener’s ears. You want your masters to sound louder - of course! Today’s “loudness wars,” squash out all the dynamics, make the tracks sound harsh.
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