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L'article Slate Digital ML-2 est un Hit nous l´avons déjà vendu plus de 1.000 fois This is a companion to the full review. Le best-seller actuel est Slate Digital ML-1 Matte Black. Il y a en ce moment parmi nos best-sellers 3 produits Slate Digital dans les catégories Microphones Large Membrane, Packs Home Studio et Microphones à Condensateur Petite Membrane. Using a super clean and transparent microphone and pre-amplification chain in conjunction with. For PC, they recommend a low-latency USB interface (RME make the best, in our opinion), or PCIe-based options such as those made by Lynx Introducing The Virtual Microphone System from Slate Digital. ML-2 Microphone Slate Digitalįor Mac-based recording systems, Slate Digital recommend using the VMS with a low-latency Thunderbolt interface running at 96kHz, with a buffer size around 64 samples, to achieve a latency lower than 2ms. Learn in real-time alongside the biggest names in music! Just Blaze. Get all the presets, plugins, and samples.
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Download entire multitrack sessions in your DAW of choice. Slate Academy is Slate Digital's very own online audio masterclass portal. Système de microphone Constitué d'un micro, d'un préampli et d'un logiciel de modélisation Micro linéaire ML-1 à condenseur, accordé au matériel et au logiciel VMS Préampli VMS neutre: assure une coloration minimale Plugin VMS peut complètement modifier les.
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If that's not you, you simply have to try FG-X.Slate Digital was co-founded in 2008 by Steven Slate and Fabrice Gabriel, with a mission to create the greatest digital audio tools for professional producers, mixers, and engineers Overall, FG-X entirely fulfils its remit and sets a new standard in loudness maximisation, delivering some neat dynamic-shaping options on the side.įG-X does require that your mixes are of a certain standard in order to work its magic, so if you're still learning the ropes of mixing, you might not reap the benefits of it. Even so, the results are preferable to the nauseating pumping of a limiter or the hard-to-control distortion of clipping/saturation. If you crave extreme levels (say, up to a deafening -5dB RMS), FG-X will comply with your instructions, but you'll get some treble distortion and audible transient saturation. In fact, we could even get it sounding a little louder! FG-X was less squashed, more punchy, and more like the original mix. We even tried FG-X on some unmastered mixes of commercial tracks, and the results quickly exceeded the original released versions, which had used painstakingly dialled-in plug-in chains to get the levels up. With a decent mix, we had no problems getting our masters up to commercial levels. Those guitar chugs, for instance, stay right up in your face.įG-X is very transparent indeed.
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Not so with FG-X: elements stay focused and locked in their places, and the bass remains solid. With limiters, mix elements are always jostling for attention for example, chugging guitars can sink back slightly behind thudding kick drums. At sensibly loud levels (eg, up to -9dB RMS), FG_X had the edge over other loudness processors we tried - even beating our previous favourite, Ozone 4's limiter. We tested FG-X on material in a range of modern genres, from indie, rock and metal to DnB and hard dance. Oh, and it's worth a try on instruments, too - we like what it can do on a drums bus, for instance. Interestingly, it's one of the few master bus compressors we've found to be useful with complex, full-on material like extreme metal, as it can control these mixes without simply overreacting. We found it equally adept at providing subtle mix 'glue', gentle level riding, and giving material a 'compressed' feel without being obnoxious. It's hard to make it pump, yet somehow it still grabs the transients in all the right places. Sonically, FG Comp is audio butter - it's one of the smoothest, most transparent compressors we've heard. Unlike a lot of compressors, the gain reduction meter is set to show a very small range of just 3dB by default, which is spot-on for most mastering situations.