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The only con is that because it is so good, and is doing a lot of work in real time, there's a small latency penalty which I get around by freezing my tracks once I get them close. I've tried MANY other compressors and this is the only one I can get sounding exactly how I want across many instrument tracks and song types when mastering. I really can't stress how great the 元 is. It really does depend on how fine you need/want to be. 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. Alternatively, I've also put a parametric EQ in the chain and accomplished the same thing with even more granuality. It can be a time saver especially if mastering someone else's work.
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The advanced dynamics algorithm is so transparent, you'll wonder if its on Static saturation curves are not universal in their ability to sound good on all transients.
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The bands are fully modifiable, so if you only want to maybe raise the snare's pop you can set a band to the common snare frequency range. It is the job of the FG Dynamics compressor to maintain that quality, not alter it. It's just a way of adding flexibility to an already great tool. He has promised for years about this plugin, only to keep delaying with excuses like 'we want it to be the best' and 'we were busy finishing other projects. Two years ago Steven Slate and expert algorithm engineer Fabrice Gabriel started working out the concept for a digital audio. I've also used it to brighten up a mix, and does so without being harsh. The worst part is Slate Digital has been promising for 5 years to come out with an updated 'FG-X 2' which has become a running joke in the industry. It's especially clever since it's really just a priority and doesn't blindly raise the entire spectrum like a volume control. I've used it to bump the low end on a master without needing to EQ everything from scratch (or remix). The multiband is pretty sweet though, depending on the need at the time.