i tried dmg audio limitless and although it sounds okay ( only some presets ) it doesn't come close to fg-x2 in terms of quality what mastering limiter would you recommend? i heard fabfilter has a great limiter never checked it out also i'm not looking for a limiter but for more of a mastering suite kinda plugin i guess i will just have to wait until i can cash out for those slate digital taxes and buy the fg-x2

 

I wish i could try fg-x2 I still use fg-x1 from time to time, on some material it just works so easily.

 

I use newfangled elevate as a limiter. Maybe check out the pulsar stuff they're good so is the tone projects stuff. Unisom is the shit. Are you basically trying to recreate ozone but with different plugins? The fg-x2 is just a compressor right doesn't have any of the other ozone stuff like dynamic eq etc

 

Ozone 11, there are a lot of music-style orientated presets to start with.
It needs a bit of tweakin but you can achieve very good results.

 

fg-x is compressor + maximizer + transient designer.

 

Ps I still think spending 200 dollars on a single plugin is foolish compared to either upgrading your cpu or your headphone situation. Know you said your cpu was ancient. You'll get so much more value out of that. Then you could just use ozone and everything else

 

I would learn how to use Fabfilter Pro-L. It is probably the most trusted software limiter in the world, and for good reason.

If I was making the music you make, I would probably gravitate to IK Stealth Limiter. It is included in Tracks5.

If I had $250 I felt like unnecessarily spending on an iLok'd plugin, I would buy Schwabe Gold Clip.

 

just took the 30 day trial for gold clip let's see how well it stands up to fg-x2

 

I found the fg-x version 1 perfectly fine. Our beloved sister has that one ( or had) not sure if still available

 

it isn't avaliable anymore plus it's outdated sound quality wise and compatibility wise it doesn't work right on windows 11 and ableton live 12 it makes projects take forever to load (if they even load) i had to delete the plugin

 

Seeing as how FG-X is not a Limiter or a Clipper, it should hold up pretty good.

Do you know why you should use a Clipper instead of a Limiter or FG-X on your tracks?

It's so that way you do not add more compression to the samples you download, as they are almost all already processed by the people who make them. If you "double dip" everything with compression, you make everything have the same relative perceived loudness. If every sound is compressed to the same peak level, nothing is "loud". Without dynamic range; or differences in "loudness" between sounds, nothing has any impact.

 

Last edited: Feb 6, 2024

i hardly ever use samples but interesting information thanks for the share

 

What do you make drums with?

 

yeah i use drum samples but sometimes i use serum for kicks and claps

 

I'd stick with the samples too. But like I mentioned, I would skip using the cracked Slate plugin from 11 years ago. Is there a "new version" of FG-X ? New math in there or something?


Slate Digital FG-X v1.0 AU VST RTAS MAC OSX Team XVX
OS version: Mac OS X 10.6 or later
Processor type(s) & speed: Dual Core Intel Processor
RAM minimum: 4GB
INFO @ http://www.slatedigital.com/products/fgx/

The Concept
Imagine mastering your mixes without causing the lifeless, squashed, and over compressed sound that has become so common in modern music. We have all been at the mercy of the "loudness wars" for over ten years now. Masters have become louder and louder, at the expense of the music becoming harsh and lacking punch and dynamics. One of the main causes of this epidemic is the use of the Peak Limiter to achieve increased levels in the mastering stage. Peak limiters attenuate transients and often reduce punch, stereo imaging, can greatly alter mix balances, and cause a fatiguing result to the ears.
Some of the top mastering engineers have found ways to combat this sonic degradation by using techniques other then Peak Limiting. One of the more popular techniques is the use of saturation in both the analog and digital domain. Another popular method is clipping the front end of expensive A/D converters.
However, both of these methods, while better then peak limiting, have their downfalls. Static saturation curves are not universal in their ability to sound good on all transients. Clipping greatly reduces low end punch and is very poor at retaining sub bass. Both static saturation and clipping have a small window of gain maximizing before audible distortion. Enter SLATE DIGITAL.
FG-X DYNAMICS RACK
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. They started by researching saturation curves and their effect on various types of transient material. After several months of study and hundreds of listening tests, they made some fascinating discoveries. 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.
New ADVANCED ALGORITHMS were created to execute the extremely complex communication system that would be needed to properly perform the new dynamic operations. A new algorithm was formed, and the process was named "Intelligent Transient Preservation", or ITP.

 

from what i know fg-x2 uses a new algorithm all i know is that it sounds better than the original fg-x tested it and the difference is night and day

 

Apologies. I'm still stuck in the dark ages (Win7 with Live 10)