FG-X Users
- Thread starter HCL
- Start date
Diego Rugiero
Member
It is a very good and transparent plugin, I use it with VCC, Ozone (for the harmonic exciter thing), C6 and L3 for extra volume.
Sloan
Sounds like shit!
I really dig it, just slap it on and give squashed mix to client so they can impress their peers.
derekmoffat
608 STUDIOS
Melodeath
Moonbow
I like FG-X, but it's not "set and forget" for me. I have to listen very carefully after inserting it because I get moments in tracks where there is distortion and I have to either turn the ITP slider down, or automate it.
Interestingly, I've found the Dynamic Perception knob is really awesome if you get asked to work on a track that's SUPER-SQUASHED.
Interestingly, I've found the Dynamic Perception knob is really awesome if you get asked to work on a track that's SUPER-SQUASHED.
Brett - K A L I S I A
Dreaded Moderator
It´s very very good, sometimes Ozone works better though, depends on the material. I agree with Melodeath though that it needs automation.
Sloan
Sounds like shit!
FGX seems to keep transients very well even if i crank the shit out of it. I typically mix into it, so my raw mix has louder drums anyway, so keep that in mind.
AboutBlank
Member
Love it, the "need automation" thing is a pro imo, cause the ITP slider allows you to get rid of some nasty distortion without decreasing your overall "loudness", which other plugins can't handle as smooth as FG:X(imo
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Sloan
Sounds like shit!
The StabbinCabin
Member
Yeah but can you hear what it does? It's like a subtle overall transient shaper, to my ears at least. I usually pull it back because to me it feels like it softens things up and gels everything together that much more.
aramism
Member
it's really good to leave on sometimes during a mix so you can get an idea of what your mixes will sound like mastered. a few mixes i left it on like half the time (that's a lot) and then take it off and i find that in today's world using this approach helps preserve your drums in rock mixes and balance the bass and vocals well. the most common mastering stage changes are gtrs up, drums down, and bass up. fg-x give you a good perspective so you can set them accordingly. at least for me...
I like FG-X but it's not a slap-it-on-and-everything's-perfect answer. It has a LOT of control and some of the options have so much variation that I can't imagine anyone using the full range on anything without wrecking it.
Also be a little cautious of the presets - some of the originals are a little hairy (though the later added Steven Slate ones seem to be mostly OK).
I'll sometimes prefer a different maximizer but for rock and metal it's rare that I can't at least match and usually beat anything else I have with a bit of knobbing in FG-X.
It's also quite interesting to engage the constant output level option and then turn-up the gain and hear how far you can go without hearing any change at all - very nearly magic on some material.
There is a BUT to this however; increasing the level changes the balance so it's a bit hopeful to expect total transparency when you actually make stuff louder irrespective of the tool used to do it.
Next time round I'd buy FX-G a-gain! ('scuse the pun)
Also be a little cautious of the presets - some of the originals are a little hairy (though the later added Steven Slate ones seem to be mostly OK).
I'll sometimes prefer a different maximizer but for rock and metal it's rare that I can't at least match and usually beat anything else I have with a bit of knobbing in FG-X.
It's also quite interesting to engage the constant output level option and then turn-up the gain and hear how far you can go without hearing any change at all - very nearly magic on some material.
There is a BUT to this however; increasing the level changes the balance so it's a bit hopeful to expect total transparency when you actually make stuff louder irrespective of the tool used to do it.
Next time round I'd buy FX-G a-gain! ('scuse the pun)
It can be a bit resource heavy for this if your DAW is at all stressed during mixing. You can still get a lot of the effects of maximising with a less specced limiter - it may not sound as good for rendering but if you're just after hearing the effects of the 2bus on your mix you should be OK.
A.
aramism
Member
never liked any other of them. then again never tried ozone, but the waves L stuff and a few others never sounded "real" as far as what it ends up sounding like after mastering.
FYI for monitoring sake I usually just leave the gain compensation on also so i'm just hearing the compression. not really concerned with the volume, it just gets slammed accordingly to match levels with modern commercial stuff. then i hit the compensation button and work with that. might not be scientifically right or whatever, i've just had better results with mastering.
Run don't walk away from those terrible "SLATE DIGITAL" presets (no clue who made those or how I let them be included in one of the original releases)... use the new STEVEN SLATE presets from 1.3 update and you'll realize that the FG-X is the fucking savior of all things loud. Here is a tutorial on it where I cranked a mix 10db without much noticeable difference in punch, dynamics, and frequency:
Cheers,
Steven
Cheers,
Steven
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