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.
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