Slate Digital fg-x2 User manual

Introduction 3
Quick Start 4
Easy vs Advanced view 4
FG-Comp 5
Ratio / Threshold 5
Attack / Release 6
Using The FG-Comp as a Leveler 6
Sidechain Filters (Advanced Mode) 6
Mid/Side Link (Advanced Mode) 6
GR Width (Advanced Mode) 6
Square Visualization 6
FG-Level 8
Gain 8
Modes 8
Clear 9
Tight 9
Punchy 9
Loud 9
Ceiling 9
LoPunch/Detail 9
LoPunch/Detail Frequencies (Advanced Mode) 9
Advanced Limiter Settings (Advanced Mode) 10
Drive 10
Transients 10
Balance 10
Right Bar 11
Listen Section 11
Constant Gain Monitoring 11
Global bypass 11
True Peak Limiting 11
Output Meter 12
Dithering 12
Metering Section 13
Time Graph, Vertical Meters and Histograms 14
Indicators 15
Needle Meters 16
Horizontal Meters 16
Presets 16
Third Party Licenses 17
2

Introduction
With the enormous number of music distribution channels and the variety of delivery
standards, the mastering process brings new challenges and needs more attention than ever
before. Introducing FG-X 2, a comprehensive mastering suite designed to deliver
unprecedented control and transparency to the audio limiting process.
Taking its roots in the legacy of the first FG-X, which introduced new sonic possibilities in
loudness and clarity, FG-X 2’s algorithm has been completely redesigned from the ground up.
Transparent tone and overall loudness are at the core of the processing, along with a simple
yet efficient set of parameters that allow you to finely adjust the behavior of the limiter.
You’re no longer forced to dial in specific settings to get your track sounding louder. All you
need to do is choose a mode and adjust the gain. This gives you an unbelievable amount of
control for a limiter while keeping things intuitive and simple. If you want to go even further,
open up the Advanced View and play with the Transients, Drive and Balance.
FG-X 2 is made of two main processors, the FG-Comp and the FG-Level. The FG-Comp is a
world-class mastering compressor that combines several different compression styles to
create the best in class transparent dynamic control. This module is more faithful to the
original, with additional control over the stereo field, a crucial feature at the mastering stage.
The FG-Level is a True Peak loudness processor that adds level to the signal without adding
degrading artifacts.
FG-X 2’s metering section offers everything that the most experienced mastering engineer
would need: LUFS, RMS, Peak, histograms, VU meters, and more. Everything about FG-X 2 is
designed to make you feel confident that you have all the visualization tools you need to feel at
home and get the results you’re looking for.
3

Quick Start
Using the Easy view, adjust the Ratio of the FG-Comp to smoothly compress the dynamics of
the full song, generally up to 3dB of Gain Reduction. Start with the Attack and Release at 5 and
adjust from there, usually keeping the Attack slower and the Release faster.
To get your desired loudness level, simply adjust the Gain knob. Then, decrease the Ceiling to
your distributor recommendation, select the mode that is best suited to your song, and adjust
the LoPunch and Detail parameters to enhance the transient response.
That’s it!
Now you have a pro-sounding master, but if you want to take things further, you can open up
the Advanced view to really get under the hood of FG-X 2.
Easy vs Advanced view
Easy view is the default view for FG-X 2, giving you instant access to the most important
controls.
Advanced view gives you complete control over FG-X 2 by adding advanced features for the
FG-Comp and FG-Level sections.
Use the switch on the top bar to change between easy and advanced views.
4

FG-Comp
The FG-Comp is a fully-transparent compressor dedicated to mixbus and mastering duties.
Whether you want to strengthen the dynamics of the mix, have a more compact sound, add
some glue, or control the dynamics of your signal before entering the limiter, the FG-Comp is
ready for anything.
FG-Comp - Easy view vs Advanced view
Ratio / Threshold
Ratio controls how much gain reduction is applied once the signal passes the threshold.
Threshold sets the level above which compression is applied. Using these 2 controls is
enough in most cases.
5

Attack / Release
Attack adjusts how fast the compression kicks in, while Release adjusts how fast the
compression is reduced. With default settings, the FG-Comp offers a nice balance between a
leveler and a traditional compressor. To add more punch, use a slower Attack and faster
Release. For a more transparent response, slow down the release until the compression fits
your song.
Using The FG-Comp as a Leveler
With very low Attack and Release values, the FG-Comp acts more like a leveler than a
compressor. But even in those cases, the FG-Comp algorithm retains all the punch and
transients of the original mix, while reacting intelligently to sudden loudness changes of the
incoming audio.
The leveler mode can be used two ways:
●With a high ratio and threshold. This prevents loud moments of the sound from
getting too extreme.
●With a low ratio and threshold. This will tame your dynamic peaks while maintaining
clarity and providing a more well rounded signal to the FG-Level.
Sidechain Filters (Advanced Mode)
High Pass and Low Pass filters can be enabled on the sidechain of the compressor so that
you can decide whether the FG-Comp reacts more to high or low frequency content.. Using
default settings, both filters are disabled.
Mid/Side Link (Advanced Mode)
The M/S Link determines what percentage of the compression is linked between the mid and
side signals. With M/S Link at the default 100, the same compression is applied to both mid
and side. With M/S Link at 0, compression on mid and side are completely independent from
each other.
GR Width (Advanced Mode)
GR Width adjusts the compression balance between Mid and Side. Positive values result in a
wider sound and more compression on the mid channel.. Negative values result in a centered
sound and more compression on the side channel.
Square Visualization
The Square Visualization helps you understand how the compression is affecting your mid
and side channels:
6

The more compression that is applied, the smaller the square will be. The square turns into a
rectangle as you adjust the M/S Link or GR Width controls.
●Anarrow dark rectangle indicates a more centered signal with more compression
applied on the sides.
●Awide dark rectangle indicates a wider signal with more compression applied to the
center.
When mid and side compression are unlinked, the width and height of the rectangle move
independently.
7

FG-Level
The FG-Level is an intelligent processor that mixes saturation and limiting, allowing you to
maximize loudness while preserving the energy and impact of the original sound. Its algorithm
analyzes the input signal to determine whether to apply saturation or limiting based on the
frequency content.
FG-Level - Easy view vs Advanced view
Gain
The Gain parameter adjusts the input gain of the limiter stage. Basically, the higher the Gain,
the louder your track! It should be adjusted alongside the Modes (see below) to find your
desired balance between loudness and transparency.
Modes
The four Modes offer four different ways for you to get the limiting you want, ranging from
maximum transparency all the way to maximum loudness.
8

Clear
Maintains the output level and allows for the most transparent limiting, while preserving as
much of the original dynamics possible. Compression is more focused on long-term dynamics
which keeps short-term dynamics as intact as possible. Ideal when the mastering needs to be
transparent and not too loud. (Jazz/Pop)
Tight
Allows for a more relaxed loudness control, with good transparency and short-term dynamics
overall. Compared to Clear Mode, the resulting sound is tighter and a little more compact.
Ideal when keeping the dynamics of a mix with some variations in loudness over time.
(Pop/Rock)
Punchy
Designed to keep as many transients as possible while achieving higher loudness, and
retaining more long-term dynamics. Ideal for mixes with loud, snappy transients and heavy
bass dynamics. (Rock/EDM/Hip-Hop)
Loud
Allows for maximum loudness when the sound needs to be powerful and the original mix has
a wide range of long-term dynamics. Ideal for songs with loud, squashed percussion elements
and variations in loudness. (EDM/Hip-Hop)
Ceiling
The Ceiling knob determines the maximum output level for the limiter. The recommended
value for most streaming services is -1dB True Peak.
LoPunch/Detail
The LoPunch and Detail knobs are used to boost transients before entering the limiter.
LoPunch raises the level of the low-end punch of the mix, such as the kick, while Detail raises
the level of the high-end punch, such as your snare drum. To get the most accurate results,
leave them at 0, and only adjust them after dialing in your desired Gain.
LoPunch/Detail Frequencies (Advanced Mode)
By default, LoPunch boosts transients below 120Hz and Detail boosts transients above 7kHz.
However, you can adjust these cutoff frequencies to shape your transients more precisely.
(Keep in mind that these do not affect transient detection.)
9

Advanced Limiter Settings (Advanced Mode)
Though they only apply when FG-Level is actively limiting and gain reduction is happening, the
following parameters allow for finer adjustments to the behavior of the module. They give you
a lot of control over the sound of the limiter and the compromises made to reach the desired
loudness. All while preventing peaks from going over the ceiling. You get a level of control
unprecedented for a limiter. These functions enable you to intuitively shape your sound
without having to deal with complex technical parameters.
Drive
The Drive setting affects how the limiter is being driven. This setting works with the Transients
and Balance parameters to generate pleasing and controlled harmonics that add impact &
presence to the bass, sharpness & power to the highs, and loudness & fullness to the mids.
The more Drive, the more reactive and aggressive the limiting becomes; there will also be
more soft saturation applied when gain reduction is needed. This increases the track’s overall
loudness and gives more grit to the overall sound.
Transients
The Transients setting adjusts how transients are processed by the limiting process:
●Transients at 0: Retains the original transients of the mix and avoids pumping
artifacts. This setting will work for most applications.
●Transients between -10 and 0: Cleaner transients with slightly reduced sharpness and
potential pumping. This range is good for solving distortion issues.
●Transients between 0 and 10: Punchier transients and more dynamics, but a
potentially harsher and more distorted overall sound.
Balance
Balance adjusts the priority of the lower vs. higher frequencies in the limiting process:
●Balance at 0: Balanced limiting for high and low frequencies. Suitable for most cases.
●Balance between -10 and 0: More bass, less highs. Priority is given to bass by
reducing the limiting priority and saturation of high frequencies. This range can be
useful to avoid harsher higher frequencies and emphasize bass punch and loudness.
●Balance between 0 and 10: More highs, less bass. Priority is given to the high
frequencies by reducing the limiting priority and saturation of bass frequencies. This
range is best suited for songs whose master needs to retain high frequency sharpness
& clarity.
10

Right Bar
Listen Section
The Listen section lets you isolate the signal components removed by the
FG-Level with the Diff button. This setting can be combined with the Mid,
Side, Left and Right solo buttons, which allow you to listen to specific
output signals.
Constant Gain Monitoring
Constant Gain Monitoring decreases the output volume by the same
amount added by the Gain knob. This means you can easily compare the
original & processed mixes by toggling the power button on the FG-Level.
This simple feature lets you hear exactly what FG-Level is doing without the
added gain affecting your judgment.
Global bypass
The global bypass lets you bypass all audio processing (Input Gain,
FG-Comp, FG-Level and Right Bar).
True Peak Limiting
In the digital domain, values between two samples can exceed the ceiling
value—these are called inter-sample peaks. Inter-sample peaks can be an
issue when converting from digital to analog. True Peak Limiting ensures
that inter-sample peaks do not exceed the ceiling.
FG-X 2 True Peak Limiting complies with ITU-R BS.1770 and EBU R128
standards (by using 4x oversampling at 44.1kHz and 48kHz and 2x
oversampling for 96kHz and above). Most streaming services follow these
standards and recommend using true peak limiting with a -1dB ceiling.
Please note: Due to the fact the oversampling filters are not fully specified
by the standards, the True Peak values displayed by different limiting or
metering plugins complying with the standards can be different.
11

Output Meter
A simple meter to display the level at the output of the plugin and the ceiling.
Dithering
The Dither section allows you to adjust the Output Bit Resolution and Noise Shaping. Dithering
is a process that reduces quantization artifacts by adding a small amount of noise to the
audio. Depending on the noise floor already present in your recording, you may want to disable
Dithering altogether. No Dithering happens if the Output Bit Resolution is set to Off. To enable
Dithering, adjust the Bit Resolution to 16 or 24.
Noise Shaping can be set to Flat, Normal, Ultra or None. “Normal” and “UItra” will push the
dithering noise at higher frequencies where they are less audible. “None” allows you to only
hear the effect of the quantification made by the Output Bit Resolution, effectively turning both
Noise Shaping and Dithering off.
12

Metering Section
The Metering section allows you to visualize your signal in different ways:
- Time graph, vertical meters and histograms
- Indicators (LUFS, Dynamics, etc)
- Needle Meters
- Horizontal Meters
You can choose to display or hide metering sub-sections at the bottom of the Metering
interface so you can visualize only what you really need.
13

Time Graph, Vertical Meters and Histograms
The time graph on the left allows you to visualize the Gain Reduction (red), LUFS/RMS (blue)
and Peak/TruePeak (white) signals over time. The Gain Reduction signal comes from the
FG-Level only. The LUFS/RMS and Peak/TruePeak are measured at the output of the plugin.
The 2 vertical meters display the same signals as the time graph
The histogram on the right displays how these 3 signals are accumulated over time. For
example, a wide curve on the blue histogram (LUFS) indicates a dynamic track with a lot of
loudness variations.
You can use the 3 switches at the bottom of the time graph to select which signal you want to
visualize. Please note that this will also affect all the other metering components.
The time scale and dB scale can be adjusted by using the handles at the extremities of the
subsection. You can also decide to display or hide signals on the time graph and histograms
by clicking on the blue, white and red dots. You can reset the time graph and histograms
independently by clicking inside their respective area or clicking on the reset button.
The clip indicators at the top display the maximum Gain Reduction and Peak/TruePeak value.
You can reset these values by clicking on it.
By default, all meters are reset when on transport (when pressing play on your DAW). You can
disable this function by clicking on the reset button at the bottom right hand corner.
14

Indicators
The indicators section gives you information about loudness and dynamics:
- The Short Term and Integrated Loudness (LUFS) measurements fully comply with
ITU-R BS.1770 and EBU R128 standards.
- Short Term Dyn. LU measures the difference between Short Term True Peak value and
Short Term Loudness.
- Integrated Dyn. LU measures the difference between the maximum True Peak value
and Integrated Loudness.
Alternatively if you decide to use RMS on the global metering switches instead of LUFS you
will visualize :
- Integrated and Short Term RMS, whose ballistics were chosen to match the
corresponding LUFS ballistics.
- Short Term and Crest Factor as the difference between the Short Term Peak value and
the Short Term RMS value
- Integrated Crest Factor as the difference between the maximum Peak value and the
Integrated RMS value
You can also enable the Target feature display by clicking on the Target icon.This allows you
to set a target and a range for each of the metrics, allowing you to easily visualize if you are
within your defined bounds. Green means everything is fine, red means you are overshooting.
This affects all the meters. For example, setting Target to - 12 LUFS and the Range to 2 LU, the
green range goes from -14 to - 10 LUFS.
The shift feature allows you to set the Target as the reference value (0). For example if you set
the LUFS target to -10 LUFS and enable Shift, all LUFS values are going to be shifted 10 LU up.
This affects Indicators and Needle Meters.
15

We included several metering presets (see Presets section further below) to help you set the
targets recommended by the streaming platforms and also give starting points depending on
your music genre.
Needle Meters
Needle Meters offer you an more old school way to visualize Loudness or RMS. You can also
switch to a Mid/Side visualization and adjust the bounds of the meters if desired.
Horizontal Meters
Horizontal meters let you visualize the Loudness or RMS (blue) and Peak (white) for Left and
Right channels. You can adjust the bounds of the meters if desired.
Presets
The preset browser is made up of two tabs: Audio and Metering.
Audio presets save all the FG-Comp and FG-Level parameters that affect your audio. By
design, Gain, Ceiling, True Peak Limiting, Dither and monitoring options are not saved in
presets.
Metering presets let you save your favorite metering settings. They already include the most
up-to-date settings recommended by all the major streaming platforms.
16

Third Party Licenses
FastDelegate
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RapidXML
The MIT License
Copyright (c) 2006, 2007 Marcin Kalicinski
Permission is hereby granted, free of charge, to any person obtaining a copy of this software
and associated documentation files (the "Software"), to deal in the Software without
restriction, including without limitation the rights to use, copy, modify, merge, publish,
distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the
Software is furnished to do so, subject to the following conditions:
The above copyright notice and this permission notice shall be included in all copies or
substantial portions of the Software.
THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR
IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY,
FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE
AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER
LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM,
OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN
THE SOFTWARE.
Skia
Copyright (c) 2011 Google Inc. All rights reserved.
Redistribution and use in source and binary forms, with or without modification, are permitted
provided that the following conditions are met:
* Redistributions of source code must retain the above copyright notice, this list of conditions
and the following disclaimer.
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ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE
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Yoga
MIT License
Copyright (c) Facebook, Inc. and its affiliates.
Permission is hereby granted, free of charge, to any person obtaining a copy of this software
and associated documentation files (the "Software"), to deal in the Software without
restriction, including without limitation the rights to use, copy, modify, merge, publish,
distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the
Software is furnished to do so, subject to the following conditions:
The above copyright notice and this permission notice shall be included in all copies or
substantial portions of the Software.
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Katana
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Copyright (c) 2015 Hackers and Painters
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Permission is hereby granted, free of charge, to any person obtaining a copy of this software
and associated documentation files (the "Software"), to deal in the Software without
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distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the
Software is furnished to do so, subject to the following conditions:
The above copyright notice and this permission notice shall be included in all copies or
substantial portions of the Software.
THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR
IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY,
FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE
AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER
LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM,
OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN
THE SOFTWARE.
SigSlot
MIT License
Copyright (c) 2017 Pierre-Antoine Lacaze
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and associated documentation files (the "Software"), to deal in the Software without
restriction, including without limitation the rights to use, copy, modify, merge, publish,
distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the
Software is furnished to do so, subject to the following conditions:
The above copyright notice and this permission notice shall be included in all copies or
substantial portions of the Software.
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