The ITP process uses a complex lookahead detection algorithm to analyze oncoming transients and groups of transients. A new algorithm was formed, and the process was named 'Intelligent Transient Preservation', or ITP. New Advanced Algorithms were created to execute the extremely complex communication system that would be needed to properly perform the new dynamic operations. 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. After several months of study and hundreds of listening tests, they made some fascinating discoveries. They started by researching saturation curves and their effect on various types of transient material. 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. Both static saturation and clipping have a small window of gain maximizing before audible distortion. Clipping greatly reduces low end punch and is very poor at retaining sub bass. Static saturation curves are not universal in their ability to sound good on all transients. However, both of these methods, while usually more unobtrusive then peak limiting, have their downfalls.
Another popular method is clipping the front end of expensive A/D converters. One of the more popular techniques is the use of saturation in both the analog and digital domain. Some of the top mastering engineers have found ways to combat this sonic degradation by using techniques other then Peak Limiting. Peak limiters attenuate transients and often reduce punch, stereo imaging, can greatly alter mix balances, and cause a fatiguing result to the ears. One of the main causes of this epidemic is the use of the Peak Limiter to achieve increased levels in the mastering stage. Masters have become louder and louder, at the expense of the music becoming harsh and lacking punch and dynamics. We have all been at the mercy of the 'loudness wars' for over ten years now. Imagine mastering your mixes without causing the lifeless, squashed, and over compressed sound that has become so common in modern music. The FG-MU is a hybrid of several tube compressor designs that is lush, warm, fat, and open sounding.FG-X Virtual Mastering Console Dynamics Module is the initial plug-in in Slate Digital's mastering line.
It sounds tight, punchy, and has rich harmonics from the output transformers. The FG-RED is a replication of the classic RED mixbuss compressor that has been used for decades by some of the world’s top mixers. The GREY will give your mix that classic glue and punch that you’ve heard on so many hits! The FG-GREY is a replication of the classic British console compressor, with some fat sounding transformers added in to beef up the low end. Virtual Buss Compressors contains 3 models of some of the industry’s most sought after analog gear. Every nuance of real analog compressors has been modeled including the exact nonlinear characteristics of their transformers, tubes, VCAs, amplifiers, phase distortions, harmonic distortions, and timing.
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