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Slate Digital FG-‐X Virtual Mastering Console
IX.
3RD PARTY ILOK LICENSE TRANSFER FEE
When reselling any Slate software product, there will be a $30 License Transfer Fee in
order for us to process the new customer into our USER system. It is the responsibility of
the seller to inform the buyer of this fee at the time of sale.
X.
C
ONCLUSION
We hope the FG-‐X Dynamics Rack helps you make your masters even better. For any
support related issues, please visit
www.slatedigital.com/support
.
A note from Steven Slate:
"It all started when Fabrice Gabriel and I sat down at a conference table in early 2008, drinking
coffee."The coffee in the US isn't quite like European coffee", he said to me. I didn't realize how right
he was until recently visiting the Frankfurt Music MESSE in Germany. European coffee is just amazing.
But coffee was certainly not the main focus of our conversation that day. No, Fabrice and I were
talking about music.
Both he and I had played music from an early age and we had shared a deep passion for it. Months
later we'd be in my studio listening to classic tracks from Michael Jackson's Thriller and Stevie
Wonder's Songs in the Key Of Life. But on that day I brought up something to Fabrice that really
struck a chord in him. I told him that I thought peak limiting was destroying the music industry.
His eyes lit up and he slammed his coffee down on the table and said to me in a French accent "I
know! This has troubled me for so long! There has to be a better way!"
And those words were the conception of the FG-‐X. Because he was right, there had to be a better way
to make music louder in the mastering stage then what was currently offered. And to be honest, the
only thing currently offered was this barbaric process of lookahead peak limiting which to my ears,
was a one way ticket to making any mix sound WORSE.
So many digital plugin companies had a peak limiter. It seemed like standard procedure for every
company to release their own. We tested dozens of them in hopes that maybe we'd find the one that
would sound good and keep the audio intact, even at high gain additions. We failed in our search.
The only thing left to do was to build an entirely new mousetrap. It would prove to be one of the most
difficult tasks we would ever undertake. Starting with sketches of concepts on pieces of paper,
leading to over one hundred beta prototypes, with thousands of listening tests, and nearly three years
of constant work, the FG-‐X was finally born.
