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Post by swurveman on Mar 7, 2015 11:39:17 GMT -6
Does anybody use a limiter on an individual channel or aux? If so, what is your objective?
Thanks to anybody who replies!
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Post by Johnkenn on Mar 7, 2015 12:54:09 GMT -6
I was closing out a mix with a guy here in town who has mixed 9 No.1's in Country in the last 2-3 years. Noticed he does it pretty often. L2 on Snare, drum bus, bass. Interesting.
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Post by swurveman on Mar 7, 2015 13:48:04 GMT -6
I was closing out a mix with a guy here in town who has mixed 9 No.1's in Country in the last 2-3 years. Noticed he does it pretty often. L2 on Snare, drum bus, bass. Interesting. Thanks for your reply John. I initially asked this, because I notice that when I add my L1 to my mix bus the drums are usually peaking the in my limiter even though the drums don't seem overly loud in the mix. So, I wonder if they do it to control the volume of the snare and drums at the channel/aux level so that they aren't overly influencing mix bus compressors and limiters. |
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Post by tonycamphd on Mar 7, 2015 14:21:33 GMT -6
This is no small thing, and the reason i'm building 5 banks of 8 channel passive summing to give me a total of 11 stereo buss's. The best guys i've witnessed use compression/limiting on both individual tracks and stem buss's to differing degrees, having grouped instrument stem buss's gives a compartmenting to the group, which gives you concentrated control by allowing you to compress/eq them on an individual like group basis. Most also put very little, if anything at all on the 2 buss, it's usually left alone for a true mastering guy to do his thing. Another thing the few pro's i've witnessed do the same is, every move they make is in small .5-2 db doses..eq, compression, all of it. The results have had me scratching my head thinking "how the F does that sound that good? they didn't even do anything..." lol. They also are the beneficiaries of receiving tracks that are generally very well recorded.
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ericn
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Post by ericn on Mar 7, 2015 17:08:02 GMT -6
There is no hard rule here, between Dynamics on every ch and having 12 busses at hand, it's all about what are you trying to do? Best example is drums, if say snare and kick are what the drum comp is keying on, well maybe they need a bit on the channels, but then you find what you might be hearing is the drum buss comp is really keying on the snare and kick bleeding!
For me it's about control and not loosening sight or the fight with it sounding like a kit! Granted many will simply start replacing stuff , not my style.
The hardest thing on a console with dynamics plugins and some decent outboard is not using it cause its there!
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Post by rickcarson on Mar 7, 2015 17:14:15 GMT -6
I use L1 alot for tone. It sounds great on lots of individual tracks.
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Post by Johnkenn on Mar 7, 2015 19:08:27 GMT -6
What's the difference in L1 and L2?
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Post by gouge on Mar 7, 2015 19:49:38 GMT -6
I use limiters on bass and vocals.
objective is to tame dynamics and inject distortion.
I've read comments for steve albini who puts very light limiters on overheads to stop the snare peaks adding distortion when going to tape.
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Post by rickcarson on Mar 8, 2015 7:18:59 GMT -6
What's the difference in L1 and L2? I dont really know, I think its just a different algorithm. My use of L1 in lots of places actually started right here media.soundonsound.com/sos/may07/images/InsideTrack4_l.jpg If you look the preset is literally called CLA Vocal Automix Med. I thought there had to be more to this whole CLA Automix preset thing and I was on the right track and found a bunch of different stuff from different people use plugs in this fashion and kinda just start picking and choosing the things that work for me. But I have noticed it across genres, Pensado often has a mult coming from his lead voc and it goes to a bus labeled J's Comp. Its a trick I believe he said came from Jaycen Joshua, its a cla-76 going into an l1. But Ive also seen it on bass. I have heard whispers that Joey Sturgis uses L1 or Ren Axx on gtrs so I started messing around with that. Ren axx sounds alot like l1/rcomp to my ears. As always this is just shit off the rumor mill and how I tried things out and found them useful to me. |
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Post by swurveman on Mar 8, 2015 11:47:56 GMT -6
<abbr>delete.</abbr>
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Post by swurveman on Mar 8, 2015 11:58:05 GMT -6
I use limiters on bass and vocals. objective is to tame dynamics and inject distortion. I've read comments for steve albini who puts very light limiters on overheads to stop the snare peaks adding distortion when going to tape. Thanks for your reply gouge. The weird thing is that my understanding is that a ratio of 10-1 is considered limiting, but when I put my API 2500 into a 10-1 ratio on my overheads the snare pops out of the mix louder. Shouldn't it be quieting the snare? Perhaps its the frequency response (or tone) of the API 2500 which accentuates the snare. I'll try an L1 and see what happens. |
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Post by Bob Olhsson on Mar 8, 2015 13:36:27 GMT -6
L1 doesn't have auto-release and there is a low latency version without d*ther. CLA may be automating vocal rides with It as opposed to smashing he vocal.
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Post by gouge on Mar 8, 2015 16:18:43 GMT -6
I use limiters on bass and vocals. objective is to tame dynamics and inject distortion. I've read comments for steve albini who puts very light limiters on overheads to stop the snare peaks adding distortion when going to tape. Thanks for your reply gouge. The weird thing is that my understanding is that a ratio of 10-1 is considered limiting, but when I put my API 2500 into a 10-1 ratio on my overheads the snare pops out of the mix louder. Shouldn't it be quieting the snare? Perhaps its the frequency response (or tone) of the API 2500 which accentuates the snare. I'll try an L1 and see what happens. it could be you have your threshold too low or could be the input is too hot. I guess ultimately that's the same thing.
I've found some comps seem to get much better results after running a test tone through them to find unity gain. then you know where you are at.
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Post by rickcarson on Mar 9, 2015 7:57:48 GMT -6
L1 doesn't have auto-release and there is a low latency version without d*ther. CLA may be automating vocal rides with It as opposed to smashing he vocal. Yeah I dont think its smashing the vocal or even really touching it to much for that matter I think it has to do with the tone of it. It makes things sound bigger and punchier with out doing a thing to my ears. As always though this is just my Opinion! Thanks for everything Bob I am a big fan of your work! |
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Post by Bob Olhsson on Mar 9, 2015 8:28:23 GMT -6
He needs to use something to d*ther the digital sub mix feed from his Pro Tools to his Sony multitrack.
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Post by tonycamphd on Mar 9, 2015 8:40:36 GMT -6
I've got all the waves L's, they are like the poster child for digititus imo, I equate that digital crunch to what ever they touch... Maybe I've not used it correctly? Wouldn't be the first time 8)
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Post by swurveman on Mar 9, 2015 8:47:04 GMT -6
I realize there's a degree of speculating when watching a video and trying to decipher use of audio tools, but on this video of CLA check out how much limiting there is on the sound source. 8dB of reduction on the overheads.  |
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Post by tonycamphd on Mar 9, 2015 9:04:07 GMT -6
Agreed, another vid of a bigwig AE sitting in front of a $2,000,000 analog rig telling u he uses this "plugin" that he signatures in a promotion for the company that sells it 8)
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ericn
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Post by ericn on Mar 9, 2015 9:24:13 GMT -6
Agreed, another vid of a bigwig AE sitting in front of a $2,000,000 analog rig telling u he uses this "plugin" that he signatures in a promotion for the company that sells it 8) Hey it pays the bills! |
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Post by Bob Olhsson on Mar 9, 2015 10:10:00 GMT -6
I can remember mixing with the gain controls on ren eqs. because they sounded way better than using the faders in pro tools.
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Post by Johnkenn on Mar 9, 2015 15:01:27 GMT -6
If it works it works.
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Post by Deleted on Mar 9, 2015 17:49:38 GMT -6
I noticed that i really, really like the concept of having dynamics in each channel every time i fire up Harrison Mixbus. It is very easy to set intuitively to at least smaller amounts of compression/limiting/agc, then doing the second stage of compression in the group busses.
This way of compression/limiting feels very natural and sounds good. I think the limited set of features of the Harrison console emulation forces you to use what you got and what has been proven to be spot-on tools for fast good-sounding productions. This is the most impressing thing about Mixbus, using filters, eq's and dynamics that are there in every channel, limited amount of groups and then just go and do your best, almost like live-FoH mixing.
I also did a project template in Sonar X3 with one L1 limiter per channel (used the free Yohng W1 exact clone) but right now i didn't use it much so i cannot tell if i like to work with it. I also think the L1 gets you quite some crisp into the mix, but not that bad in smaller amounts, maybe we are already used to hear it alot from many radioplay productions...
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Post by spock on Mar 14, 2015 14:31:39 GMT -6
Does anybody use a limiter on an individual channel or aux? If so, what is your objective? Thanks to anybody who replies! If you need to control something specific you use the tool and path on the that signal to achieve it. That aside, try sending a little bit of a source to multiple comp/limiters along with other sources, similar to sending multiple source signals to effects. |
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