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Post by Johnkenn on Jul 20, 2015 20:20:46 GMT -6
Let's talk about the best...I've been using the AOM Invisible Limiter and it's really great. Haven't really dug in to Pro-L more than selecting a transparent preset and dabbling. I really love the ability to use the line to see RMS level and futz with attack and release. Anyone else? Love to hear the new Slate that's coming out - anyone seen an eta?
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Post by henge on Jul 20, 2015 20:34:46 GMT -6
Yeah I'd like to hear what you guys think are good alternatives to Invisible Limiter. Pro-L?
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Post by wiz on Jul 20, 2015 21:30:31 GMT -6
I love PRO L
8)
cheers
Wiz
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Post by jeromemason on Jul 20, 2015 21:51:26 GMT -6
Randge has both the AOM and the Hofa. I haven't had time to try the Hofa out, but he swears by it. He might can talk some on it, I need to try it myself.
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Post by lpedrum on Jul 20, 2015 23:09:46 GMT -6
I've been using the Invisible Limiter too. I liked it a lot at first, but now it sounds harsh to my ears at times. I'm curious about the Hofa.
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Post by KJ on Jul 21, 2015 2:03:32 GMT -6
limiter on ozone 6 is pretty good.
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Post by rickcarson on Jul 21, 2015 3:48:27 GMT -6
Fab Filter or the loudness maximizer from spectral design. I also use xenon l2 and l2007 from time to time. I really want to hear the cubetec as I hear that is the true king.
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Post by warrenfirehouse on Jul 21, 2015 6:20:17 GMT -6
Slate fgx...the dynamic control and constant gain monitoring are fantastic. The comp section is also very usefull and clean sounding.
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Post by M57 on Jul 21, 2015 6:23:49 GMT -6
Tell me what I get for my money. Features? Transparency/Color? I have the stock "Adaptive Limiter" in Logic X. In a nutshell, what is it I should be looking for in a limiter?
As a related aside, I just got the Waves Linear Phase Multiband and was loving it. Then, and I'm only moderately embarrassed to admit it, but I just stumbled on the stock Mulitband Compressor in Logic. I haven't directly A/B'd them yet, but I'll be damned if the Logic plug isn't warmer, and I think I like it better. Transparency may be the goal with these things, but I'm liking the AL more at this point. I'm not regretting spending the $29, but I sure wouldn't say it's worth $250. Feature-wise, the Waves plug has a "trim" (auto make up gain) button, and just a few things that are implemented a bit more intuitively.
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Post by Randge on Jul 21, 2015 8:33:20 GMT -6
I have the FGX, the A.O.M. and the Hofa. Sonic clarity, Hofa wins, hands down. I find it to stay solid and it can be pushed quite a bit past the others for dance mixes and loud modern music.
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Post by M57 on Jul 21, 2015 8:50:55 GMT -6
OK, I just watched the Pro-L tutorial/video. Wow. Are the others as feature-rich?
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Post by jcoutu1 on Jul 21, 2015 9:01:36 GMT -6
OK, I just watched the Pro-L tutorial/video. Wow. Are the others as feature-rich? The FabFilter videos for all of their plugs are really good. Really, really well done. |
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Post by Johnkenn on Jul 21, 2015 9:45:05 GMT -6
I'll have to watch that Pro-L tutorial...I'm sure it will shed light on stuff I'm missing. Wonder if HOFA has a demo? The AOM limiter is totally cool, but I would love to have dithering built in.
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Post by jeromemason on Jul 21, 2015 12:19:32 GMT -6
I believe Hofa has a 15 day Demo John.
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Post by Guitar on Jul 21, 2015 14:20:57 GMT -6
I've been abusing Pro-L for a good while now. The visual metering really helps me to understand what's going on and not push things too far. It's loud and clean, but there seems to be a slight coloration of the dynamics that I don't always like sometimes. Usually it's not enough to bother me.
PSP Xenon is more immediately gratifying, and quicker to get a good sound. It also has a hint more "color" to it in terms of what sounds like harmonic distortion or natural compression curves. This one is the easiest for me to use.
Lately I've been finally using Waves L2. It's pretty dirty and colored in the mid range, and comparatively limited in control. But it just sounds good, if you get over all that. It's clearly not the most transparent thing going but that's probably what's good about it. I think some big name guys are still using this one for a reason.
I used to always use the Sonnox Limiter, along with Sonnox Inflator for extra drive and volume. It's got a sort of bright sound to it, and it's quite clean. I guess the other ones above took precedence, I haven't used it in quite a while. I still do bring up Inflator from time to time, it's pretty unique. I haven't heard anything else that really does what it does.
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Post by Bob Olhsson on Jul 21, 2015 15:30:26 GMT -6
I've never found any "best." Each screws something different up. Choice is good and careful listening is mandatory!
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Post by odyssey76 on Jul 21, 2015 15:39:52 GMT -6
I've never found any "best." Each screws something different up. Choice is good and careful listening is mandatory! Great quote Bob, I like it!  Serious question - What are all you guys using limiters for? To make your mixes louder? Honestly, I've never made a real attempt to make a limiter work on the 2 bus but only because I don't know what I'm doing. Are you mastering or smashing it for clients? |
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Post by wiz on Jul 21, 2015 16:43:56 GMT -6
I've never found any "best." Each screws something different up. Choice is good and careful listening is mandatory! Great quote Bob, I like it! Serious question - What are all you guys using limiters for? To make your mixes louder? Honestly, I've never made a real attempt to make a limiter work on the 2 bus but only because I don't know what I'm doing. Are you mastering or smashing it for clients? I use them to control the transients in tracks, not to make things louder per se. What I mean is I use it as a limiter, that is transparent to make the transients in a track no louder than say -10dB. Why you ask? well, lets say that the snare track is chugging along, and most of the transients are around -12. There might be a transient that hits -9. Its not intentionally done, its a by product of my playing. Part of the process for me would involve perhaps setting PRO L to have nothing come out higher than -10 for instance. Of course, before you crush your fingers against the keyboard to lecture me on how to mix play and record....8) These things are ALWAYS sonic dependant, song dependant and breakfast dependant. Why do I want the transient no higher than -10dB in this case. Because any dynamics processing I do down stream will be influenced by that stray transient. You can be surprised by what some judicious limiting can do to "control" the transient of tracks, WITHOUT impacting their tone and how positive that is on downstream processing. I can set PRO L s output to what ever I want -25 if I want to. I searched and search for something that would allow me to work like this, and sound clean. I have lots of headroom in my tracks, and PRO L is the only one I found that let me work the way I want to like this. PRO L's metering, and the way you can set what level you want out of it is great for me. Its also quick and brilliant at showing how much you are chewing off the top of the transient. cheers Wiz |
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Post by b1 on Jul 21, 2015 17:42:39 GMT -6
I use them to control the transients in tracks, not to make things louder per se. What I mean is I use it as a limiter, that is transparent to make the transients in a track no louder than say -10dB. Why you ask? well, lets say that the snare track is chugging along, and most of the transients are around -12. There might be a transient that hits -9. Its not intentionally done, its a by product of my playing. Part of the process for me would involve perhaps setting PRO L to have nothing come out higher than -10 for instance. Of course, before you crush your fingers against the keyboard to lecture me on how to mix play and record....8) These things are ALWAYS sonic dependant, song dependant and breakfast dependant. Why do I want the transient no higher than -10dB in this case. Because any dynamics processing I do down stream will be influenced by that stray transient. You can be surprised by what some judicious limiting can do to "control" the transient of tracks, WITHOUT impacting their tone and how positive that is on downstream processing. I can set PRO L s output to what ever I want -25 if I want to. I searched and search for something that would allow me to work like this, and sound clean. I have lots of headroom in my tracks, and PRO L is the only one I found that let me work the way I want to like this. PRO L's metering, and the way you can set what level you want out of it is great for me. Its also quick and brilliant at showing how much you are chewing off the top of the transient. cheers Wiz I've never used that software, but I like the reasoning you've applied. |
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Post by odyssey76 on Jul 21, 2015 18:33:01 GMT -6
Great quote Bob, I like it! Serious question - What are all you guys using limiters for? To make your mixes louder? Honestly, I've never made a real attempt to make a limiter work on the 2 bus but only because I don't know what I'm doing. Are you mastering or smashing it for clients? I use them to control the transients in tracks, not to make things louder per se. What I mean is I use it as a limiter, that is transparent to make the transients in a track no louder than say -10dB. Why you ask? well, lets say that the snare track is chugging along, and most of the transients are around -12. There might be a transient that hits -9. Its not intentionally done, its a by product of my playing. Part of the process for me would involve perhaps setting PRO L to have nothing come out higher than -10 for instance. Of course, before you crush your fingers against the keyboard to lecture me on how to mix play and record....8) These things are ALWAYS sonic dependant, song dependant and breakfast dependant. Why do I want the transient no higher than -10dB in this case. Because any dynamics processing I do down stream will be influenced by that stray transient. You can be surprised by what some judicious limiting can do to "control" the transient of tracks, WITHOUT impacting their tone and how positive that is on downstream processing. I can set PRO L s output to what ever I want -25 if I want to. I searched and search for something that would allow me to work like this, and sound clean. I have lots of headroom in my tracks, and PRO L is the only one I found that let me work the way I want to like this. PRO L's metering, and the way you can set what level you want out of it is great for me. Its also quick and brilliant at showing how much you are chewing off the top of the transient. cheers Wiz Very interesting. Knowing you and your music I certainly wouldn't assume you hit your 2 bus with a limiter. I was looking for answers like this because I honestly don't know any uses for limiters besides making things louder and, ironically, protecting speakers. Very creative and informative - thanks wiz! |
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Post by wiz on Jul 21, 2015 18:37:55 GMT -6
I use them to control the transients in tracks, not to make things louder per se. What I mean is I use it as a limiter, that is transparent to make the transients in a track no louder than say -10dB. Why you ask? well, lets say that the snare track is chugging along, and most of the transients are around -12. There might be a transient that hits -9. Its not intentionally done, its a by product of my playing. Part of the process for me would involve perhaps setting PRO L to have nothing come out higher than -10 for instance. Of course, before you crush your fingers against the keyboard to lecture me on how to mix play and record....8) These things are ALWAYS sonic dependant, song dependant and breakfast dependant. Why do I want the transient no higher than -10dB in this case. Because any dynamics processing I do down stream will be influenced by that stray transient. You can be surprised by what some judicious limiting can do to "control" the transient of tracks, WITHOUT impacting their tone and how positive that is on downstream processing. I can set PRO L s output to what ever I want -25 if I want to. I searched and search for something that would allow me to work like this, and sound clean. I have lots of headroom in my tracks, and PRO L is the only one I found that let me work the way I want to like this. PRO L's metering, and the way you can set what level you want out of it is great for me. Its also quick and brilliant at showing how much you are chewing off the top of the transient. cheers Wiz Very interesting. Knowing you and your music I certainly wouldn't assume you hit your 2 bus with a limiter. I was looking for answers like this because I honestly don't know any uses for limiters besides making things louder and, ironically, protecting speakers. Very creative and informative - thanks wiz! On my own music, I don't use anything on the 2 buss. Mixing for others is a different story 8) cheers Wiz |
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Post by Ward on Jul 22, 2015 7:16:36 GMT -6
The lowly Bomb Factory BF76 which comes free in Pro Tools, is actually a very good software limiter for many applications. light settings are brilliant on acoustic instruments, especially rhythm acoustic guitar tracks,
Nominal average gain at -18DBfs with peaks no higher than -9, then set the BF76 with an input at 10 o'clock and output at 2 o'clock (just like a timex watch) with attack and release at noon.... 8:1 ratio.
Try it.
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Post by rickcarson on Jul 22, 2015 9:20:02 GMT -6
So no one has used Cubetec. Very interesting.
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ericn
Temp
Balance Engineer
Posts: 14,940 
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Post by ericn on Jul 22, 2015 11:24:59 GMT -6
The lowly Bomb Factory BF76 which comes free in Pro Tools, is actually a very good software limiter for many applications. light settings are brilliant on acoustic instruments, especially rhythm acoustic guitar tracks, Nominal average gain at -18DBfs with peaks no higher than -9, then set the BF76 with an input at 10 o'clock and output at 2 o'clock (just like a timex watch) with attack and release at noon.... 8:1 ratio. Try it. I thought the exact opposite when I had 2 real Purple 76s in the rack! I guess over all it's not bad , it just wasn't that great of a Purple 76! |
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Post by Johnkenn on Jul 22, 2015 12:00:28 GMT -6
So no one has used Cubetec. Very interesting. What is that? |
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