|
|
Post by drbill on Mar 13, 2017 15:04:24 GMT -6
out there these days? Plugin. AAX compatible.
Any thoughts. Its time for an upgrade over here.....
Thx.
bp
|
|
|
|
Post by joseph on Mar 13, 2017 15:30:44 GMT -6
DMG Limitless is shockingly transparent. Keeps things open while preserving timbre with crazy reduction. Try it!
|
|
|
|
Post by drsax on Mar 13, 2017 16:33:43 GMT -6
Sonnox Limiter v2 is pretty impressive also
|
|
|
|
Post by tasteliketape on Mar 13, 2017 16:50:52 GMT -6
Tracks stealth limiter is nice . JK uses it also.
|
|
|
|
Post by ragan on Mar 13, 2017 16:59:06 GMT -6
FabFilter Pro L is my go to.
Makes my crappy mixes sound exactly as crappy, but way louder.
|
|
|
|
Post by Johnkenn on Mar 13, 2017 17:34:48 GMT -6
At this point FOR ME, and what I do which is mostly demos, I would say Aria lol. It gets it waaay louder than I could and it sounds pretty damn good
Other than that, I've been using IK Stealth. I actually really love that thing regardless of the dinosaur. To me, it sounds really really transparent - and I don't even think I push it hard enough. I also have tried the AOM Invisible L 2. Sounds really good but I still liked he stealth better.
|
|
|
|
Post by stratboy on Mar 13, 2017 17:53:47 GMT -6
Speaking of dinosaurs (in a good way), I still regularly use the Massey L2007. So simple, sounds great, done
|
|
|
|
Post by Vincent R. on Mar 13, 2017 18:44:46 GMT -6
I like Slate FGX.
|
|
|
|
Post by drbill on Mar 13, 2017 18:46:43 GMT -6
Thanks guys! Much appreciated!!!
I've been using Massey L2007 for quite a long time, and most of the time it works pretty well. I've gone to a hybrid mastering setup, and it's the last thing in the chain - preceded by a manley vary-mu, silver bullet, and serpent SB4001 and rarely 550A's. I use Sonnox EQ plugin at the front end, and L2007 at the back end. Normally I can do pretty well with this setup, but there's the odd time when I just CAN;T get it to do what I want. Today was one of those days - hence the question.
I'll check this suggestions out. Again, thanks!
bp
|
|
|
|
Post by drbill on Mar 13, 2017 18:47:34 GMT -6
man,,, if someone said this I was gonna pop. LOL Can't make that work and get things loud enough without distortion no matter how hard I've tried...... |
|
|
|
Post by dandeurloo on Mar 13, 2017 19:06:11 GMT -6
Drbill give the Fab Filter a try. I use that most often.
I use the Massey every now and then but it always changes the tone and I feel thins things out a touch.
Otherwise I use my modded PL-2.
|
|
|
|
Post by joey808 on Mar 14, 2017 0:03:03 GMT -6
Check out the AOM limiter.
|
|
|
|
Post by ChaseUTB on Mar 14, 2017 0:05:20 GMT -6
Waves L1/ L2 leave release stock on baby l1 and arc on l2 then hit Ozone IRC 3 and IRC 4 Fast 1.0 ISP on doing whatever else is needed 🤤 I can crush your DR12 mix into DR5 with ease 😂 So on a mix peaking around -7dbfs, I would bring the threshold down to minus -7 or -8 til I hit -2 to -3db at the very loudest, then hit Ozone with margin ( ceiling / output ) set to -.3 with ISP on
Waves L1 into FF Pro L -> Not as loud, I use Pro L a lot but the attack and release settings interplay with each other and when I drop the release down low like other limiters it doesn't like it at all ( oversmapling solves this most of the time )
Sonnox V2 i own but have not used or installed ( 64bit requirement tied to OSX by UAD )
Brainwork XLv2 gets shit loud, plus u can mono the low end of the mix by frequency. Also can limit and saturate individual " bands " ( lo , mid, side)
I have recently been using VladG limiter no6 ( could use blue cat patch plug cuz it's vst ) and man that runs compressor combined with the peak limiter ( c ) can stay pretty transparent... Also has a clipper, HF limiter, and ISP limiter! And it's free ( amazing that it's free, I think a v2 is coming though )
|
|
|
|
Post by drbill on Mar 14, 2017 10:03:14 GMT -6
Hey Guys. Remastering right now. Took all your advice and checked out the options and spoke with a couple buddies (Dan) as well. Ended up with the ProL. It's fantastic. Not sure if it's the "ultimate", but it is very cool, the price was right ($149 @ MF) and it's bringing E#XACTLY what I was looking for - transparency on plucked string instruments - flamenco gtrs, steel strings, mando's, etc.. And it's taming piano transients and keeping their weight without feeling limited - a pet peeve of mine.
Looks like L2007 is gone for me. It was good for many years, but the more modern stuff kills it. I've got stuff a bit louder, significantly more transparent, less colored and filtered sounding, bigger and more "alive" sounding, and I really don't even know the plugin yet. Also, for some reason I didn't get any presets but I've been able to wrap my mind around it pretty well with no tutorial or presets. Actually.....weird, but MORE GR is feeling like "less" with ProL. LOL I keep getting tempted to slam it even harder....must.....resist.
Thanks for all the options. Much appreciated!!
|
|
|
|
Post by bartacusad on Mar 14, 2017 10:04:30 GMT -6
Plus one for DMG Limitless. Crazy loud without destroying your mix.
|
|
|
|
Post by Martin John Butler on Mar 14, 2017 10:35:48 GMT -6
Had the A.O.M, it was better than FG-X, for sure, still not great. You'd do just as well to use Apple's compressor/limiters as any of those, assuming you use Logic. I've heard many times the Fab Filter plugs are top drawer, but don't feel like buying yet another plug-in when I have a dozen redundant compressor/limiters already. For a little more volume, Waves L2 is OK. Slate has promised a new FG-X for over 3 years, but still hasn't delivered.
|
|
|
|
Post by WKG on Mar 14, 2017 10:42:41 GMT -6
Pro L most of the time here, occasionally IK Stealth, PSP Xenon or BX xl_v2. I haven't used L2007 in a few years, it never made it to Win AAX though I hear he's still working on it. Would be interesting to see if he updates it in the process.
Haven't tried DMG Limitless.
|
|
|
|
Post by WKG on Mar 14, 2017 10:52:03 GMT -6
Had the A.O.M, it was better than FG-X, for sure, still not great. You'd do just as well to use Apple's compressor/limiters as any of those, assuming you use Logic. I've heard many times the Fab Filter plugs are top drawer, but don't feel like buying yet another plug-in when I have a dozen redundant compressor/limiters already. For a little more volume, Waves L2 is OK. Slate has promised a new FG-X for over 3 years, but still hasn't delivered.
I've never found a use for FG-X that I was happy with, forgot I even had it...
|
|
|
|
Post by Martin John Butler on Mar 14, 2017 11:07:44 GMT -6
Me too, it just has this odd distortion that once you recognize it, you can't stop hearing it. It's like an "add some harsh edge" plug-in. Apple's first comp/limiter of the 6 they give you in Logic is a dead ringer for the A.O.M., without the unwanted bass boost the A.O.M. has.
Recently I'm testing out using a couple of compressors simultaneously in smaller doses. It's getting me closer to something I feel I can send to ARIA for mastering. So far, the most effective 2 bus plug-in I've used is the new UAD API 2500. It crushes just a little too much, but man, it really does really glue the track and achieves a lot of what a good mastering engineer does, if not everything. I still have to learn to dial it in better, but my last two tracks went from being a good demo to being much more like a "record", with only a little more effort to automate the vocal levels and the API on the 2 bus.
|
|
|
|
Post by Ward on Mar 14, 2017 11:23:50 GMT -6
The waves L1 L2 L3 are probably the most popular around, and I'll admit to routinely using the L1 with ultramaximiser. But, it takes a lot of working around it to avoid it starting to sound harsh, distorted and mechanical in nature.
I wouldn't call any of them transparent. But they can be somewhat transparent-ish. Every single peak limited I've heard, software or hardware, analog or digital, imparts some sort of sound signature. You would think that in this day and age there would be a simple mathematical way to do this without changing the sound of the recording.
|
|
|
|
Post by drbill on Mar 14, 2017 11:24:23 GMT -6
Right now, feeling pretty giddy with the ProL. The dither on this thing is very sweet, and the oversampling, just top notch. Definitely a huuuuuuge step forward for me.
|
|
|
|
Post by ChaseUTB on Mar 14, 2017 11:41:36 GMT -6
Hey Guys. Remastering right now. Took all your advice and checked out the options and spoke with a couple buddies (Dan) as well. Ended up with the ProL. It's fantastic. Not sure if it's the "ultimate", but it is very cool, the price was right ($149 @ MF) and it's bringing E#XACTLY what I was looking for - transparency on plucked string instruments - flamenco gtrs, steel strings, mando's, etc.. And it's taming piano transients and keeping their weight without feeling limited - a pet peeve of mine. Looks like L2007 is gone for me. It was good for many years, but the more modern stuff kills it. I've got stuff a bit louder, significantly more transparent, less colored and filtered sounding, bigger and more "alive" sounding, and I really don't even know the plugin yet. Also, for some reason I didn't get any presets but I've been able to wrap my mind around it pretty well with no tutorial or presets. Actually.....weird, but MORE GR is feeling like "less" with ProL. LOL I keep getting tempted to slam it even harder....must.....resist. Thanks for all the options. Much appreciated!! Hold option when turning up the gain, this simultaneously turns down the output to level match ( basically hear what the Limiting is doing to the overall source material ) The attack and release and connected and comingle ( affect one another ). The oversampling can be your friend. I really like a Ozone because I have never had an ISP when I enable the option on the Ozone 5 ( yes 2012 version) maximizer. I have to turn out hot mixes and masters and am very happy with it. DR6 is common for masters I do and using any of waves of UAD they all clip bad downstream when converted because most want MP3. Leaving a Db of headroom is cool but most will say so and so artistbsing is louder so for me leaving a whole Db of headroom is pretty much guaranteeing a revision for myself. |
|
|
|
Post by jcoutu1 on Mar 14, 2017 11:48:55 GMT -6
Right now, feeling pretty giddy with the ProL. The dither on this thing is very sweet, and the oversampling, just top notch. Definitely a huuuuuuge step forward for me. ISP is great too. Killer plug. |
|
|
|
Post by Vincent R. on Mar 14, 2017 11:56:48 GMT -6
man,,, if someone said this I was gonna pop. LOL Can't make that work and get things loud enough without distortion no matter how hard I've tried...... :-D Well, you're talking to a guy who produces classical and broadway style music most of the time. I seldom have to crush anything. Lol. It doesn't really get LOUD, just loud enough for what I do. I do take on a random rock or old school R&B mix here and there, so it has been adequate for me. I'm trying to get away from plugins and start investing in real gear now. That's the point I've reached. I'd be curious to hear what real deal limiters people recommend. |
|
|
|
Post by dandeurloo on Mar 14, 2017 12:17:45 GMT -6
man,,, if someone said this I was gonna pop. LOL Can't make that work and get things loud enough without distortion no matter how hard I've tried...... :-D Well, you're talking to a guy who produces classical and broadway style music most of the time. I seldom have to crush anything. Lol. It doesn't really get LOUD, just loud enough for what I do. I do take on a random rock or old school R&B mix here and there, so it has been adequate for me. I'm trying to get away from plugins and start investing in real gear now. That's the point I've reached. I'd be curious to hear what real deal limiters people recommend. I like the PL-2 but only after I modded it. Now it sounds great and is very useful. I bet it would sound really nice on the music you work on. I use it on the master and often inside a mix on either busses or individual tracks. |
|
