|
Post by Johnkenn on Dec 8, 2020 12:14:49 GMT -6
What (if any) are you guys using? I usually compress and then run a limiter at the very end of the Drumbus chain. Not taking too much off, just to catch peaks or to have another option for character and volume. I’ve been using the LL-Ultra from waves...it’s two sliders and sounds pretty good. Putting something like Limitless is such a hog that it just hasn’t been feasible. Anyone using anything I’m missing?
|
|
|
Post by the other mark williams on Dec 8, 2020 12:29:59 GMT -6
What (if any) are you guys using? I usually compress and then run a limiter at the very end of the Drumbus chain. Not taking too much off, just to catch peaks or to have another option for character and volume. I’ve been using the LL-Ultra from waves...it’s two sliders and sounds pretty good. Putting something like Limitless is such a hog that it just hasn’t been feasible. Anyone using anything I’m missing? I like TrackLimit. It's the DMG "lite" version of Limitless. It's got the same six algorithm choices, but it's lighter on the CPU. Sometimes a clipper on the drumbus can be nice, too.
|
|
|
Post by ragan on Dec 8, 2020 12:52:11 GMT -6
I’ve used Pro-L in the past but usually end up with no limiter. I should try it again. I do like locked in drums. I have a pair of WA76 on drum bus at all times and that keeps a pretty good lid on things. I also really love the Lindell 254E for drums and that can perform limiter duties nicely.
|
|
|
Post by the other mark williams on Dec 8, 2020 13:14:35 GMT -6
Has anyone here ever tried that Sound Radix plugin called "Drum Leveler"? I've been wondering about that thing. Lately, my drums have all been Superior Drummer, so I haven't needed anything as dramatic as Drum Leveler appears to be capable of, but I've been curious. I like the UI.
|
|
|
Post by ragan on Dec 8, 2020 13:16:28 GMT -6
Has anyone here ever tried that Sound Radix plugin called "Drum Leveler"? I've been wondering about that thing. Lately, my drums have all been Superior Drummer, so I haven't needed anything as dramatic as Drum Leveler appears to be capable of, but I've been curious. I like the UI. I demo'd it when it came out and couldn't really gel with it, but that was years/workflows ago so I don't really trust that impression much.
|
|
|
Post by tkaitkai on Dec 8, 2020 13:17:34 GMT -6
For transparently shaving off peaks, I love using FreeClip from VennAudio or Pro-L. For something a little more characterful, L2 is always cool.
A cool trick is to put Pro-L on your master and then a limiter of your choice across the drum bus. Push the gain on Pro-L until kick/snare peaks are triggering a few dBs of gain reduction, and then use the drum bus limiter to squash the peaks until you see no GR on the Pro-L. Remove Pro-L from the master and voilà — leveled drums. When done gently, it can be pretty much invisible.
|
|
|
Post by ChaseUTB on Dec 8, 2020 13:25:25 GMT -6
L3 is smart. Adds slight glue n presence plus easy to use n not mess up. What are you trying to achieve the L3 isn’t?
I think L3 is a great choice. I use L1 or API 2500 a lot but I prefer Kotelnikov on bus duties. The options to compress peaks or rms is great + u can finesse the Peak v RMS compression while using the knee to dig further into compressing the source but preserve peaks if desired. Also works awesome on piano , bass, drums.
Vlad G limiter 6 is great for what u are asking as well b/c it has a compressor, brick wall or MB limiter, Clipper, HF limiter & TP Limiter all in one. U can get some really loud mixes / drums / masters with it.
|
|
|
Post by Tbone81 on Dec 8, 2020 14:54:08 GMT -6
I’ve been using my AML 1073’s as H/W inserts to shave off those peaks. It’s way more musical to my ears and just as easy as a plug-in. But I do also use compression on my drum bus.
|
|
|
Post by seawell on Dec 8, 2020 15:44:01 GMT -6
Has anyone here ever tried that Sound Radix plugin called "Drum Leveler"? I've been wondering about that thing. Lately, my drums have all been Superior Drummer, so I haven't needed anything as dramatic as Drum Leveler appears to be capable of, but I've been curious. I like the UI. I’ve found it most helpful when a drummer hits inconsistently or overall too soft. It has really saved a couple of projects I mixed without having to lean too heavily on samples.
|
|
|
Post by mcirish on Dec 8, 2020 16:05:01 GMT -6
What (if any) are you guys using? I usually compress and then run a limiter at the very end of the Drumbus chain. Not taking too much off, just to catch peaks or to have another option for character and volume. I’ve been using the LL-Ultra from waves...it’s two sliders and sounds pretty good. Putting something like Limitless is such a hog that it just hasn’t been feasible. Anyone using anything I’m missing? I like TrackLimit. It's the DMG "lite" version of Limitless. It's got the same six algorithm choices, but it's lighter on the CPU. Sometimes a clipper on the drumbus can be nice, too. I use Track Limit on the drum buss in the transparent mode. It's just to catch the odd peak here and there, not to add any color. It works great for that purpose. I have other compressors I use before it to give me any color I might be looking for. Usually The Glue, MU or some Plugin Alliance compressors. Usually just the first two.
|
|
|
Post by Guitar on Dec 8, 2020 16:09:03 GMT -6
Usually Pro-L or the stock Steinberg limiter inside Cubase. The Vladg chaseUTB metioned is cool too, and free.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Dec 8, 2020 18:21:22 GMT -6
Goodhertz Faraday Limiter sounds good and just works. Kotelnikov can level the performance and limit your drummer at the same time.
|
|
|
Post by gwlee7 on Dec 8, 2020 19:39:06 GMT -6
For transparently shaving off peaks, I love using FreeClip from VennAudio or Pro-L. For something a little more characterful, L2 is always cool. A cool trick is to put Pro-L on your master and then a limiter of your choice across the drum bus. Push the gain on Pro-L until kick/snare peaks are triggering a few dBs of gain reduction, and then use the drum bus limiter to squash the peaks until you see no GR on the Pro-L. Remove Pro-L from the master and voilà — leveled drums. When done gently, it can be pretty much invisible. It’s posts like this that make being here so good for me. I am learning so much.
|
|
|
Post by superwack on Dec 8, 2020 19:44:19 GMT -6
Just to clarify When you guys say “drumbus” are you referring to the actual sum of all your drum mics or are you talking about a parallel bus with some/all of drums?
Thanks
|
|
|
Post by Guitar on Dec 8, 2020 20:07:03 GMT -6
Just to clarify When you guys say “drumbus” are you referring to the actual sum of all your drum mics or are you talking about a parallel bus with some/all of drums? Thanks Since you're asking everyone, I'll answer that I often use an Arturia 1176 and an Empirical Labs Arousor for serial compression, but with some clean blended in on the wet/dry knobs, so closer to your second scenario. The ratios sometimes approach limiting, depending on the track. Usually something a little milder though like a 4:1 or a 6:1. If I were using a straight up limiter, I would almost certainly run it 100% inline, not parallel. Unless you're doing some kind of parallel smash track or something.
|
|
|
Post by ragan on Dec 8, 2020 20:13:27 GMT -6
I always have a parallel compression bus but I was talking about the final, sum total drum bus.
|
|
|
Post by Johnkenn on Dec 8, 2020 20:36:05 GMT -6
Just to clarify When you guys say “drumbus” are you referring to the actual sum of all your drum mics or are you talking about a parallel bus with some/all of drums? Thanks Not parallel...just main Drumbus.
|
|
|
Post by schmalzy on Dec 8, 2020 21:57:04 GMT -6
Couple things:
I've sometimes been using the Kush Omega TWK - a saturation/distortion plug - as a soft clipper after the compressor...especially on transient-heavy stuff. It starts eating any big spikes left.
Then often it's Reaper's Event Horizon Limiter or JST Clip depending on where I'm going with all of it. Clipping seems to retain edge and limiting seems to soften. Whichever I need.
I've used the Kush Deflector and the Kush Silika for it, too. Most of the time, though it's JST Clip.
|
|
|
Post by Ward on Dec 9, 2020 7:02:17 GMT -6
I'm so boring. But then, a lot of these whiz-bang miracle plugins so sound plastic to me . . .
My process: The drum sum buss gets a waves complete API2500. Threshold on +4, attack on .3 release auto, 2:1, Loud New. Every channel has it's own comp or limit and EQ as needed. Lightly trimming things usually means no audible compression.
|
|
|
Post by dankin on Dec 9, 2020 11:02:05 GMT -6
Lately I've been liking the Boz Digital Labs little clipper at the end of my drum buss. Light on the CPU and minimal latency. Just grabbing a db or so to smooth out the peaks. I've used Pro-L2, JST Clip, various waves limiters in the past, but the Boz has been working well and is simple.
|
|
|
Post by brendanmccusker on Dec 9, 2020 13:02:28 GMT -6
+1 for DMG TrackLimit. also been enjoying Voxengo's OVC-128 for this purpose recently.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Dec 9, 2020 14:00:15 GMT -6
What (if any) are you guys using? I usually compress and then run a limiter at the very end of the Drumbus chain. Not taking too much off, just to catch peaks or to have another option for character and volume. I’ve been using the LL-Ultra from waves...it’s two sliders and sounds pretty good. Putting something like Limitless is such a hog that it just hasn’t been feasible. Anyone using anything I’m missing? Reading this more carefully, it sounds like your drum bus compressor is pumping or clicking or being weird so you need the limiter afterwards to tame the compressor. That’s common and I’ve had that happen too. You need a better compressor that works well at faster attacks with a built in limiter to reduce distortion from stacking them. Think 33609 type of deal. You might want to checkout the new UAD package. I can also vouch for Molot GE on insane mode (the limiter is after compressor, opposite of 33609) and even the pumpy and explosive VCL-373 if you use the rightmost three release times and fader ride.
|
|
|
Post by Johnkenn on Dec 9, 2020 14:27:59 GMT -6
What (if any) are you guys using? I usually compress and then run a limiter at the very end of the Drumbus chain. Not taking too much off, just to catch peaks or to have another option for character and volume. I’ve been using the LL-Ultra from waves...it’s two sliders and sounds pretty good. Putting something like Limitless is such a hog that it just hasn’t been feasible. Anyone using anything I’m missing? Reading this more carefully, it sounds like your drum bus compressor is pumping or clicking or being weird so you need the limiter afterwards to tame the compressor. That’s common and I’ve had that happen too. You need a better compressor that works well at faster attacks with a built in limiter to reduce distortion from stacking them. Think 33609 type of deal. You might want to checkout the new UAD package. I can also vouch for Molot GE on insane mode (the limiter is after compressor, opposite of 33609) and even the pumpy and explosive VCL-373 if you use the rightmost three release times and fader ride. No, I just like doing it that way. I like using drum comp with HPF sidechain (whatever the hell you call it) where it doesn't compress the kick and then not too fast an attack on the snare so it shuts it down...it's usually pretty slow. Then I use the Limiter to get a little crush and take off peaks. That way I have several options along the way to shape the attack. I also mix in a tiny bit of parallel comp too if I want a little more dirt and room sound. I actually don't like the 33609 on DB because of the limited attack selections.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Dec 9, 2020 14:37:45 GMT -6
Reading this more carefully, it sounds like your drum bus compressor is pumping or clicking or being weird so you need the limiter afterwards to tame the compressor. That’s common and I’ve had that happen too. You need a better compressor that works well at faster attacks with a built in limiter to reduce distortion from stacking them. Think 33609 type of deal. You might want to checkout the new UAD package. I can also vouch for Molot GE on insane mode (the limiter is after compressor, opposite of 33609) and even the pumpy and explosive VCL-373 if you use the rightmost three release times and fader ride. No, I just like doing it that way. I like using drum comp with HPF sidechain (whatever the hell you call it) where it doesn't compress the kick and then not too fast an attack on the snare so it shuts it down...it's usually pretty slow. Then I use the Limiter to get a little crush and take off peaks. That way I have several options along the way to shape the attack. I also mix in a tiny bit of parallel comp too if I want a little more dirt and room sound. I actually don't like the 33609 on DB because of the limited attack selections. Ah, I just compress the individual drums, maybe a faster compressor on the whole kit to put it in place spatially, and crush a room mic or fake room send. I never parallel crush the whole kit for whatever reason. RMS raising? I don’t remember why I don’t.
|
|
|
Post by Johnkenn on Dec 9, 2020 14:43:51 GMT -6
No, I just like doing it that way. I like using drum comp with HPF sidechain (whatever the hell you call it) where it doesn't compress the kick and then not too fast an attack on the snare so it shuts it down...it's usually pretty slow. Then I use the Limiter to get a little crush and take off peaks. That way I have several options along the way to shape the attack. I also mix in a tiny bit of parallel comp too if I want a little more dirt and room sound. I actually don't like the 33609 on DB because of the limited attack selections. Ah, I just compress the individual drums, maybe a faster compressor on the whole kit to put it in place spatially, and crush a room mic or fake room send. I never parallel crush the whole kit for whatever reason. RMS raising? I don’t remember why I don’t. Well, it's honestly just out of naivete on my part most likely...Everybody has their workflows...it's hard to break me out of one - then I try it and immediately it becomes part of the process. The cymbals can get phasey with a Zener in parallel, so sometimes I'll just leave the OH and Room out...but most productions, I don't even do parallel.
|
|