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Post by kcatthedog on Jan 21, 2023 16:56:27 GMT -6
This guys a ME in the uk, normally thoughtful.
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Post by tkaitkai on Jan 22, 2023 2:13:00 GMT -6
I feel like most modern limiters can handle 2 - 3 dB of transparent limiting no problem. Unless you're seriously obliterating a mix, I find the differences between various limiters to be too subtle for me to worry about. Pro-L 2, Ozone 10, Stealth Limiter, Limitless, FG-X 2, etc. are all perfectly capable tools.
Of course, it's always fun to pull up L2 or Elephant when you want more obvious squashing.
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Post by trakworxmastering on Jan 22, 2023 10:23:02 GMT -6
That is the same conclusion Ian Shepherd comes to in the video - that you can get good results with various different limiters if you tweak the parameters.
If you're hitting the kinds of levels he likes to promote - around -12 integrated LUFS, then it's usually pretty easy with any limiter, but most clients will ask for more loudness IME.
When only around -8 LUFS will satisfy the client, that's when the rubber hits the road, and the qualities of the various limiters become obvious. Distortion, pumping, loss of transients, stereo image and depth - all vary significantly.
For loud masters I've come to use 2 or even 3 limiters in series, to split the workload and also combine the sonic signatures they each have. None of my current top 3 limiters are in the video. Limitless, Invisible Limiter G2 and BX True Peak, in various combinations and settings, get me some nice musical results at high levels. I haven't yet demoed FG-X 2 or MD4, both of which which he seems to favor. I'll put em on the long list of plugins I need to check out.
Interesting video, in that he found a track with a particularly difficult kick drum and focused on preventing it from distorting. That's useful for times when that issue comes up, forcing you to make preventing distortion your number one priority. But in a lot of cases distortion is not a problem and other factors matter more. So the video has kind of a narrow focus IMO.
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Post by mcirish on Jan 22, 2023 12:31:30 GMT -6
That was worth watching. I jump back and forth on limiters often. I hate the clipping some introduce. Fortunately, many have various settings. I tend to go towards the transparent settings. They may soften the transients a bit more than I want, but it avoids clipping. I find it interesting that he is shooting for -12. That's not too hard to hit with just about any limiter. I'm still amazed at some mastering engineers I've worked with that can get -7 to sound pretty darn clean. I can't do that.
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Post by thehightenor on Jan 22, 2023 12:44:38 GMT -6
TC Powecore Brickwall Limter has been since the day it was released!
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Post by yewtreemagic on Jan 22, 2023 17:55:43 GMT -6
I still regularly use PSP's Xenon for its transparency and retention of detail.
(I'm also a fan of Ian Shepherd by the way)
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Post by paulcheeba on Jan 22, 2023 19:13:59 GMT -6
Rockruepel and a Bettermaker.
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Post by Deleted on Jan 22, 2023 19:19:30 GMT -6
I still regularly use PSP's Xenon for its transparency and retention of detail. (I'm also a fan of Ian Shepherd by the way) Great plug on mode C with oversampling on. I use it and the Tokyo Dawn Limiter 6 GE all the time. |
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Post by kcatthedog on Jan 22, 2023 19:43:06 GMT -6
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Post by Deleted on Jan 22, 2023 21:10:17 GMT -6
Thanks just got the new PSP 285. |
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Post by matt on Jan 23, 2023 9:12:16 GMT -6
I'm currently using StandardClip into Elevate, going for 12 LUFS. I don't like to see more than one or two db of intermittent limiting in Elevate with just a little peak shaving on (usually) snare transients in StandardClip. I've also used Limitless with good results. For occasional track and subgroup limiting, I often reach for the ancient but trustworthy L2. Just don't push it too hard (>3 db) or audio manglement ensues!
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Post by Ward on Jan 23, 2023 11:17:04 GMT -6
I don't pretend to be a mastering engineer.
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Post by notneeson on Jan 23, 2023 11:57:34 GMT -6
I don't pretend to be a mastering engineer. Me neither, and I hire Trakworx (Justin) whenever I can. But, don't you get sucked into quasi mastering your refs for clients? Not the same thing, but has deepened my respect for and understanding of mastering and I have done it when the client was out of budget after mixing. |
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Post by the other mark williams on Jan 23, 2023 12:34:00 GMT -6
Hmmm, code didn't work for me. |
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Post by kcatthedog on Jan 23, 2023 14:04:33 GMT -6
Was only good till sometime yesterday, maybe you were late ?
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Post by svart on Jan 23, 2023 14:09:34 GMT -6
My MIXES hit -12db without a limiter.. I generally put a L1 on the master bus just to make sure there are no overs.
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Post by noob on Jan 24, 2023 11:51:14 GMT -6
Ozone 10 maximizer set to IRC IV transient mode
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Post by lowlou on Jan 24, 2023 14:41:07 GMT -6
Rockruepel and a Bettermaker. Is it their vari-mu that you use, or the limiter from Rockruepel ?  ----------------------------- What about the Hum LAAL limiter ? Anyone tried it ? Sounds and looks pristine, according to the demos. I'm kinda saving for one right now. www.hum-audio.com/laal-mastering-limiter/ |
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Post by Ward on Jan 24, 2023 19:35:03 GMT -6
I don't pretend to be a mastering engineer. Me neither, and I hire Trakworx (Justin) whenever I can. But, don't you get sucked into quasi mastering your refs for clients? Not the same thing, but has deepened my respect for and understanding of mastering and I have done it when the client was out of budget after mixing. DEFINITELY!! WE are on the same page, my friend! |
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Post by kcatthedog on Jan 24, 2023 19:39:15 GMT -6
Note to self, do not read posts by lowlou: financial risk ensues! |
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Post by Deleted on Jan 26, 2023 19:42:33 GMT -6
Bettermaker, you can get stuff really loud without too much damage. You should know Kcat ... -12dB hah, that's nothing with some decent HW. |
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Post by ericn on Jan 26, 2023 21:46:30 GMT -6
I don't pretend to be a mastering engineer. But I play one on TV! |
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