Moderator: Moderators (Main)
by vicshere; Mon Feb 11, 2013 12:05 pm
It's a nightmare, cos they're all damn good!
by vicshere; Mon Feb 11, 2013 1:20 pm
Very close to what went in the mic in the first place.
I tried the same with Xenon, and ProTools froze.
I tried again with Elephant, but that intermittent buzz makes it impossible to properly give it a chance.
by musicdoc; Mon Feb 11, 2013 1:34 pm
Elephant is probably equally good but you have to work on it to give that sound.
Xenon is nice but tends to break up or color faster than either the pro-l or elephant.
Barricade I have not tried.
The pro-l was much more transparent and louder than the precision limiter by UAD that I was using prior.
by vicshere; Mon Feb 11, 2013 2:48 pm
I've done a vocal tonight on this version of Back In The USSR, and played it really loud on the living-room hifi. I was blown away by how clear the voice sounds, without any colouration as far as I could hear.
I also added Pro-L to most of the other instruments on this, although they had previously had a fair bit of stuff done with PSP, etc.
I'm doing the whole White Album (I like a challenge and a big project . . .), and judging by this I probably will go for the Pro-L.
It is great that I have almost a whole month, though, to keep trying it on all sorts of stuff. Can't believe the volume I am getting with this, without it sounding like some weird stuff has been mysteriously added to it through the process.
The only other things on the voice are a tiny bit of OldTimer, and PianoVerb.
Yes, it would sound nice and clear because it is a very sparse (OK, bizarre!) arrangement - but you can still hear how transparent the Pro-L is.
I can't wait to let rip on Dear Prudence . . . it's my neighbours I pity, really.
If I notice it isn't so good on a rock blaster, I'll be back to moan about it.
by bmanic; Mon Feb 11, 2013 3:04 pm
You can see how it compares with Pro-L and FG-X, among others.
Note though that this is only on one single test track which does not reveal one critical flaw with AOM Limiter.
It can't handle clean, loud 808 type kick drums.. or any sub stuff in a clean mix (meaning a mix not containing any severely or moderately distorted elements like electric guitars etc). In this kind of troublesome mix you can get into trouble real quickly (same problem with Slate's FG-X where you have to pull down the ITP slider all the way).
Actually, ALL limiters suffer with this kind of material but most have a "hold"/look-a-head function which can keep the distortion to a minimum or completely eliminate it.. at the cost of transient impact though. Due to the very few controls on the AOM Limiter once you run into this kind of material you are out of luck. Then again you can use another limiter, perhaps some of the excellent free ones (like LoudMax or TbT TL Maximizer or TbT Pocket Limiter).
Other than that, AOM invisible limiter is very impressive! Best of all, the developer is responsive and has already promised to look into this one flaw it has. If/when he implements an additional hold function or longer release then it'll be a very nice plugin indeed.
by vicshere; Mon Feb 11, 2013 3:08 pm
I just ask as I do a bit of everything, and need something reliable for all sorts.
by bmanic; Mon Feb 11, 2013 3:23 pm
The very philosophy of Pro-L was to make it as transparent as possible. I did hundreds, if not thousands of ABX tests at equal volume and various levels of gain reduction to make sure I wasn't just fooled by mr placebo.
It's just very finely tuned highly "intelligent" program dependent dynamics (that was also a requirement as FabFilter wanted to make it a one-slider-limiter that works right out of the box without too much tweaking).
It's also worth noting that the 4 different algorithms in Pro-L are not just "variations of internal parameters/constants", they are 4 completely different algorithms, each having their own internal workings and made from scratch.
Having said that, they still have a "sound" of or "behavior" of their own. You can't make Pro-L sound like another limiter. It has it's own vibe. Sometimes that vibe simply doesn't suit a track no matter how much you tweak it.
Oh, and I'm not that fond of the way the oversampling is implemented or sounds. I'm not entirely sure if I'm a victim of mr placebo again but I just feel it's a bit "strained" somehow.. like the sound of a track changes a tiny bit as soon as you engage oversampling. Probably has something to do with it being linear phase based (the filters in the oversampling that is). Same thing happens for me in Voxengo Elephant. I always set it to minimum-phase.. and all other plugins that allow to switch the type of oversampling.
by vicshere; Mon Feb 11, 2013 3:29 pm
I like the idea of messing things as much as I want with PSP, etc, but having a limiter at the end which just does the job transparently.
by TheoM; Mon Feb 11, 2013 10:40 pm
djanthonyw wrote:I've tried them all and like Pro-L the best.
This.. if you want what you put in to come out but just louder/finalized , it's pro-L all the way, especially for PT users, having an AAX version and all.
I think you already answered yourself
You can do all the colour during the mixing stage, no need for that at mastering
by Kaboom75; Mon Feb 11, 2013 11:49 pm
by analoguesamples909; Tue Feb 12, 2013 12:00 am
AOM Limiter and Barricade are good value. Im not so crazy about Elephant as some others are but maybe I dont know how to get the best out of it...