€169 / $199 / £129
|Type / Tags|
32-bit: Windows 10, 8, 7, Vista or XP
64-bit: Windows 10, 8, 7 or Vista (x64)
VST 2/3 host or Pro Tools
OS X 10.6 or higher
AU or VST 2/3 host or Pro Tools
|Copy Protection||Serial Number|
With eight highly advanced algorithms, true peak limiting, linear-phase oversampling, professional dithering and noise shaping and surround support (up to Dolby Atmos 7.1.2) and intelligent channel linking, FabFilter Pro-L 2 is the complete solution for every mixing and mastering job.
FabFilter Pro-L 2 features precise true peak level meters and extensive loudness meteringwith support for the EBU R128, ITU-R BS.1770-4 and ATSC A/85 standards. Combined with its unique real-time level display, you have all the information you need to achieve the best possible results.
- Great transparent sound combined with maximum loudness.
- IMPROVED - Eight different limiting algorithms, all with their own character and purpose.
- NEW - True peak limiting.
- IMPROVED - Unique real-time level display with peak gain reduction labels and new innovative display modes.
- IMPROVED - Up to 32x linear-phase oversampling.
- IMPROVED - Highly accurate output and gain reduction metering including true peak metering.
- NEW - Extensive loudness metering with support for the EBU R128, ITU-R BS.1770-4 and ATSC A/85 standards.
- NEW - Surround support including Dolby Atmos 7.0.2 and 7.1.2 formats with flexible surround channel linking.
- NEW - Optional DC offset filter.
- NEW - External side chain triggering for stem mastering.
- NEW - Unity Gain option to easily listen to the effect of the current limiting at unity gain level.
- NEW - Audition Limiting option to listen to the difference between the input and output signal.
Adjustable meter scale, including K-System support.
Low CPU usage.
Separate channel linking for both the transient and release stages.
Advanced dithering with three different noise shaping algorithms.
GPU-powered graphics acceleration.
Double-click text entry of parameter values.
Adapts to stereo, mono and surround audio formats.
Adjustable look-ahead, attack and release settings.
Optional Compact interface layout.
Supports common Pro Tools hardware control surfaces.
Undo/redo and A/B comparison.
Smart Parameter Interpolation.
Extensive help file with interactive help hints.
Available in VST, VST3, Audio Units, AAX Native and AudioSuite formats (all both 64-bit and 32-bit), as well as RTAS (32-bit only)
Reviewed By stardustmedia
July 23, 2014
I give a 10/10 for mixdown purposes, and that's what I use it for.
The GUI is awesome and self explanatory. It gives you a very good view to what it does to the signal. But if you prefer to be not distracted by your eyes, just turn the graphic off.
Pro-L gives you an input gain, turn it up, lean back and watch the cool graphics and it will limit at the ceiling you set with the out gain in the right bottom corner. It's as easy as that and works almost all the time for single channel processing.
For further processing, e.g. for stereo signals, busses or even master, you can change the algorithm (called "Style"), lookahead, attack, release and how transients and release influences stereo signals (see section "Channel Linking").
Especially for mastering situations you can choose oversampling, dither, noise shaping and ISP (inter sample peaks [protection]). And if that's not enough just assign a MIDI controller to any of the parameters and tweak Pro-L for creative uses or simple automation draws.
I use Pro-L for channel processing only, when the signal has a wide dynamic range and needs more than compression to bring it up in the mix. It saved my life many times.Read more
Reviewed By rosko12
July 6, 2014
So I took the FF Pro-L for a test drive:
The first thing you notice is the amazing display. Looks like blood dripping over icebergs. The dripping red indicates the volume being squeezed off the peaks. You can even roughly "tune" the limiter by aiming to get the reduction (red) to neatly fit the peak (light blue). The attack and release correspond well to the display, but I couldn't notice any visual representation of the lookahead. I can hear changes as I move the dial but can't notice anything on the display. Guess I shouldn't ask for too much.
The operation can be divided into two stages. Firstly the transients are detected and squashed according to the lookahead and "style" values. Then the limiter applies "attack" and release to the result. Calling this first part of the envelope "attack" is unnecessarily confusing. It would probably be better to call it "hold" or "delay". Measuring the attack in seconds is also pretty confusing at first. Thankfully the display gives you a good idea of what is going on.
There's also the option of separating the channels (0-100%) for both stages of the limiter. I haven't explored this feature yet. It's making my head hurt just thinking about it.
The "style" variations do genuinely sound quite different, especially at high gain settings. With all the options it's hard to imagine not being able to get a good sound out of the Pro-L. You might find you can comfortably squash 10db off your tracks with this thing.
What else can I say?
It's got oversampling. It's got dithering and something called ISP which you probably don't need.
It's loud.Read more