Mathematics,
Which genre do you use which limiter for and why?
What's your go-to Master Limiter?
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- KVRAF
- 1724 posts since 31 Dec, 2004 from betwixt
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- KVRian
- 808 posts since 10 Sep, 2015 from You haven't unlocked this character yet
EDM: (clipper)>L2 or (clipper)>Ozone Maximizer
The reason I use the L2 after a clipper is because I get less pumping and the L2 really works way better. In my opinion, the L2 works better if you can get the gain reduction to around 3db at most. Sometimes I'll put an L1 doing about 0.5-1.0db of GR right before the L2.
The reason I state the Maximizer is because I put both on the Master Buss, and listen carefully how each one sounds on the material it's on. Whichever one sounds better is the one that wins. Usually, those two have sounded the best as compared to the L1, L3-16, Pro-L, and ML4000.
Orchestral: L3-16
I like the results with this one simply because it's one of the few dynamic limiters that sounds transparent even when it's pushed. The other reason is because for orchestral, you really don't want a wide band limiter because what makes Orchestral music sound natural is maintaining the dynamics of the performance. For the record, the only other alternative multiband limiter that I think is worthy enough to mention is...the ProAudioDSP DSM V2. I know what some of you are thinking..."what?!" Well, the DSM V2 and I have a little history together on Voice Over work. Actually, I kind of accidentally stumbled on it while looking for a Dynamic DeEsser, and then...read the manual! That's what did it for me. Then I started using it to kind of cheat the mastering process. Now, I don't do that crap anymore but it is something of a magical plugin. I'm digressing.
Voice-Overs: Ozone Maximizer
I'll be honest. I use this one because it's already there on the plugin chain and I don't really need anything else. The difference in quality between anything else and the Maximizer for VO work, is absolutely negligible. I add the slightest bit of compression after the vocal rider, then use the Maximizer to catch intersample peaks (which are rare). Most of the time, there is no gain reduction or at minimal, like 1 db. My RMS is between -12db and -8db throughout the dialogue. To be honest, if it sounds a little harsh, the RMS changes, not the peaks.
Anyway, I think this a lot more than I should have written.
The reason I use the L2 after a clipper is because I get less pumping and the L2 really works way better. In my opinion, the L2 works better if you can get the gain reduction to around 3db at most. Sometimes I'll put an L1 doing about 0.5-1.0db of GR right before the L2.
The reason I state the Maximizer is because I put both on the Master Buss, and listen carefully how each one sounds on the material it's on. Whichever one sounds better is the one that wins. Usually, those two have sounded the best as compared to the L1, L3-16, Pro-L, and ML4000.
Orchestral: L3-16
I like the results with this one simply because it's one of the few dynamic limiters that sounds transparent even when it's pushed. The other reason is because for orchestral, you really don't want a wide band limiter because what makes Orchestral music sound natural is maintaining the dynamics of the performance. For the record, the only other alternative multiband limiter that I think is worthy enough to mention is...the ProAudioDSP DSM V2. I know what some of you are thinking..."what?!" Well, the DSM V2 and I have a little history together on Voice Over work. Actually, I kind of accidentally stumbled on it while looking for a Dynamic DeEsser, and then...read the manual! That's what did it for me. Then I started using it to kind of cheat the mastering process. Now, I don't do that crap anymore but it is something of a magical plugin. I'm digressing.
Voice-Overs: Ozone Maximizer
I'll be honest. I use this one because it's already there on the plugin chain and I don't really need anything else. The difference in quality between anything else and the Maximizer for VO work, is absolutely negligible. I add the slightest bit of compression after the vocal rider, then use the Maximizer to catch intersample peaks (which are rare). Most of the time, there is no gain reduction or at minimal, like 1 db. My RMS is between -12db and -8db throughout the dialogue. To be honest, if it sounds a little harsh, the RMS changes, not the peaks.
Anyway, I think this a lot more than I should have written.
...and the electron responded, "what wall?"
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- KVRAF
- 6980 posts since 28 Dec, 2015 from Atlantis Island
+1 for Ozone8 Maximizer (especially in connection with the other Ozone plugins) for it‘s convenience.
Last edited by martinjuenke on Thu Jul 12, 2018 9:06 am, edited 1 time in total.
https://sonograyn.bandcamp.com/music Experimental Ambient
https://martinjuenke.bandcamp.com/music Alternative Instrumental
https://martinjuenke.bandcamp.com/music Alternative Instrumental
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- KVRAF
- 2110 posts since 5 Oct, 2015 from Swedish / Living in Hong Kong
FAB L2 is my choice because it displays so many things and it’s easy to use
Win 10 -64bit, CPU i7-7700K, 32Gb, Focusrite 2i2, FL-studio 20, Studio One 4, Reason 10
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- KVRAF
- 1724 posts since 31 Dec, 2004 from betwixt
Thanks a lot for it, I hope it is informative for others in the thread too.Mathematics wrote:Anyway, I think this a lot more than I should have written.
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- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
I don't do gain reduction on the master bus. I have used one limiter there in my digital era, the limiter in Vienna Suite, for overload protection. It's transparent. This thread reminded me that I haven't put one on lately.
I made something last year which really pushed it, a deliberately noisy track and I really needed that overload protection finally.
Once with a track I found that, having forget to do this, I liked the raw transients on the lead guitar and drums and decided it wasn't to be a regular thing, the overload protection. I abhor the very idea of gain reduction per se at the master out (for my music). I want to deal with compression and that whole area individually.
I'm as far as you can get from EDM ideations of mixing.
I made something last year which really pushed it, a deliberately noisy track and I really needed that overload protection finally.
Once with a track I found that, having forget to do this, I liked the raw transients on the lead guitar and drums and decided it wasn't to be a regular thing, the overload protection. I abhor the very idea of gain reduction per se at the master out (for my music). I want to deal with compression and that whole area individually.
I'm as far as you can get from EDM ideations of mixing.
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- KVRist
- 107 posts since 14 Jul, 2018
For those who are okay with a little hard/soft clipping, Hornet has a really good dual-stage limiter that includes a clip stage. And it's on sale for less than a McDonalds' Happy meal.
https://www.hornetplugins.com/plugins/h ... agnus-mk2/
https://www.hornetplugins.com/plugins/h ... agnus-mk2/
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- KVRAF
- 2269 posts since 10 Jul, 2008 from Orbit NE US
PSP Xenon
Toneboosters Barricade
Izotope Ozone
All used sparingly.
Toneboosters Barricade
Izotope Ozone
All used sparingly.
gadgets an gizmos..make noise https://soundcloud.com/crystalawareness Restocked: 3/24
old stuff http://ww.dancingbearaudioresearch.com/
if this post is edited -it was for punctuation, grammar, or to make it coherent (or make me seem coherent).
old stuff http://ww.dancingbearaudioresearch.com/
if this post is edited -it was for punctuation, grammar, or to make it coherent (or make me seem coherent).
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- KVRAF
- 2862 posts since 8 Dec, 2008 from Global Cowboy
TB Barricade 4 
No auto tune...
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- KVRian
- 1431 posts since 4 Apr, 2011 from Rio de Janeiro - Brazil
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Peter - IK Multimedia Peter - IK Multimedia https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=217907 - KVRAF
- 7864 posts since 20 Oct, 2009
Thanks to those who gave T-RackS Stealth Limiter a shout out. Glad to hear you're getting great results with it.
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- KVRAF
- 3303 posts since 6 Jul, 2012 from Sick-cily
If recordings are good and the mix are good, the Sonalksis/Sienda MaxLimit it's enough... 
