Is there a Brickwall-Limiter plugin with external sidechain?
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- KVRAF
- 5274 posts since 2 Jul, 2005
I've had this issue often where I'm using heavy effects on multiple sources. I just always send a 2 track mix and then the stems with the FX on each one. It allows for decent edits to be made if they want. With some processing they just have to ask for a different version of they need it as the effects will stack up in a bizarre way (vinyl emulation and lofi effects) if the stems are stacked .
Don't F**K with Mr. Zero.
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- KVRAF
- 2720 posts since 2 Jul, 2010
5 years later, it still makes no sense to brickwall stems.
If you just want to squash the dynamics, it doesn't need to be a brickwall.
If you're trying to prevent digital clipping, that brickwall has to come at the end of the chain or it won't work properly.
If you just want to squash the dynamics, it doesn't need to be a brickwall.
If you're trying to prevent digital clipping, that brickwall has to come at the end of the chain or it won't work properly.
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- KVRAF
- 5274 posts since 2 Jul, 2005
I didn't realize I had posted in this thread already. Many types of grouping and processing do not act nice with stem files. I was using sonitex and Vulf compressor heavily on a hip hop score for a show, but everything was running through Vulf to give it a very dirty sound. Unfortunately combining the stems sounded completely different than the mix. We came up with a solution and then I would make alternative mixes for drastic edits.
In my standard scoring template I do use a bus comp and a clipper for each major section (usually about 6) and those almost always recombine in a way that is pleasing. This kind of stuff gets more iffy when you need to cover like 10 different genres in a single score. I wouldn't underestimate a clipper in many situations though. It's the best tradeoff for loudness to dynamic range in most of my work. It is also very easy to tell when things are overdone.
All the editors I've worked with use the stereo file 99% of the time anyway. If you're just archiving your own work then you should keep the main stereo mix as a reference and then you can recreate the pumping/ glue/ whatever you're going for by checking against the full mix.
In my standard scoring template I do use a bus comp and a clipper for each major section (usually about 6) and those almost always recombine in a way that is pleasing. This kind of stuff gets more iffy when you need to cover like 10 different genres in a single score. I wouldn't underestimate a clipper in many situations though. It's the best tradeoff for loudness to dynamic range in most of my work. It is also very easy to tell when things are overdone.
All the editors I've worked with use the stereo file 99% of the time anyway. If you're just archiving your own work then you should keep the main stereo mix as a reference and then you can recreate the pumping/ glue/ whatever you're going for by checking against the full mix.
Don't F**K with Mr. Zero.
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icanusethisone icanusethisone https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=500391
- KVRist
- 45 posts since 3 Mar, 2021
So Pro C at 100:1 would be the same as Pro-L without brick wall?
Just trying to avoid using Pro-L live due to latency so would be awesome to be able to print the limiting on the stems themselves (and compression)
I reckon my only choice would be Pro C or Compassion or Melda compressors used with sidechain compression (sc listening the the full mix) and also use these next in the chain as Limiting then export the audio ?
The other thing is that they shouldn’t be listening to the stereo mix only but should listen after the compression on the stereo mix track as well (so listen to it at the different stage of the chain where the compressors are). So basically make the master on the stereo, then duplicate this chain to each stem and on each stem set the side chains to the stereo track on the right spots of the chain so it’s reacting the same. Hectic but yeah..
Thx !
Just trying to avoid using Pro-L live due to latency so would be awesome to be able to print the limiting on the stems themselves (and compression)
I reckon my only choice would be Pro C or Compassion or Melda compressors used with sidechain compression (sc listening the the full mix) and also use these next in the chain as Limiting then export the audio ?
The other thing is that they shouldn’t be listening to the stereo mix only but should listen after the compression on the stereo mix track as well (so listen to it at the different stage of the chain where the compressors are). So basically make the master on the stereo, then duplicate this chain to each stem and on each stem set the side chains to the stereo track on the right spots of the chain so it’s reacting the same. Hectic but yeah..
Thx !