Best limiter for loud mixes?

[Halonmusic]

I dont 'master' very loud but the free LoudMax by Thomas Mundt might be what you want.
https://loudmax.blogspot.com/

[legendCNCD]

As @sircuit said, "You need a perfect mix to have a loud mix" - well at least a GOOD mix. One where you have limited or clipped transients where needed and left them harder hitting where needed etc.

Then almost any limiter will work without sweating.

When I was still producing more deephouse/techno the usual mix would be around -8 ... without mastering/limiting it yet. We often found it was a bit too loud already at this point and would go and ease the mix.

In mastering situation one can bring back transients with for example looking back at the signal (can be done with some compressors and limiters) after it has passed - so fex. leave 3ms untouched before compressor or limiter kicks in... so many possibilities (to overdo it with stereo wav )

[legendCNCD]

i tested limitless
but i must say , this plugin have a big problem
to limit plucky sound or to handle transients

big no go
sounds bad
it really hurt to say that i like this comonay but this limiter is not good at all
elevate is my favourite

Used a lot of limiters, I'd say there is a problem in the mix if plucky sound turns out bad in limiting...

[dionenoid]

Don't use 1 limiter, use several in series, each doing a bit of gain reduction.
Mix into that chain, use clipping/saturation on channels that trigger the limiters too much.

Most are using Pro-L2 for this, usually 3 or 4 instances.

[imrae]

Most are using Pro-L2 for this, usually 3 or 4 instances.

Really? Seems like it would be a lot more efficient for one limiter to have equivalent dynamics to all those stacked instances. This must be equivalent to some kind of level-dependent release.

[licasto2]

I've had the best results with IK Stealth Limiter. I don't know if it's the "best' limiter in my plugin folder but it's extremely quick to set up and is transparent. It's great for quick demo bounces.

[MogwaiBoy]

Don't use 1 limiter, use several in series, each doing a bit of gain reduction.
Mix into that chain, use clipping/saturation on channels that trigger the limiters too much.

Most are using Pro-L2 for this, usually 3 or 4 instances.

EDM is like those soldiers who hid in the jungle for years thinking the war was still going.

"Hey EDM, the Loudness War is over - you can come out now and enjoy dynamics in your music - we won!"

EDM: OONST OONST OONST READY FOR WARRRRR OONST OONST OONST

[dionenoid]

Most are using Pro-L2 for this, usually 3 or 4 instances.

Really? Seems like it would be a lot more efficient for one limiter to have equivalent dynamics to all those stacked instances. This must be equivalent to some kind of level-dependent release.

It works really well. Combining the different algo's of limiters is what it's all about.

[Erik_Lucas]

Don't be lazy, mix your music

Who said I was being lazy? I merely asked a question

Furthermore, I definitely think there are limiters better geared towards working in louder domains.

[kvaca]

...
Furthermore, I definitely think there are limiters better geared towards working in louder domains.

and I think all here mentioned limiters are good enough for your purpose...unfortunately there seems to be no recovery tools to make intentionally crippled music listenable again

[sircuit]

I definitely think there are limiters better geared towards working in louder domains.

That's the problem with thinking - it's often wrong.

Ever noticed that people that talk about loudness wars always give examples of certain mixers & mastering houses (of mixes being toast) while some other mixing engineers (like Serban Ghenea + Sterling for example) never been the target of such complaints although they can occasionally have probably the highest loudness levels with virtually no perception of limiting?

Because the formers rely on cascading compression, clipping and limiting to achieve loudness (btw who the hell thinks the best idea to solve mixing issues is to use a clipper and subsequently to saturate EXACTLY the mixing errors and make them even more obvious??), while the latter rely on perfect mixing and the limiter is used just to catch 0.5-1dB of last rogue peaks.

If you want to be mediocre be my guest and limit the sh!t out of your mixes. But if you really want to be "wow loud", do better mixes (maybe improve your monitoring and especially room treatment - is probably the most important thing for loud mixes)

[Erik_Lucas]

I definitely think there are limiters better geared towards working in louder domains.

That's the problem with thinking - it's often wrong.

So you're telling me I'm wrong? Am I? All limiters are the same are they?

If you want to be mediocre be my guest and limit the sh!t out of your mixes.

What prompted you to say this? I asked a perfectly valid question. I didn't ask how to get a mix loud. I didn't ask for techniques, or for your opinions on room treatment...

[sircuit]

I asked a perfectly valid question.

"Hey guys, what's the best hammer to sharpen a sword?" is a very valid question for someone that's not aware of the sandpaper. The issue is not validity of the question, is the lack of experience but whatever, keep on doing the same thing and hoping for different results.

[Erik_Lucas]

I asked a perfectly valid question.

"Hey guys, what's the best hammer to sharpen a sword?" is a very valid question for someone that's not aware of the sandpaper. The issue is not validity of the question, is the lack of experience but whatever, keep on doing the same thing and hoping for different results.

God forbid I use a limiter ever again

[vurt]

I asked a perfectly valid question.

"Hey guys, what's the best hammer to sharpen a sword?" is a very valid question for someone that's not aware of the sandpaper. The issue is not validity of the question, is the lack of experience but whatever, keep on doing the same thing and hoping for different results.

we use whetstone for sharpening swords
sandpaper is for woodwork n stuff mostly.