Yes.
Leapwing LimitONE a different approach for limiting
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- KVRist
- 365 posts since 16 Jul, 2021
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- KVRian
- 868 posts since 22 Jan, 2022
No need to rely on others, you can test it yourself via the trial download link on the Limitone page.
https://www.leapwingaudio.com/product/limitone/
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- KVRAF
- 11369 posts since 3 Feb, 2003 from Finland, Espoo
Yeah this one is a bit weird. I'm not getting pleasant results so far..
"Wisdom is wisdom, regardless of the idiot who said it." -an idiot
"They don't ban hate speech; they ban speech they hate." -an oracle
"They don't ban hate speech; they ban speech they hate." -an oracle
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- KVRian
- 861 posts since 15 Jul, 2016
Leapwing have the worst spectral artifacts, and preringing due to linear phase filtering across most of their plugins. Their multiband comp, and those stereo imaging plugins are completely unusable on crystal clear material. Maybe their market is sound restoration, where the source material is so bad, their artifacts aren't that obvious anymore.
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- KVRian
- 868 posts since 22 Jan, 2022
Just demo'd it. Probably not the fairest test of its abilities. Track was already at approximately -7.5 LUFS on the way into LimitOne, so I really couldn't push it more than a db or 2 without creating some nasty artifacts. Not that other limiters wouldn't do the same with a track this hot. I also couldn't push the clipper past maybe 20% before things fell apart. Again, not unexpected given the heat of the input source.
Soundwise, I thought it sounded fine. Or I should say, probably would sound fine under more normal conditions. Shockingly, the one thing I really liked was the tilt filter - biasing the tilt about 15% toward the lows took some digital bite off the track in a really nice, organic, and unobtrusive way. For a second, I actually caught myself thinking "analog warmth".. a thought that pretty much never crosses my mind. Oddly reminded me of the Neve MBP I used to own which ironically got sold because I didn't like its "analog warmth". But it really suited this particular track. Totally unexpected.
I compared it to Pro-L. LimitOne seems inherently brighter than Pro-L, not sure if that's the clipping stage or just the general tone of it. But it's not really an apples-to-apples comparison. LimitOne IMO is more of a set-it-and-forget-it dynamic spectral balancer and waveshaper than a limiter. The algorithm it uses is either going to suit the track or not. You can probably get similar results by putting Gullfoss or Ozone Stabilizer in front of UrsaDSP Boost or Inflator.
I'm a big fan of Leapwing's DynOne (which is like a purpose-built OTT for program material), but this one's not really for me. Feels like it's more geared toward the bedroom producer who just wants some 2-buss loudermore gooderizing. Not that there's anything wrong with that, but I'm not the target market, especially at $150-$200.
This demo made me wish DynOne had LimitOne's spectral tilt feature as a final pre-output stage to help take the bite off excessive high frequency content.
Soundwise, I thought it sounded fine. Or I should say, probably would sound fine under more normal conditions. Shockingly, the one thing I really liked was the tilt filter - biasing the tilt about 15% toward the lows took some digital bite off the track in a really nice, organic, and unobtrusive way. For a second, I actually caught myself thinking "analog warmth".. a thought that pretty much never crosses my mind. Oddly reminded me of the Neve MBP I used to own which ironically got sold because I didn't like its "analog warmth". But it really suited this particular track. Totally unexpected.
I compared it to Pro-L. LimitOne seems inherently brighter than Pro-L, not sure if that's the clipping stage or just the general tone of it. But it's not really an apples-to-apples comparison. LimitOne IMO is more of a set-it-and-forget-it dynamic spectral balancer and waveshaper than a limiter. The algorithm it uses is either going to suit the track or not. You can probably get similar results by putting Gullfoss or Ozone Stabilizer in front of UrsaDSP Boost or Inflator.
I'm a big fan of Leapwing's DynOne (which is like a purpose-built OTT for program material), but this one's not really for me. Feels like it's more geared toward the bedroom producer who just wants some 2-buss loudermore gooderizing. Not that there's anything wrong with that, but I'm not the target market, especially at $150-$200.
This demo made me wish DynOne had LimitOne's spectral tilt feature as a final pre-output stage to help take the bite off excessive high frequency content.