Why do I need a Clipper for Mastering?

[Tricky-Loops]

Recently I read that for mastering a clipper can be used, too.

There's even a Mastering Clipper from LVC Audio...

https://lvcaudio.com/plugins/clipped-max

I know compressors, limiters (peak or brickwall), maximizers, exciters, expanders, transient and envelope shapers...

But I never used a clipper for mastering. I thought it introduces unpleasant distortion and could only be used as creative effect in mixing (bass for example).

So what can I achieve with a Mastering clipper?

[FapFilter]

even more loudness.

Personally not a fan of clipping*, especially on the 2-bus, but there are of course very successful (and skillful) people who swear by it.




*... as i usually do my clipping with imo more musical sounding clippers in the form of dedicated saturators where i see fit.

[fese]

More loud.
It is told that it originated from when some mastering engineers purposely clipped the inputs of their converters to achieve higher RMS values in the loudness wars.
Mastering clippers as plugins are supposed to mimic that.
Have used one once on a master for a rather percussive piece, that did work. Wouldn’t use them on acoustic ballads

[Gruh]

I tend to avoid them for the reason that you mentioned--adding distortion is normally kind of anathema to the mastering process--but they do have their place, namely that they can reduce dynamic range without pumping or adding "density" the way compression and limiting does. (I think of them in terms of transmuting dynamic information into harmonic information.) Like I said, I don't use them often, but I'll pull one out if I'm working on something with very poke-y transients (e.g., material with pronounced slap bass, high cymbals, certain types of synth ostinati--anything where you'll have an occasional high-frequency blip lasting only a few ms that's much louder than the surrounding audio)--in those sorts of edge cases, a clipper can shear those off in a way that's actually more transparent than a limiter, in which case I'll typically place them before other more traditional dynamic processors such that those will work a little more consistently. Like so much in mastering though, it's a process that should be approached with a light touch and if you're hearing a clipper working per se, you're almost certainly applying far too much.

[vurt]

to answer the question posed in the title...

you dont.

[4damind]

There are indeed musicians who do not use limiters and clip directly against high quality D/A converters. I don't know if soft-clippers have the same quality but I don't think so.
I do not like a clipper and I will never use it. I don't like the idea to cut all transients like with a razor. Especially as there are side effects like distortion, the signal is not better but actually destroyed by clipping.
So, no... you don't need a Clipper for mastering

[Lotuz2019]

IK Multimedia's Classic Clipper is free if you join their newsletter:

https://www.ikmultimedia.com/news/index ... sicclipper

[MadDogE134]

clippers as i understand them DO NOT "cut all transients like with a razor" lol... they only clip off the tops of things that exceed settings and they do not compress. it is true they may in fact impart a tad of distortion when pushed... but you DON'T have to push them lol so yes they are handy for mastering when used properly imo. correct me if i am wrong...

[DJ Warmonger]

From my experience clipper with adjustable curve (GClip) has some sweet points that make kicks sound better, if not anything else.

To my understanding a clipper is a simple static and digital waveshaper which allows to tame peaks in a controlled manner.
With that being said, it's another tool in a chain which applies gradual and subtle dynamic range reduction in order to squeeze audio and ultimately achieve greater loudness.

[Tricky-Loops]

Very interesting replies so far!

Seems to be a bit like lawn-mowing. Some like to cut everything short and boring, others like higher grass and wildflowers.

Same with dynamic range and headroom.

It's looks like an interesting approach to catch the peaks of the transients (not the whole transient of course) with a clipper and then you can compress it even more.

But I think it depends on the music style, too.

If you produce orchestral scores or cinematic soundscapes or 80ies styled pop or New Wave music, synthwave or even ambient, a clipper might not be the best choice.

But for lo-fi IDM style or even harder stuff like Industrial, Hardtrance or Jumpstyle, I could imagine a clipper might be helpful.

[Skyfall72]

Not all compressor fast enough to tame excessive peaks during the mastering process. For mastering purpose the comp normally set to slow attack and low ratio therefore will skip any unexpected peaks and that's when you need clipper beforehand.

[excuse me please]

So you don't know what a clipper does? Welcome at KVR

[jamcat]

IK Multimedia's Classic Clipper is free if you join their newsletter:

https://www.ikmultimedia.com/news/index ... sicclipper

A much better tool for your 2-bus from T-RackS is the Metering plugin, specifically its Dynamic Range meter. Use it to make sure you're not destroying your mix. Shoot for a DR level of 12 or higher. If you're getting DR 6 or less, you've officially destroyed your mix. Using a clipper on your 2-bus is a sure way to do that.

Another really good T-RackS plugin for your 2-bus is the Stealth Limiter. It will transparently prevent any peak clipping, including dreaded inter-sample peaks. You won't hear it working, but it will be.

Don't become a casualty of the loudness war. Say no to clippers and maximizers.

[Tricky-Loops]

Not all compressor fast enough to tame excessive peaks during the mastering process. For mastering purpose the comp normally set to slow attack and low ratio therefore will skip any unexpected peaks and that's when you need clipper beforehand.

I found another mastering approach with slightly compression first, then a clipper and a limiter in combination...

https://splice.com/blog/mastering-101-limiting

[Jet Set]

Some genres live permanently at dynamic ranges lower than 12.

I’ve recently been working on making a folder of reference tracks for new electronic productions...not pop or more commercial tracks - just electronica.

NOTHING in these genres comes in at over a dynamic range of 10 or so for the loudest parts / and many are at 9-10ish.

Anything at 12 and over - while the transients can pop more and things can be more mellow at times - it sounds overall to be undercooked.

As for other genres - no comment from me - but if you check reference tracks, that’ll be a guide.

Clippers on the 2 bus are handy for me in squeezing a couple dbs down in range on more transient heavy stuff.

StandardClip is my favourite - it’s a beautiful plugin.