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Pushing a limiter too hard usually leads to disappointing results and may even ruin your track altogether. Don’t just use compression for the sake of it – be sure it has a purpose.Īs with every other mastering process, when it comes to limiting, less is more. But as with everything audio, let your ears, not your eyes, be your judge. Just by looking at the waveform, you should able to tell whether there are lots of peaks in the track if not, you probably don’t need to add any compression.
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If you’ve already applied a fair amount of compression to the stereo buss while mixing, you may not need to use it again during mastering. In many instances this will provide the best results. Many limiters offer an auto-release option, where the optimum release time for your track is computed based on waveform activity. If it is overly long, you will hear audible pumping, while if it is too short, distortion artifacts may result. The release control determines how quickly the limiter stops working after the signal drops below the threshold. Regardless of threshold, lowering the output ceiling always causes more gain reduction. When the threshold is low, even relatively low-level signals will undergo gain reduction, while a high threshold will yield a more measured response. Threshold determines when limiting begins, while output ceiling specifies how much limiting is applied. (Occasionally an attack control and other parameters will also be provided.) They typically offer just three parameters: threshold, release, and output ceiling. Limiters are generally simpler to use than compressors, making it relatively easy to dial in the right setting. They are renowned for their transparency and their ability to not make the track sound obviously limited or compressed.
How to use l2 ultramaximizer series#
The L2 Ultramaximizer and the 元 series of limiter plugins are all designed specifically for mastering. The good ones do this so well that you can hardly notice it happening if set correctly. Modern mastering limiter plugins are extremely precise in catching peaks and won’t allow anything to pass through over their set ceiling, which is why they are sometimes referred to as “peak” or “brick wall” limiters. A limiter allows you to bring up the level without allowing the peaks to clip. The problem is, if you bring up the overall level of a track, the audio peaks are going to start clipping. Obviously this is something you want to avoid! But you also want your master to sound as loud possible, or at least in the same volume range as other commercial recordings. The big bugaboo in mastering is clipping – the squaring off of the waveform that occurs whenever a signal exceeds 0 dB, causing your playback device to output a click or a burst of harsh noise. This sets the ‘limit’ above which the level of the audio passing through cannot be exceeded. Although limiters and compressors both work by reducing (attenuating) transients and loud signals, the amount of gain reduction applied by a limiter is determined by an output ceiling control set by the user. Limiters are essentially compressors with extremely high compression ratios. While many (if not most) mixes can be improved with some carefully applied equalization or compression, it’s probably safe to say that every track can benefit from limiting – though only if done properly! In this article, we’ll discuss six tips for correctly using limiters in mastering.Īs with every other mastering process, understanding the basics is key.
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Its primary purpose is to make your track as loud as possible without clipping or distortion. Limiting is the final process in mastering and arguably the most important. Why is limiting needed during mastering? What is the key to effective, tasteful limiting? And how much is too much? Don’t limit your skills by snoozing on these tips.