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Originally Posted by kurtr2  Thanks Bob, i will try that. i bought and read your book, i learned alot! thank you.
about this mix with the L2. let me tell you about what is going on with it. it is a live jazz quintet, 12 mics, 96k. the sounds are great, but there is alot of drums in everything, especially on the peaks, maybe 3db jumps in volume. so sometimes theres more drums in the piano mics than there is piano. i did do alot of volume automation on the drum tracks but the drums are also in the other mics so volume automation doesnt totally solve the problem.
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Thanks for your nice comments, Kurt. Well, based on your more detailed description of the problem, it may be that the L2 is your best solution for a miking and tracking problem. Without actually hearing the mix or the isolated tracks, I don't think anyone could give you better advice. But I agree that sometimes the L2 or any peak limiter can solve a difficult transient problem without causing audible compression effects.
The last time I solved a problem of a very snappy (and too loud) snare drum I used a Cranesong Trakker with just the ideal attack and release time, and there were no pumping or other effects. The use of a peak limiter would not have occurred to me in that case. But as I said, it might just be the trick for you!
Since you are so concerned and this is a difficult decision and you have asked for help, why not ask your M.E. to listen to your mix with and without the L2 and see what he suggests? In this case, your ears are probably telling you exactly the right thing, but 4 good ears are probably better than two! Or, print with and without the L2 so as not to paint yourself into a corner, becaue it's hard to predict the interactoin on further mastering processing.
BK