Gearslutz.com - View Single Post - Tracking with Compressor why??
View Single Post
Old 23rd January 2009   #27
kittonian
Lives for gear
 
kittonian's Avatar
 
Joined: Sep 2003
Location: Los Angeles, CA
Posts: 4,324

I think people responding here need to consider the obvious reality that the OP is someone who is most likely just starting out and has questions. Just because something is termed a "limiter" and not a "compressor" doesn't really address the initial question (at least the way I read it).

--------------------------------
From WikiPedia

Compression and limiting are no different in process, just in degree and in the perceived effect. A limiter is a compressor with a higher ratio, and generally a fast attack time. Most engineers consider a ratio of 10:1 or more as limiting, although there are no set rules. Engineers sometimes refer to soft and hard limiting which are differences of degree. The "harder" a limiter, the higher its ratio and the faster its attack and release times.

Brick wall limiting has a very high ratio and a very fast attack time. Ideally, this ensures that an audio signal never exceeds the amplitude of the threshold. Ratios of 20:1 all the way up to ∞:1 are considered to be 'brick wall'. The sonic results of more than momentary and infrequent hard/brick-wall limiting are usually characterized as harsh and unpleasant; thus it is more appropriate as a safety device in live sound and broadcast applications than as a sound-sculpting tool.
--------------------------------

Until you get into 10:1, 15:1, 20:1, etc. you are really compressing, not limiting. For those of you that are actually limiting on the way in, I would definitely say you are in the minority. For those of you compressing on the way in, I would guess you're doing so, using the tool of your choice (whether that is named a limiter, limiting amplifier, compressor, etc.) at ratios of no more than 4:1 to shave off the peaks. Personally for vocals I use a Purple MC77 so I guess that would be a "limiting amplifier", however it's set to a ratio of 4:1 and thus I am "compressing"

Unless a limiter set to a high ratio is a characteristic of the sound design, why on earth would you want to smash the hell out of a part on the way in and commit yourself to capturing the part without regard for the mixing stage and what might present itself later?

A reasonable question was asked here and some reasonable answers were given. To the rest of the responders, perhaps we should try to respond with some educated answers to help the OP and the other readers on the forum instead of complaining that a piece of gear is called a limiter even though it's being used at a lower ratio.
__________________
Joshua Aaron
President/Chief Engineer
AudioLot/AudioLot Studios
High End Pro Audio Sales & Consulting
Recording/Music Production/Mixing

http://www.audiolot.com

Follow AudioLot on Facebook for AudioLot's BIG DEAL Gear Specials, Morning Mix Tips, and more by clicking here

AudioLot is located in Hollywood, CA.

If you're in the LA area and are interested in coming by to see any of the gear we carry in person, please let us know.
kittonian is offline   Reply With Quote