Does this technique make sense?

Alécio Costa · 19th January 2007

HI,
I have a client who also masters with a "top" brazilian mastering engineer in Brazil. (When budget is fine...)

He commented that whenever he leaves Pro Tools HD to go into outboard analog gear ( Manley, Crane) he always passes the audio into a plugin (L2 probably) because analog systems do not respond properly to quick peaks.

Am I missing something in this? As far as I know you should only peak limit at the very last stage so as to not lose transparency and in a certain way, avoid reducing the dynamic range (true full wordlenght) drastically beforehand.

Thanks for any explanations of yours in advance.

funka · 19th January 2007

Makes nonsense to me?! tutt
I do not see why one would put a limiter pre-analog processing?
Perhaps some other slutz can argue...

Alécio Costa · 19th January 2007

sure. I´ve just added a word I had mistyped.

MASSIVE Master · 19th January 2007

Depending on the client's demands for sheer volume, I'll have limiters all over the place. Normally, the only place I might *not* have a limiter is post-analog processing (besides various converters catching the peaks, which could technically be considered limiting).

No hard & fast rules there, but to have limiters "nipping" at various stages isn't anything unusual.

trilliumsound · 19th January 2007

On occasion, I use a digital limiter in front of a analog and/or digital comp to catch some high peaks, very useful when needed.

Richard

19th January 2007	#1
Alécio Costa Lives for gear Join Date: Sep 2002 Location: Brazil, Florianópolis/SC Posts: 1,705 Thread Starter Verified Member	Does this technique make sense? HI, I have a client who also masters with a "top" brazilian mastering engineer in Brazil. (When budget is fine...) He commented that whenever he leaves Pro Tools HD to go into outboard analog gear ( Manley, Crane) he always passes the audio into a plugin (L2 probably) because analog systems do not respond properly to quick peaks. Am I missing something in this? As far as I know you should only peak limit at the very last stage so as to not lose transparency and in a certain way, avoid reducing the dynamic range (true full wordlenght) drastically beforehand. Thanks for any explanations of yours in advance. __________________ Alécio Costa Studio www.aleciocosta.com http://www.facebook.com/alecio.costa Artist career at: http://www.audiostreet.net/aleciocosta http://www.myspace.com/aleciocosta Last edited by Alécio Costa; 19th January 2007 at 07:08 PM.. Reason: mistype

19th January 2007	#2
funka Lives for gear Join Date: May 2005 Location: France Posts: 523	Makes nonsense to me?! tutt I do not see why one would put a limiter pre-analog processing? Perhaps some other slutz can argue... __________________ www.palmstudio.fr

19th January 2007	#4
MASSIVE Master Lives for gear Join Date: Mar 2004 Location: Chicago (Schaumburg / Hoffman Est.) IL Posts: 2,632 Verified Member	Depending on the client's demands for sheer volume, I'll have limiters all over the place. Normally, the only place I might not have a limiter is post-analog processing (besides various converters catching the peaks, which could technically be considered limiting). No hard & fast rules there, but to have limiters "nipping" at various stages isn't anything unusual. __________________ John Scrip - Massive Mastering, LLC - www.massivemastering.com Spoon-feed a newb some answer and he'll mix for a day - Get him to think about it and figure it out for himself and he'll mix for a lifetime --- JS

19th January 2007	#5
trilliumsound Gear Head Join Date: Apr 2005 Location: Montreal, CANADA Posts: 57	On occasion, I use a digital limiter in front of a analog and/or digital comp to catch some high peaks, very useful when needed. Richard __________________ Richard Addison Trillium Sound

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