Originally Posted by Bob Olhsson
I know I'm repeating myself but you can't really judge the quality of any limiter outside the context of specific program material, a specific target level and the use of corrective eq. and compression with the limiter. They all screw something different up as do different settings.
This means it always comes down to finding the most attractive trade-off. It's also why applying a limiter to a mix outside the context of the final mastered project can easily becomes a serious compromise in quality.
Which is why Pro-L was created with 4 completely different limiter topologies. They are not just variations of a single limiter algorithm but instead 4 completely separate algorithms from the ground up.
I know some people say "there's a typical FabFilter sound" but that's all pretty much bollocks and the result of being fooled by the GUI (aka mcgurk effect or placebo distorted by visuals).. of course the only tie-in effect are the over sampling filters but that's all.
Having said that, I absolutely agree with you and it's the reason I own so many limiters and also have the option to simply clip the AD converter (prism orpheus in my case and it clips beautifully).
My current favorites are Voxengo Elephant, AOM Invisible Limiter, Slate FG-X and Pro-L. I'd also like to own Ozone 5 but I can't justify the cost at the moment as I don't see any benefit to any of the other processes in the package (wish they sold only the limiter + dither separately!).