Favorite Limiter Plug In

[dropd9]

Voxengo Elephant for me and most others here will praise Fabfilter Pro-L as well. I've no experience with the Waves but they certainly do not get the same love for mastering as the above mentioned. Good luck.

[Alexey Lukin]

Your Favorite Limiter Plugin?

[Thor]

I like a variety of limiter plugins, and for some strange reason they all sound best with the "bypass" button engaged ;-)

Thor

[Slug1]

Don't mean to be a smart ass, but its whatever works for the job. I have several and use them in different ways in different situations. But I do favor certain ones for certain jobs. I love using the Massey L2007 on the two buss of a mix because its so freaking clean sounding. Its there really to catch peaks and just some gentle lifting. I don't like the L2 slam on a mix. The Massey is so not there but just does its thing. Its usually matched up with the Waves API2500 for gentle compression and gentle limiting. Its a nice pair for the mix buss when I'm mixing.

For mastering, I usually have the stereo 2-track in a PT session on my Mac Pro and send that out through my D/A into my analog chain and then capture that through my A/D and into another computer running my mastering DAW at 24/96. On the inputs of the stereo channel that I record to, I have the Flux Pure as a brick wall to make sure that there is no clipping at this recording stage of the analog processed track. FabFilter is another option used here sometimes as well because it has the nice intersample peak control. I think it seems to impart a little bit of sound though, where I can't hear a peep from Flux Pure. But I've used both and they are awesome limiters. Once I have what I think is the best captured version, I will insert a limiter on the master buss of my mastering daw, again only for any gain adjustment and dithering. Sometimes if I want to impart some mojo, I love the PSP Xenon here. I think the L2 is not bad here as well, especially if you're not slamming it, but just having it there for very gentle lifting. If the push was made at the analog stage and most of your gain make up was made at the recording stage, I don't need to push things up on the master buss. But for final bounce, I generally use Ozone limiter here usually in intelligent II mode and dither down to 16/44.

They are all a little different and I've come to think that some have better algorithms for different things. Some have better transient algorithms. Some have better gain algorithms. Some have better dithering algorithms. Some are completely transparent. Some add some mojo. Some have 'analog' modes that work in some cases.

So if I had to pick a favorite for mastering now that I've done some work and sent stuff to clients that they really liked, my vote would be the Ozone 4 limiter for gentle gain lifting, intersample peak control, transparency, and dithering algorithms. I've heard marvelous things about UAD Precision, Voxengo Elephant, and Sonnox. I'm also for some weird reason really interested in the Slate FX-G. It keeps calling me but I haven't pulled the trigger on it.

[Filthrill]

Originally Posted by Slug1

Don't mean to be a smart ass, but its whatever works for the job. I have several and use them in different ways in different situations. But I do favor certain ones for certain jobs. I love using the Massey L2007 on the two buss of a mix because its so freaking clean sounding. Its there really to catch peaks and just some gentle lifting. I don't like the L2 slam on a mix. The Massey is so not there but just does its thing. Its usually matched up with the Waves API2500 for gentle compression and gentle limiting. Its a nice pair for the mix buss when I'm mixing.

For mastering, I usually have the stereo 2-track in a PT session on my Mac Pro and send that out through my D/A into my analog chain and then capture that through my A/D and into another computer running my mastering DAW at 24/96. On the inputs of the stereo channel that I record to, I have the Flux Pure as a brick wall to make sure that there is no clipping at this recording stage of the analog processed track. FabFilter is another option used here sometimes as well because it has the nice intersample peak control. I think it seems to impart a little bit of sound though, where I can't hear a peep from Flux Pure. But I've used both and they are awesome limiters. Once I have what I think is the best captured version, I will insert a limiter on the master buss of my mastering daw, again only for any gain adjustment and dithering. Sometimes if I want to impart some mojo, I love the PSP Xenon here. I think the L2 is not bad here as well, especially if you're not slamming it, but just having it there for very gentle lifting. If the push was made at the analog stage and most of your gain make up was made at the recording stage, I don't need to push things up on the master buss. But for final bounce, I generally use Ozone limiter here usually in intelligent II mode and dither down to 16/44.

They are all a little different and I've come to think that some have better algorithms for different things. Some have better transient algorithms. Some have better gain algorithms. Some have better dithering algorithms. Some are completely transparent. Some add some mojo. Some have 'analog' modes that work in some cases.

So if I had to pick a favorite for mastering now that I've done some work and sent stuff to clients that they really liked, my vote would be the Ozone 4 limiter for gentle gain lifting, intersample peak control, transparency, and dithering algorithms. I've heard marvelous things about UAD Precision, Voxengo Elephant, and Sonnox. I'm also for some weird reason really interested in the Slate FX-G. It keeps calling me but I haven't pulled the trigger on it.

U sound like a tweakhead like myself. Someone who tries lots of different things & doesn't rule out any possibilities to use whatever works but still have ur favorites. A pretty "sound" (no pun intended) way of working. So just to be clear, u pretty much do analog processing 1st, right? I'm curious, what are some of the analog gear that u use? What type of settings on those? I'd be willing to bet ur mastering sounds really good & on par to the big boys.

[kingofswing]

I have tried most of them, and love using the Elephant and Xenon, and sometimes the UAD Precision limiter. Next up, for me to try the Sonnox limiter.

So far Elephant gets my vote

[Slug1]

Originally Posted by Filthrill

U sound like a tweakhead like myself. Someone who tries lots of different things & doesn't rule out any possibilities to use whatever works but still have ur favorites. A pretty "sound" (no pun intended) way of working. So just to be clear, u pretty much do analog processing 1st, right? I'm curious, what are some of the analog gear that u use? What type of settings on those? I'd be willing to bet ur mastering sounds really good & on par to the big boys.

I am a total tweak head. I'm learning every day though. My analog chain just grew!! I added a Dangerous Bax EQ and Lynx Hilo. I also got the Sonnox Suppressor. Decided to get that instead of analog de-esser for hifreq compression. Its a beast for dealing with over the top hihats or other types of sibilance.

My primary analog tools are a Manley VariMu and Massive Passive Mastering version, along with an Avenson MidSide processor. I'm replacing my Apogee converter with the Hilo. Can't wait to get the chain re-racked but I'm waiting on one more mystery piece (oooohhhh). I've always had the VariMu up front for mojo followed by the massivo. Now with the Bax, I'll put the massivo up front for surgical eq, followed by varimu, and then Bax for balance and sweetness. Again, I'm a tweakhead so there are no magic settings. Depends on the job. Sometimes its just adding a little 80hz to make a kick pop through a bit. Sometimes there's a bit more compression to push a snare back into the track. Sometimes I just use the high pass filter on the massivo and add some gain on the vari mu. It just depends on what the material needs. I've learned that less is better in mastering. I try not to add anything. Rather fix a few problems and get the level up to commercial standard, which I've learned has more to do with maximizing headroom rather than just pulling the threshold down on a limiter.

[Filthrill]

Originally Posted by Slug1

I am a total tweak head. I'm learning every day though. My analog chain just grew!! I added a Dangerous Bax EQ and Lynx Hilo. I also got the Sonnox Suppressor. Decided to get that instead of analog de-esser for hifreq compression. Its a beast for dealing with over the top hihats or other types of sibilance.

My primary analog tools are a Manley VariMu and Massive Passive Mastering version, along with an Avenson MidSide processor. I'm replacing my Apogee converter with the Hilo. Can't wait to get the chain re-racked but I'm waiting on one more mystery piece (oooohhhh). I've always had the VariMu up front for mojo followed by the massivo. Now with the Bax, I'll put the massivo up front for surgical eq, followed by varimu, and then Bax for balance and sweetness. Again, I'm a tweakhead so there are no magic settings. Depends on the job. Sometimes its just adding a little 80hz to make a kick pop through a bit. Sometimes there's a bit more compression to push a snare back into the track. Sometimes I just use the high pass filter on the massivo and add some gain on the vari mu. It just depends on what the material needs. I've learned that less is better in mastering. I try not to add anything. Rather fix a few problems and get the level up to commercial standard, which I've learned has more to do with maximizing headroom rather than just pulling the threshold down on a limiter.

Didn't expect these toys. U my friend r gear nutty. That's a very beastly setup u gots there. That Bax EQ makes me jealous. Ur right about the Supressor. I use it in mastering. To me it tames the highs & makes everything sound major. The Avenson looks like what I do w/ the Brainworx plugin but looks kool. The Manleys must be incredible too. Come on man tell me what the mystery piece is. The way u work makes a lot of sense but yeah everybody does them differently. All in all as long as it sounds good & clients r happy that's all that matters.

[Filthrill]

Originally Posted by Slug1

I am a total tweak head. I'm learning every day though. My analog chain just grew!! I added a Dangerous Bax EQ and Lynx Hilo. I also got the Sonnox Suppressor. Decided to get that instead of analog de-esser for hifreq compression. Its a beast for dealing with over the top hihats or other types of sibilance.

My primary analog tools are a Manley VariMu and Massive Passive Mastering version, along with an Avenson MidSide processor. I'm replacing my Apogee converter with the Hilo. Can't wait to get the chain re-racked but I'm waiting on one more mystery piece (oooohhhh). I've always had the VariMu up front for mojo followed by the massivo. Now with the Bax, I'll put the massivo up front for surgical eq, followed by varimu, and then Bax for balance and sweetness. Again, I'm a tweakhead so there are no magic settings. Depends on the job. Sometimes its just adding a little 80hz to make a kick pop through a bit. Sometimes there's a bit more compression to push a snare back into the track. Sometimes I just use the high pass filter on the massivo and add some gain on the vari mu. It just depends on what the material needs. I've learned that less is better in mastering. I try not to add anything. Rather fix a few problems and get the level up to commercial standard, which I've learned has more to do with maximizing headroom rather than just pulling the threshold down on a limiter.

Slug1, hope I'm not bugging u but I'm interested in your take on something. If u were trying to do a similar thing like what the Bax EQ does ITB, what plug-in(s) would your reach for? Anything u know of that performs a similar thing to it? I know that's far reaching but any feedback since u own one? Also do u ever use multiband compression in mastering & do u have all bands in or are some bypassed. BTW whenever I high pass on my analog EQ it just takes away too much so I usually do it w/ Sonnox EQ in the box & it feel better to me. Thank man.

[Slug1]

Originally Posted by Filthrill

Slug1, hope I'm not bugging u but I'm interested in your take on something. If u were trying to do a similar thing like what the Bax EQ does ITB, what plug-in(s) would your reach for? Anything u know of that performs a similar thing to it? I know that's far reaching but any feedback since u own one? Also do u ever use multiband compression in mastering & do u have all bands in or are some bypassed. BTW whenever I high pass on my analog EQ it just takes away too much so I usually do it w/ Sonnox EQ in the box & it feel better to me. Thank man.

Plugin Bax - I've heard good reviews on the BaxerEq plugin by Variety of Sound. I think there is some stuff on GS. Its a basic baxandall eq, in a very similar lay out as the Dangerous outboard. It has all of the basic bax characteristics. I know the Dangerous has the frequencies hitting the middle of the shelf curve and not the shoulder and I assume this plugin does the same. But I haven't used it myself so I'm not sure about the actual sonics. Probably worth a demo at least.

Multiband - I will very very rarely use a multiband compressor, but in some cases it can probably be the only thing to solve a particular problem. Dave Kutch mentioned in an interview that he likes the T-Racks multiband whenever he needs to use one. I don't use one very much at all and just use the Vari Mu with hi pass filter engaged. And I'm just seeing the needle twitch. Dave McNair had a YouTube on the Suppressor and says because its such a transparent plugin, that he will layer them and use them together sort of as a multiband. I do think that there are times when compression is the best way to tame or expand a frequency band. Rarely, but it happens. I also want to play around with a dynamic EQ like the Voxengo Gliss.

Hi Pass - What's the lowest frequency on your hi pass? If its a higher audible register like 40Hz with a high fixed slope of 36db/octave, you will definitely lose some useful information if you hi pass. The Sonnox is very flexible with low frequency register and variable slopes down to probably 6db/octave. If you hi pass at 30Hz at 6 or 12 db/octave, you should be able to clean up hums and rumbles that you can't hear but are eating up headroom. Again, I try not to use any one thing, but I do try to high pass. The massive passive has an 18db/octave slope and I generally set it to 23Hz to just kill stuff that really can't be heard but that will eat up headroom. If using the hi pass is truly audibly changing things, then it may not be a good idea to use it. But I guarantee that that low stuff is eating up head room and will not allow you to get the best and loudest sounding master. One of the other main reasons for getting the Dangerous Bax is for the filters. It has different frequencies from my massivo, AND it has a 12db/octave slope which is less sharp. So I can audition low passing with massivo and bax to see which one works best for not changing the sound, but reducing the most headroom.

[Babaluma]

I was using the Baxter EQ plugin for a while, before I got a real Dangerous Music Bax EQ, and I liked it a lot. It was great to use in M/S mode. But the real thing sounds much better!

[Filthrill]

Originally Posted by Slug1

Plugin Bax - I've heard good reviews on the BaxerEq plugin by Variety of Sound. I think there is some stuff on GS. Its a basic baxandall eq, in a very similar lay out as the Dangerous outboard. It has all of the basic bax characteristics. I know the Dangerous has the frequencies hitting the middle of the shelf curve and not the shoulder and I assume this plugin does the same. But I haven't used it myself so I'm not sure about the actual sonics. Probably worth a demo at least.

Multiband - I will very very rarely use a multiband compressor, but in some cases it can probably be the only thing to solve a particular problem. Dave Kutch mentioned in an interview that he likes the T-Racks multiband whenever he needs to use one. I don't use one very much at all and just use the Vari Mu with hi pass filter engaged. And I'm just seeing the needle twitch. Dave McNair had a YouTube on the Suppressor and says because its such a transparent plugin, that he will layer them and use them together sort of as a multiband. I do think that there are times when compression is the best way to tame or expand a frequency band. Rarely, but it happens. I also want to play around with a dynamic EQ like the Voxengo Gliss.

Hi Pass - What's the lowest frequency on your hi pass? If its a higher audible register like 40Hz with a high fixed slope of 36db/octave, you will definitely lose some useful information if you hi pass. The Sonnox is very flexible with low frequency register and variable slopes down to probably 6db/octave. If you hi pass at 30Hz at 6 or 12 db/octave, you should be able to clean up hums and rumbles that you can't hear but are eating up headroom. Again, I try not to use any one thing, but I do try to high pass. The massive passive has an 18db/octave slope and I generally set it to 23Hz to just kill stuff that really can't be heard but that will eat up headroom. If using the hi pass is truly audibly changing things, then it may not be a good idea to use it. But I guarantee that that low stuff is eating up head room and will not allow you to get the best and loudest sounding master. One of the other main reasons for getting the Dangerous Bax is for the filters. It has different frequencies from my massivo, AND it has a 12db/octave slope which is less sharp. So I can audition low passing with massivo and bax to see which one works best for not changing the sound, but reducing the most headroom.

Just checked out the Baxter, looks great but I'm on a Mac. Ouch. Did some research & found Nomad Factory has one w/o hi pass & selectable shelving points. Same w/ Kuassa basiQ, only this has a mid knob added (interesting since Baxandall EQ is based on hi-fi lo & hi EQ). But they both work for Mac. My Great River EQ-2NV has 17, 27, & 47 hi pass. 17 sounds weird, 27 takes away too much & 47 means u might need to suggest to your client to give u a new mix. Not sure what the slope is, I'd guess maybe 12db/octave. I know the mastering version would be better since has a 20 & 25 which might be the ones I'd like. Is your Vari MU the one that's modified for mastering by Manley? Or u just using the stock one? Using the Suppressor as a multiband. Wow that's next leve ish. Haaha yeah that's pretty hardcore. Never thunk it. I do have the T-Racks Multiband & think I'll play around w/ it. For the record, I used to be a chronic low end cutter! Sat w/ Gene Grimaldi @ Oasis Mastering for a project that I thought he did an amazing job with & most of the songs he did not do any hi passing. Sometimes u need that dirt down there but I try to keep it if at all possible & seems to be working but yeah I learn every day.

[Filthrill]

Downloaded the Kuassa basiQ for the Baxandall EQ feature & messed around with it. It's pretty kool & will work for now. Graphically nothing to look at but it was free & sounds really good. I could've really appreciated this plug on last mastering session. Thinking about purchasing the Nomad Factory Analog Mastering Tools bundle. Looks promising.

[Slug1]

Yep. Go for it. Have fun with it man. With respect to hi passing, many times its in the mix. Great mixes take care of the low end in such a way the hi passing is probably not necessary. I do however roll off as low as I can without it being audible at all, and I also low pass with my massivo up around 27kHz most of the time as well. Bax has nice lo pass too so I'm looking forward to it. Fun fun fun!!

[Filthrill]

Man I'm tellin u I'm really diggin this Kuassa plug. Used in on 2 mixes so far & was just what I was looking for (either a touch of hi boost or small cut on the lo). No choices for frequency points but it what there works really well for most things. It's really a no-brainer plug that's extremely useful.

[bendermastering]

I currently have three great limiters which I like and use a lot, depending on what I need. It's hard to pick a favorite though..

The Flux:: Elixir is very transparent if moderate GR is applied, the best for delicate material.
The FabFilter Pro-L is a clean limiter and handles more GR than the Elixir, so it's great for most of the pop stuff.
The Sonnox Limiter is great for Rock/Hip-Hop, specially if you use the pre-processing part right and with a little bit of the Enhance stuff. It is not a clean or transparent limiter but it's the best at what it does, at adding that extra punch/color and controllable distortion that some genres need and if you're aiming for loudness.

[Torpedo]

FabFilter Pro-L, fantastic !

[Magucci]

Originally Posted by Torpedo

FabFilter Pro-L, fantastic !

Yes it is!
Sonnox works well too.

[Filthrill]

Originally Posted by Magucci

Yes it is!
Sonnox works well too.

Seems like nobody can dismiss Sonnox. Their name "always" comes up. They really brought it home w/ they created their limiter.

[MASSIVE Master]

Am I the only one using G-Clip...?


'Cept maybe Robin...


Anyway, that's the official "Safety Net" limiter on typical setups and probably the busiest one on ITB projects.

I've got a bunch that have various uses (including Elephant, AM-Munition, etc., etc.), but when I want something to just "limit" - It's probably going to be G-Clip.

[TimDolbear]

For brickwall I like the sound of the UAD-precision limiter most of the time, for a dirtier brick wall I will use the clip stage in AMmunition and its limiter set in MS mode.

For just limiting functions I will use AMmunition's limiter in MS mode or the UAD 33609.

[polybonk]

Thanks for the tip on G-clip John. Had not heard of that one. Just testing it now and so far its really good.

[BIGRED.]

For mastering or 2 channel, my UAD still amazes me on how well it works and how transparent it is. +1 on the UAD.

[drumzalicious]

the FG-X did pretty well for me when I was demoing it. Other than that its usually the Massey L2007

[ksound]

It was Slate FG-X for a while, but the latest version doesn't sound the same as the previous version to me (RTAS on MAC). Recently a new one is becoming my favourite - VladG's Limiter No.6... (using VST-RTAS wrapper) clean and clear.

[Riccardo]

Originally Posted by ksound

It was Slate FG-X for a while, but the latest version doesn't sound the same as the previous version to me (RTAS on MAC). Recently a new one is becoming my favourite - VladG's Limiter No.6... (using VST-RTAS wrapper) clean and clear.

Which wrapper are you using?

[Torpedo]

Originally Posted by MASSIVE Master

Am I the only one using G-Clip...?


'Cept maybe Robin...


Anyway, that's the official "Safety Net" limiter on typical setups and probably the busiest one on ITB projects.

I've got a bunch that have various uses (including Elephant, AM-Munition, etc., etc.), but when I want something to just "limit" - It's probably going to be G-Clip.

It's only for PC...

[Thor]

We love the Sonnox here. Shot it out a few years ago against the (then current) competition when Waves Extorti...I mean Upgrade policy was draconian and prohibitively expensive, and haven't looked back.

It goes from completely transparent and light to down and dirty, with everything in between. An eminently useful tool.

Thor

Originally Posted by Filthrill

Seems like nobody can dismiss Sonnox. Their name "always" comes up. They really brought it home w/ they created their limiter.

[Filthrill]

Originally Posted by Thor

We love the Sonnox here. Shot it out a few years ago against the (then current) competition when Waves Extorti...I mean Upgrade policy was draconian and prohibitively expensive, and haven't looked back.

It goes from completely transparent and light to down and dirty, with everything in between. An eminently useful tool.

Thor

The control for ATTACK on the Sonnox is a really huge plus over a lot of other limiters. It really helps dial in the appropriate amount of punch & very helpful when trying to adjusting the final volume & feel of the song. The SOFT KNEE feature has been useful on occasion also especially if the songs kind of harsh. It's another useful tool that can really change the feel of a song.