Master limiter setting

[danijel]

If it's a theatrical documentary with some dynamic range, I just limit at -2 dBFS, like a feature film, and then do a separate pass for TV, which is still -10dBFS here. If it's a talking heads style doc, then I limit at -10 from the get-go.

[Murasamee]

Originally Posted by danijel

If it's a talking heads style doc, then I limit at -10 from the get-go.

Curious why you do this from the get-go?

[dkerins]

So he knows how it sounds from the get-go and is within spec.

[GregorioM]

Originally Posted by G-lay

I'm mixing this documentry, and I was wonderin what is a good setting for you limiter on the master channel?

Depends on the specs of the broadcaster the final mix is destined for.

G

[jahtao]

Originally Posted by danijel

I just limit at -2 dBFS, like a feature film

Hey. I don't do a lot of this kind of work but I'd love to know why you don't utilise those extra 2dBs? And why -2 not -3. Wouldn't -0.1dBFS be more logical?

Just curious : )

Matt

[nzl62]

I used to set a waves L1 at -10 threshold and -10 output. That was fine for most UK spec work. Things change significantly with ITU1770 and now I opt for the MCDSP ML4000 on DX,MX,FX subs with one on the master at all. They all do a little less. I also need to produce Mix Minus comms as standard so I put the same ML4000 on a sub bus that feeds the MMC record track that way and level change produced by the Limiter on the master is duplicated onto the MMC so they sound roughly the same.
TBH I have a little bit of unease running the ML4000, I like the multiband comp but sometimes I feel it is adding too much shape change to the sound. The Limiter on its own is pretty cool, though but I have developed a few presets for the stem busses that deliberately add a little more shaping, ie brighter in the DX sub, beefier on the fx and sometimes music with a slight 1k scoop on the mx to help clear the dialogue.
Hope that helps. Also, bus your line up tone directly to the record and not through the limiter chain otherwise it will drive you nuts trying to get the levels right (you could bypass of course but I prefer direct) Simpler is better IMO

For theatrical docs I set the output at -1. The trick for theatrical is not to have the dialogue too loud. I have done two in quick succession that have been mixed in my small room and have translated reasonably well into theatres playing at 4.5-5.5 which is the norm in the UK and NZ. Dialogue peaks around +4 on the EBU scale

[tpad]

....I'd love to know why you don't utilise those extra 2dBs? And why -2 not -3. Wouldn't -0.1dBFS be more logical?

Easy to answer. The newer delivery specs are recommending peak levels to be limited to -2 dBFS. So that would be the logical place to initially set the limiting threshold. If you're not using a delay line limiter, then the output will probably overshoot and you will need to set the threshold lower.

[danijel]

Originally Posted by dkerins

So he knows how it sounds from the get-go and is within spec.

Yes, and also because those types of documentaries don't really need big dynamic range, so I wouldn't get anything extra by utilizing the range above -10, except having to do another mix-pass for the TV.

As for -2dBFS - I used to mix to 0, but all the recent talk about 'true peak' and possible clipping of the DA converters has made me back up a bit

[danijel]

Originally Posted by jahtao

And why -2 not -3.

For no particular reason