Is the Overkiller suitable to limit peaks in front of A/D converters?

[Kaoutchou]

The master bus goes trought a comp (Manley Variable MU) that still let pass some high level peaks . so I have to lower the level to avoid clipping. Too bad... I supposed it's a very common problem... so I'm looking for a good and simple bus master peak limiting unit that I could plug between the Va-MU and the converters. Any idea?

I saw the Prism Overkiller, is that suitable or should I thought about a reguler peak limiter?

Cheers

[RainbowStorm]

Originally Posted by Kaoutchou

The master bus goes trought a comp (Manley Variable MU) that still let pass some high level peaks . so I have to lower the level to avoid clipping. Too bad... I supposed it's a very common problem... so I'm looking for a good and simple bus master peak limiting unit that I could plug between the Va-MU and the converters. Any idea?

I saw the Prism Overkiller, is that suitable or should I thought about a reguler peak limiter?

Cheers

I would say that this has more to do with the mic/miking technigue than it has to do with pre-processing. If you get these problem transients even though you use an effective compressor (setup in the right way) you should consider changing microphone and or miking technique so that the compressor can cut the transients more evenly. Maybe you place the microphone too close to the sound source...?

[Kaoutchou]

There is not many micing in those mix as they are very electronic. The thing is that I apply a gentle compression on the master bus with a medium attack time to keep the punch of the drum section. This compression doesn't cut peaks...

[RainbowStorm]

Originally Posted by Kaoutchou

There is not many micing in those mix as they are very electronic. The thing is that I apply a gentle compression on the master bus with a medium attack time to keep the punch of the drum section. This compression doesn't cut peaks...

Ok, that's a different story. I would actually use a multiband compressor on a per-track basis on this kind of material and not touch the mix bus.

[Jules]

Don't mix with your eyes!

Use your ears..!

Far too many people are obsessed with hot level to their converters..

And use the visual reference of meters to smash their music - for no reason other than 'it looks bad on my meters" tutt

This is crazy...

And a very amateur, non-pro engineering procedure..IMHO

[RainbowStorm]

Originally Posted by Jules

Don't mix with your eyes!

Use your ears..!

Far too many people are obsessed with hot level to their converters..

And use the visual reference of meters to smash their music - for no reason other than 'it looks bad on my meters" tutt

This is crazy...

And a very amateur, non-pro engineering procedure..IMHO

Actually I think he is not mixing with his eyes, he is getting digital distortion from transients that get past the ceiling and he hears this distortion with his ears and realise that if he can tame these transients effectively he can gain more and win loudness/clearity perception. I'm not saying it's a smart idea, I'm just saying it's what he hears and wants to target.

[NathanEldred]

Originally Posted by Kaoutchou

so I have to lower the level to avoid clipping.

There is your solution. If you are clipping the A/D then you are sending it too much level...and depending on where your converter is calibrated (do you know?), then you could be sending it anywhere from +10 to +28 (probably the higher number is my guess). There is no reason to do this, there is no reason to have a limiter on an A/D for the purpose of avoiding overs. That's bad gain structure, which is bad engineering method which will cause unnecessary distortion and severly limit your headroom.

[Kaoutchou]

Originally Posted by RainbowStorm

Actually I think he is not mixing with his eyes, he is getting digital distortion from transients that get past the ceiling and he hears this distortion with his ears and realise that if he can tame these transients effectively he can gain more and win loudness/clearity perception. I'm not saying it's a smart idea, I'm just saying it's what he hears and wants to target.

Yes that it, thanks for the explanation. this is not a very good situation at a start but being the one I'm in front of... ok, I'll try to work on the track level instead of the buss one.

But anyway, what do you think about the overkiller?

[Dog_Chao_Chao]

Originally Posted by Kaoutchou

But anyway, what do you think about the overkiller?

Im curious about it too. Is it like and Atty?

kaoutchou, first, check your levels, maybe you are already with no headroom free before compressing, try lowering the amount of input level that goes in the compressor, that way you will have more room to play with it. After that, if you still feel you need more control over your peaks use a limiter after the compressor, or just use higher ratios on your comp to make it work as a limiter, you can also turn your attack setting faster, lookout for too much transient loss.
Gain structure is important though.

[Kiwiburger]

There is not many micing in those mix as they are very electronic.

Huh?

You mean you are tracking electronic drums, and getting peaks? Unless you have some exotic true analog drum sources, i'm guessing you are talking about drum modules & keyboards that have d/a converters built in.

Any digital source is already brickwall limited by default - they simply can't exceed digital clipping. (Well - allow for some intersample peaks - but basically, you should never have any problems with unexpected peaks unless you are recording too hot).

Transformers can be cool for rounding off harsh digital sources - some nice passive DI boxes are worth looking into. They can solve ground loop problems too, which can be a pain with unbalanced instrument outputs.

I don't believe anyone needs to track with a limiter - really. Just adjust your gain.