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What final limiter is on your mix bus?
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rodreb
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29th April 2013
Old 29th April 2013
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What final limiter is on your mix bus?

Curious as to what final limiter folks are using on their mix bus? Looking for something brick wall that sounds really good. Suggestions?
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29th April 2013
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do you really want a brick wall limiter on your mix buss? I leave that till the mastering stage. A touch of compression on the 2 buss to mix into can be nice though...I like the sonalksis comp.
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A440: Unfortunately, most of the projects I do can't afford REAL mastering so, they just want me to "make it competitively loud". But, I want to have a limiter that also sounds good.
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I'm in the low end boat too, but you still don't need that limiter on the mix buss. Mix the project to a reasonable level, then bounce a 24 bit WAV with no dither, and import that file into a new session, where you can do whatever you want to the stereo file. If you apply that limiter on the mix session you will probably end up creating trouble for yourself as you're combining two roles into one-- mixing and mastering.

That said, I like the free George yhong L1 limiter.
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Slate or Fabfliter.

L2 still when needed. There is something about the release that tucks in elements nicely.

McDSP sometimes.

Not too much gain reduction on any. Even if you want to save for mastering you still have to give the clients "louder" versions to listen to. Mastering is so much more than look ahead limiting.
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Ozone 5, but until I get there it's a UAD Precision maximizer with the limter turned on and the maximizer set around 50%, then once ozone is turned on in the final stages of mixing, I tend to dial it down...depends, sometimes it goes up!
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The L2 and i also like the fabfilter one
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The limiter in the Rupert Neve Designs MBP

I set and forget; it's calibrated to my JCF AD8 (with PEP engaged which takes away a couple db of headroom)

point being it sounds good. I go a little crazy with faders while printing mixes so it catches transients pre-adc
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Voxengo Elephant for a plugin limiter works well too.
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Fabfilter Pro-L and Slate FG-X... though more often the Pro-L.
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Quote:
Originally Posted by rodreb View Post
A440: Unfortunately, most of the projects I do can't afford REAL mastering so, they just want me to "make it competitively loud". But, I want to have a limiter that also sounds good.
Like Boschen I try to and make mixing and mastering two distinct processes, even if I'm doing the mastering myself. It doesn't take a lot more time and gives you more control, as well as a separate unmastered mix file at 24 bit and a 'mastered' mix at 16 bit.

Having said that we all have different workflows, so I'm not judging (just offering an alternative viewpoint).

I like using the Sonnox limiter most of the time. It's quite transparent and you can get a good level with it.
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Still using the Massey L2007 here, which always sounds way better to me than the L2.

I need to look at some more recent options, maybe...
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Quote:
Originally Posted by Boschen View Post
I'm in the low end boat too, but you still don't need that limiter on the mix buss. Mix the project to a reasonable level, then bounce a 24 bit WAV with no dither, and import that file into a new session, where you can do whatever you want to the stereo file. If you apply that limiter on the mix session you will probably end up creating trouble for yourself as you're combining two roles into one-- mixing and mastering.

That said, I like the free George yhong L1 limiter.
+1, and like A440 says . Separate the two roles, even if you're doing it yourself.

I'm a fan of the UAD Precision Limiter, but there's lots of good stuff out there that's been mentioned already.
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Quote:
Originally Posted by Slikjmuzik View Post
Ozone 5, but until I get there it's a UAD Precision maximizer with the limter turned on and the maximizer set around 50%, then once ozone is turned on in the final stages of mixing, I tend to dial it down...depends, sometimes it goes up!
Exactly this, same settings. Works great, doesn't it? Nobody ever mentions the
Precision Maximizer. Wonderful plug in.
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Quote:
Originally Posted by marchhare View Post
Exactly this, same settings. Works great, doesn't it? Nobody ever mentions the
Precision Maximizer. Wonderful plug in.
Not once has it let me down!!
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Do yourself and your clients a favor, DONT put a limiter on your mix buss, limit the song as a separate process AFTER the mix. As far as plug in Limiter's PSP's Xenon works real well.
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I'm a fan of the McDSP ML4000.

Powerful when you need it, sensitive, and transparent. Never goes wrong.
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Slate FG-X is my fav at the moment, though I guess technically not considered a brickwall limiter.
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The Sonnox Limiter is my standard 'last plugin standing'.

But it's there just to catch any possible overs before I send to the broadcasters. I try to set it so it has no sound at all. I'm not a fan of limiting the master bus as an 'effect'.
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Quote:
Originally Posted by Musiclab View Post
Do yourself and your clients a favor, DONT put a limiter on your mix buss, limit the song as a separate process AFTER the mix. As far as plug in Limiter's PSP's Xenon works real well.
Yep, save limiting for a separate process. I use the UAD Precision Maximiser.
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I'm with most here. Brickwall limiting is for a MASTERING session, not for the mix. For mix, I'm using the Serpent SB4001 - lightly. Traditionally I didn't do 2 buss compression, but I'm digging this one.
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Oh boy, here we go again...

When I'm tracking, I'm focusing on vibe, energy, keeping the clients on their 'A' game, etc...I stick the maximizer/limiter on there doing at the most 1-2db and making sure that without it, the tone doesn't change. As long as both with and without, the sound coming from the speakers is unidentifiable without critical listening, I move the session forward. Eventually, the limiter turns off and I move forward with mastering.

So yeah, I tend to focus on tracking when I'm tracking(kinda makes sense, huh?) and I deal more/focus more on levels when the client isn't there. I hate slowing down sessions to move my output fader from zero to a 'healthy' spot so I'm not clipping the 2buss. Now THAT will change your tone and not for the better. Leave your 2buss fader alone folks!! Just track with a little limiting and get those clients through their session, make sure they leave with smiles on their faces raving about you.
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Agreed, nobody should be mixing 'through' a limiter, but what's wrong with doing the mix and then slapping the limiter on at the end just for level?
That's what I do, especially if it's a media project that's not going to mastering.
I don't see a problem with that, and IMO it's always worthwhile hearing what others are using...
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Quote:
Originally Posted by Evil Jack View Post
Agreed, nobody should be mixing 'through' a limiter, but what's wrong with doing the mix and then slapping the limiter on at the end just for level?
That's what I do, especially if it's a media project that's not going to mastering.
I don't see a problem with that, and IMO it's always worthwhile hearing what others are using...
That's cuz there isn't anything wrong with that. Some of the folks chiming away like purists come from the tape days where each time a take was done, you had to sit there and wait for tape to rewind. This formed a particular mindset and formed habits that stuck even into the digital era.

Personally, I own a tape machine and I never use it. I like to move sessions forward and keep clients happy by making sure they feel every minute of every hour they feel they're getting the best bang for their buck. Limiter it is while tracking. Hell, there's a limiter built into Ozone which is what I use for mastering, so while the limiter on the maximizer gets turned off, the final product does actually still have a limiter. Couldn't tell you how hard that one's working cuz there are a ton of different tools within Ozone and after a certain point, I stop looking at numbers, graphs and pretty much everything visual as much as possible and I just try to use my ears for the final tweaks.
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Agreed, no limiter on the mix bus. I use Waves Rverb occasionally with the Opto compressor mode at 1.8:1 for a little glue, always limit at the end of mastering. Another nod to Voxengo Elephant, great and very flexible limiter that can be pushed pretty hard with less consequence than the Waves L series. Affordable too.
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PSP Xenon when I have to master for a client. Never on the mix buss though.
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I do a lot of self mastering. Massey L2007. Quick and Easy. I don't want my limiter to screw things up too much once I get them sounding how I want.
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I rarely limit on the mix bus. If mastering I use Fabfilter Pro-L more than anything else.
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none.
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L2...I mix into it when I'm 90% through with my mix...that's only if the band is not planning on mastering though.
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