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Peak Headroom Dynamics Plugins
Old 4 weeks ago
  #61
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bcgood's Avatar
 

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If you want punchy and transparent I love the Weiss limiter
Old 3 weeks ago
  #62
Gear Maniac
 

Quote:
Originally Posted by Trakworx View Post
I just did a null test with Pro-L 2 and it appears to be bit perfect below the threshold with or without oversampling turned on.

I used a mastered limited track that had been SRCd from 96 to 44.1 so there were ISPs to be tamed.

If I set it to do just 0.2dB of GR then I hear a tiny difference in the null. Just a little crackling where it's skimming the ISPs.

Interestingly, that sound changes with different oversampling settings. The more oversampling the more little peaks it seems to be catching.
I've been using the Pro-L2 for mastering extensively lately in the modern setting. One thing I've come to realize is that I prefer the advance lookahead set to 0 (which is off) for rock music mastering. It is easier for me to reach the LUFS levels I'm seeking in this setting. It's a noticeable and favorable difference on drum transients.

With the lookahead engaged which is at 18 default it ducks the sharp transits to avoid clipping/distortion. This in return makes it trickier to get "hotter" masters. Inadvertently with the lookahead engaged I was turning up the mixes even more to get the LUFS level higher, which was reducing the overall dynamics more than with the lookahead at 0.

I guess my point is... Do not be afraid to set it to 0. It is worth taking the time to investigate. It can play a big part in reaching the desired output level.
Old 3 weeks ago
  #63
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Magnus Lindberg's Avatar
 

Intersting thread!
I use Pro-L2 a lot, and without truepeak limiting and oversampling. Sounds a bit better to me. During export I do use truepeak limiting though, also after SRC to avoid overs there.

As for using -1 as ceiling. While it might be technically recommended, no body that matters (artists, audience, labels etc) seems to care and I have never had problems with audible distortion after codecs.

I usually sit around -0.3 to -0.5 for the above reason, but -1dB in pop/rock masters is just way too much lost loudness and will make you limit harder.
Old 3 weeks ago
  #64
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lowland's Avatar
 

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Quote:
Originally Posted by SmoothTone View Post
Hmmm indeed.

It's times like these I often ask myself, what would Dave Collins do? I respect the quality of his work and get the sense that his practices are based on thorough knowledge of the technical literature and detailed listening tests.

EDIT

I've posted this same query over at DC's forum so we'll see what those guys have to say.
I thought the same when I started reading the thread - any response yet? I'm late to this discussion - if I missed the reply, please quote the post #.
Old 2 weeks ago
  #65
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SmoothTone's Avatar
 

Quote:
Originally Posted by lowland View Post
I thought the same when I started reading the thread - any response yet? I'm late to this discussion - if I missed the reply, please quote the post #.
No word from DC yet. Perhaps if you gave him a nudge…?
Old 2 weeks ago
  #66
Lives for gear
A common headroom value isn't enough to prevent isp's.

The encoders playback quality+ rms/lufs of a song is also a factor; If smashed and listened at low quality even 2db of headroom won't save you...or if the limiter works very soft on few parts of a song, the needed headroom can be the same as the CD.

So if a track is mastered loud, can't we assume the ME had the highest quality (on steaming) playback in mind? not minding occasional isp's if the track is already clipped to hell loud...

Maybe the the right question is how much headroom is needed on default (might change depending on country) itunes/spotify etc. with X rms value.
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