Your Favorite Limiter Plugin?
View Poll Results: Favorite Limiter?
112db Big Blue
2 Votes - 0.19%
Brainworx bx_XL
18 Votes - 1.71%
Fabfilter Pro-L
218 Votes - 20.70%
iZotope Ozone
115 Votes - 10.92%
PSP Xenon
75 Votes - 7.12%
Slate FG-X
110 Votes - 10.45%
Sonnox
145 Votes - 13.77%
UAD Precision
67 Votes - 6.36%
Voxengo Elephant
147 Votes - 13.96%
Waves L2 / L3
156 Votes - 14.81%
Voters: 1053. You may not vote on this poll

Old 21st December 2012
  #391
I find that Izotope tends to make things sound the same. For example, I like to use a hardware compressor before going to the limiter, but I find that Ozone takes away a lot of the 3 dimensionality that the compressor added. Any hints at how to avoid this? Is there a limiter that does not do this? Thanks!
Old 21st December 2012
  #392
Lives for gear
 
Macaroni's Avatar
 

I just replaced the UAD Precision Limiter with the Flux Elixir. When I compared the two, the Elixir was much more transparent. I always thought the PL was transparent, but in comparison it was more than obvious - more air, open, no smearing. And you can run it in Hi Res mode with offline bounces.
Old 27th December 2012
  #393
Lives for gear
 
kingofswing's Avatar
I own and use the following limiters:

UAD Precision Limiter
Voxengo Elephant 3
PSP Xenon
PSP Vintage Warmer (limiter built in)
Pro Audio DSP DSM-V2
Sonnox Limiter

I have demoed:

Waves L2 & 3
Fab Filter Pro-L
Ozone 5 Limter

For the music I work on (being mainly dance, pop, etc), the DSM-V2 and Sonnox are the absolute best. They sound incredibly clean and clear, and don't suffer from the high frequency coloration that some of the other limiter plugins seem to impart.

For me the Pro L seemed to leave a hole in the middle, like some kind of emptiness. When I bypassed it, it felt right again. I had the same impression with Ozone 5, it adds some high frequency enhancement that I don't like.

With the DSM and Sonnox, I never feel like a limiter is in use. I also like using Elephant and Xenon on more softer delicate music, sometimes just on the individual bus groups.
Old 27th December 2012
  #394
Gear Head
 

I also have all those plugins.

Yet the most i use is L 2 - go figure to me is a great limiter - also been using the sonnox more n more lately.
Got tired of the fgx used it for a while, good for rock- and i don't like the zenon very much, when pushed you get really ugly smashed sound..

My 2 cents
Old 27th December 2012
  #395
Lives for gear
 

I like Elephant because it is very versatile. I will use anything to get the job done!
Old 27th December 2012
  #396
Lives for gear
 
EL_HERALDO's Avatar
most of the time I use fabfilter pro l and izotope mximizer, but in some of my last project I've used the sonalksis MaxLimit and it is working really well with more transients (if possible) than the izotope.
Old 21st January 2013
  #397
Gear Head
 

Working mostly on Pop.
Recently been using Pro L and have been very pleased with the results.

Got DSMv2 and wasn't used to the sound on compression, so haven't tested the limiter yet.

I wonder how the Flux compares to Pro L.
Old 22nd April 2013
  #398
I do mostly ridiculously loud electronic music (Electro House, Dubstep, DnB, etc.) and also various types of House/Electro/Pop production

Pro-L seems to be able to adapt to whatever I'm working on and deliver great results

I used Xenon for years before until I one day decided to try Pro-L and I haven't gone back

before that I used IK Multimedia limiter and clipper

I've also tried Ozone, Sonnox Limiter, Sonnox Inflator, Elephant and Waves L3

Pro-L just always came out on top in versatility and usability, also the presets are on point, the Dubstep preset has made it into tons of my tracks with barely any tweaking!
Old 20th May 2013
  #399
Lives for gear
 
StephenWiley's Avatar
 

Elephant and ableton limiter here. Wish I could afford the Oxford
Old 21st May 2013
  #400
Lives for gear
 
EL_HERALDO's Avatar
I am now using the McDsp Retro Limiter and I'm getting really satisfied with the results.
Old 21st May 2013
  #401
Lives for gear
I find the WaveArts (not on list) to be very similar to the PSP and Ozone in that you can change the tone and color of the mix. WaveArts limiter to me is most useful on acoustic music without a lot of distortion.

I hear Sonnox and Voxengo as similar in that they both add a bit of presence... I feel like these are better for stopping intermittent overs in a longer passage, whereas the others you could apply a touch to all of the rhythmic peaks to color the whole thing once you've got the compression sorted out ..

I never forget the Sony WaveHammer compressor and peak limiter that comes with Sound Forge... to me it's vintage digital, as is WaveArts. If you know what to use them for, they can sound great.

I demoed the flux peak limiter and the "solera" compressor/limiter. I really liked the "solera" a lot, it was like an automatic good drum sound when used on drum buss as well as a nearly inaudible spike catcher on the mix. Really smooth. The peak limiter again reminded me somewhat of Ozone, though less colored sounding, a bit harder than most, but softer than the Sonnox.

All these things are very useable. Some work well for catching a peak here or there, others work better when they can touch every peak a little, like in techno or metal mixes. Sometimes you can really take a few big peaks away from an acoustic guitar recording with the WaveArts and really bring the whole thing up a ton. Sometimes it's using the Sonnox to sneak a dB off that one snare hit that's 2dB louder than the rest every so often.
Old 30th October 2013
  #402
Gear Head
 
Precision Studio's Avatar
personally i only use Logic's Adaptive Limiter with no gain boost, just to avoid ISP and remove DC. To maximize level, i prefer clipping after my compressor. I find clipping less pumpy and more musical than limiting.
Old 5th November 2013
  #403
Lives for gear
 

A.O.M. Invisible Limiter. If you have not tried this you don't know what kind of transparent Limiting your missing out on.
Old 5th November 2013
  #404
Lives for gear
 

Quote:
Originally Posted by Red Mastering View Post
I wait impatiently for a day when brick wall limiters will be obscure and irrelevant....

You may be waiting a long time for that my friend.
Old 5th November 2013
  #405
Lives for gear
 
Red Mastering's Avatar
 

Verified Member
Quote:
Originally Posted by Rockinrob View Post
A.O.M. Invisible Limiter. If you have not tried this you don't know what kind of transparent Limiting your missing out on.
I did and you are wrong, try anything bass heavy like hip hop, or any EDM genre and get back to me with your report
Quote:
Originally Posted by Rockinrob View Post
You may be waiting a long time for that my friend.
I hope you are wrong as above, loudness war will be over within a few years,
I am quite sure about it,
after that we will have a lot of work re-mastering all those fuc$£&^ up records for loudness sake
Old 5th November 2013
  #406
Lives for gear
 

Quote:
Originally Posted by Red Mastering View Post
I did and you are wrong, try anything bass heavy like hip hop, or any EDM genre and get back to me with your report


I hope you are wrong as above, loudness war will be over within a few years,
I am quite sure about it,
after that we will have a lot of work re-mastering all those fuc$£&^ up records for loudness sake
I have heard this about bass heavy music and the Invisible Limiter. I'm guessing that the bass distorts??? I myself do not mix or write EDM so it doesn't really have that type of impact on my workflow and thusly my input. I have heard that you can chain two together to alleviate the bass problems that your talking about. I agree completely with your feelings about the loudness wars, and I cannot wait for them to pass as well. I've found that the volume adjustment on my system is a good fix for anything that I feel is too low in volume. I think that there will have to several music genres that will have to fall by the wayside as well for this to happen. Not going to name them, but I have been waiting a while for them to fall out of favour and no luck yet. What level do you master your work to???
Old 5th November 2013
  #407
Motown legend
 
Bob Olhsson's Avatar
 

Verified Member
I know I'm repeating myself but you can't really judge the quality of any limiter outside the context of specific program material, a specific target level and the use of corrective eq. and compression with the limiter. They all screw something different up as do different settings.

This means it always comes down to finding the most attractive trade-off. It's also why applying a limiter to a mix outside the context of the final mastered project can easily becomes a serious compromise in quality.
Old 5th November 2013
  #408
Lives for gear
 
Red Mastering's Avatar
 

Verified Member
Quote:
Originally Posted by Rockinrob View Post
.... What level do you master your work to???
to appropriate one - I care no about level if it sounds good
only clients care
Old 5th November 2013
  #409
Lives for gear
 
Red Mastering's Avatar
 

Verified Member
Quote:
Originally Posted by Bob Olhsson View Post
I know I'm repeating myself but you can't really judge the quality of any limiter outside the context of specific program material, a specific target level and the use of corrective eq. and compression with the limiter. They all screw something different up as do different settings.

This means it always comes down to finding the most attractive trade-off. It's also why applying a limiter to a mix outside the context of the final mastered project can easily becomes a serious compromise in quality.
very wise words!
ppl push limiter into oblivion and then say this is bad and this is even worst...
truth is anything pushed over 2dB GR will be audible, and I don't personally like how the limiter affect the sound,
xenon is my fav for 1-1.5dB GR, I do test fabfilter pro, because it has so much good reputation here, and so far for small amount of GR it is very good,
pair it with xenon, 1db here and 1db there - that's almost transparent
Old 5th November 2013
  #410
Gear maniac
 

I tried to like the Pro-L more than the Xenon. Couldn't.
Old 5th November 2013
  #411
Lives for gear
 

Quote:
Originally Posted by Red Mastering View Post
to appropriate one - I care no about level if it sounds good
only clients care
I totally get it. Maybe I should ask what level your clients are asking for. Maybe that's more appropriate.
Old 5th November 2013
  #412
Lives for gear
 
Red Mastering's Avatar
 

Verified Member
they ask differently
many times they ask to do not square it
and when they got master they say - it's quiet
sometimes they ask for uber loud and when they get master they say -
oh, sound is flat....
so you never know really

you need to be super flexible, as today's many artists are primadonnas
shhh... I shouldn't say it
Old 5th November 2013
  #413
At the end of the day all of the top shelf limiters are good, really. Until someone figures out how to reconstruct the damaged audio before it hits the output stage, they'll all pretty much do what they do. To me for assertive limiting i like the Sonnox, for clear i like Ozone 5 and Pro-L, for smooth i like Voxengo.
Old 5th November 2013
  #414
Gear Addict
 
Giuseppe Zaccaria's Avatar
 

good point we'd have bunch of limiters and use the proper one on specific program material
Old 7th November 2013
  #415
Lives for gear
 

Quote:
Originally Posted by Bob Olhsson View Post
I know I'm repeating myself but you can't really judge the quality of any limiter outside the context of specific program material, a specific target level and the use of corrective eq. and compression with the limiter. They all screw something different up as do different settings.

This means it always comes down to finding the most attractive trade-off. It's also why applying a limiter to a mix outside the context of the final mastered project can easily becomes a serious compromise in quality.
Which is why Pro-L was created with 4 completely different limiter topologies. They are not just variations of a single limiter algorithm but instead 4 completely separate algorithms from the ground up.

I know some people say "there's a typical FabFilter sound" but that's all pretty much bollocks and the result of being fooled by the GUI (aka mcgurk effect or placebo distorted by visuals).. of course the only tie-in effect are the over sampling filters but that's all.

Having said that, I absolutely agree with you and it's the reason I own so many limiters and also have the option to simply clip the AD converter (prism orpheus in my case and it clips beautifully).

My current favorites are Voxengo Elephant, AOM Invisible Limiter, Slate FG-X and Pro-L. I'd also like to own Ozone 5 but I can't justify the cost at the moment as I don't see any benefit to any of the other processes in the package (wish they sold only the limiter + dither separately!).

Cheers!
bManic
Old 7th November 2013
  #416
Gear Head
 
Armadillo's Avatar
 

I still like Waves L2.
Old 7th November 2013
  #417
Lives for gear
 
Alécio Costa's Avatar
 

Verified Member
November, 7th

Waves L3 Ultra is resting now.
TC BW II starts to lose its spot.

at the moment, my top 3 are: PSP Xenon, Fab Filter Pro L and Ozone 5.0.4.
Old 7th November 2013
  #418
Gear maniac
 

GS Moderation deleted my post but left the original attack as well as an insult by.............................................................................never mind.
Old 7th November 2013
  #419
Quote:
Originally Posted by Theknob View Post
GS Moderation deleted my post but left the original attack as well as an insult by.............................................................................never mind.
By the way, i was completely joking, hence the blinking one eye'd icon...it's a gearslutz thing. But I'll delete mine so you don't feel singled out.
Old 7th November 2013
  #420
Motown legend
 
Bob Olhsson's Avatar
 

Verified Member
I learned some time ago to always at least try L2. It still beats the others a surprising amount of the time (especially at 96k) and sets a useful benchmark to match while eliminating its colorations with another limiter. Another contender available to Samplitude users is sMax 11.
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