Quote:
Originally Posted by
ajscent
Hi - can anyone advise
I am using weiss as my final comp / limiter on my tracks.
I am mainly compressing about 1db or less - sometimes a bit more - then using the dial on the far right to increase the volume of the compression
This then goes into the limiter and in general its not triggering much - occasional 1/2 db rises in limiting maybe a bit more but not much - obviously this introduces distortion though not much
So my question to you guys is SHOULD I AVOID the weiss limiter circuit ?
I have heard others say you should - so should I be using a separate limiter instead of the inbuilt weiss limiter circuit ?
I have a choice of the fabfillter L / sonnox / stealth / dmg on my daw.
Its really important I get this right as my demo is going off soon - I am just not sure of if the weiss limiter section is as good as the compressor side of it - the compressor is top notch - real great sound to it and nice and transparent.
That's quite a stable of limiters you've got there! I'm jealous.
The peak limiter in the DS1 is not really the same idea as those other ones, which all have various tricks up their sleeves for achieving loudness and transparency (i.e. lookahead, program-dependent attack, release, frequency-specific limiting, clipping, whatever the heck it is the Enhance fader in the Oxford Limiter does, etc.).
The DS1 peak limiter has no tricks; it's meant to avoid tiny hard clips (the DS1 hardware outputs 24-bit audio), not to make your stuff loud. In fact, the compressor algorithm in the DS1 (at a high ratio) is more similar to the limiters you mentioned. Maybe try disabling the peak limiter, and then using a second instance of DS1, with the ratio at 1000:1 and a moderate knee setting and a fast-ish attack (1-3ms?), fast release time very fast (~50ms) and slow release time slow (~1s) with the peak limiter just blinking!
The DS1 peak limiter is not, however, useless. Aside from being quite transparent for shaving tiny overs, it somehow has an unusual tone or vibe to it when you find the right compression settings to feed it with; it's bright and exciting. Sometimes that sounds cool.
Most likely you'll get the best results with a combination of some of those plugs; the DS1 for master bus compression and maybe a bit of peak limiting for the tone, and then splitting the final limiting between Limitless and Pro-L (i.e. feed Limitless into Pro-L, do a little bit of gain reduction with both of them). Or maybe Pro-L is too smooth, and you want the hard-edged, more distortion-prone punch of the Oxford Limiter, or some other different combination.