I'd say to do a few different mixes on the same track and play it back through different devices and see which sounds better to you. I'm no wizard though. How about this? I usually put a L1 as the last insert, but sometimes if the vocal is right after I compress, I leave the L1 on without adjusting threshold. There is some slight coloration going on. I am sure it will work with other type of plug-ins. A limiter should be done in taste on a vocal, it can really push the vocal to far ahead of the song.
This is when it can be really annoying. To me it was annoying. It seems today,listening to his latest album, his mix engineer learned to do a better job of using it.
It's not uncommon for me to use a limiter after a compressor or two on a vocal, and usually before de-essing usually EQ, compressor, maybe second compressor, maybe limiter, often de-esser I typically am NOT using a brickwall limiter, but rather a hard-knee compressor set with a super high ratio maybe even infinity and stupid fast attack, which is in effect a limiter - but not brickwall.
This technique has been used for eons. It's just that now with plugins everyone has a brickwall limiter at their disposal so they use that. The reason I prefer a compressor acting like a limiter is because often I'll need to slow down the attack to a ms or two to retain some crispiness.
Otherwise it's essentially the same thing. When would be a good time to use limiting on a vocal tracks after compression vs none? I'll use a Fairchild or zener limiter in my mix chain. If I ever use a l1 or l2, it's just for the ceiling feature. But that is very rare for me these days.
When you guys talk about putting a limiter on vocals are you talking about individual tracks or the buss? I realise this is a generic chain but it does work, I've also started adding T-Racks 83EQ after the SSL to add some "air" however I still find sometimes the vocals get lost. Useg DG. Funny this topic gets mentioned now that after over 20 years of making music I have started to experiment with a little limiting and have been satisfied with the results.
The question is how I feel about it now that I am doing my own mastering when I find out what impact it will have on that process. Sincerely, Useg Diaz-Granados www. Joshua Lance. For the majority of the work I do I'm limiting on my vocal aux. A lot of the clients I work with are moving a lot and the microphone technique isn't the most consistent. A bit of L1 or sometimes RVox brings those parts right back in your face.
Super helpful for me. Especially in Atlanta. Use the tools that are needed for the job. Nothing More. Nothing Less. I cant say limiting vocals is something i do. I prefer only compression, even if there are some peaks.
I use more and more compression these days. I like to compress as much as possible without overdoing it, and thats a thin line. I might use up to 4 compressors on a vocal to get it where i want as i like to not "hear" the compression, I like smooth sounding vocals.
The sort of place I use a limiter is to prevent any peak going into clipping while recording but NOT driving it so I'm always into limiting. Or, in broadcast work, there tends to be a limiter on a studio output to avoid a peak over driving the transmitter Although there are exceptions, I don't often use a limiter as a standard part of a mix. The simple answer is don't use a peak normalizer. Use editing and compression to make things sound even, then use a mastering limiter to get your signal up to whatever RMS level is appropriate.
Track Rat Dungeon Studio. Peak normaliser? Is that the same as 'normalisation' or is that another word for limiting? I'm starting to get confused. Can anyone please give me an idea, from start to finish, how to record and process my vocals? I'm reading and reading and trying to learn this but I'm still not sure how to apply any of this properly. The biggest problem is that I can't see what these plugins are doing and all I'm hearing is a difference in volume when I adjust things.
I need to see what they are actually doing to the spikes, otherwise I'm just knob twiddling with no understanding and that's bad. Now, I have the option to apply a limiter algorithm to the. That's the only way, at this stage in my education, that I'm going know whether or not I'm doing this right. What level should I end up with in the end? Last edited: Aug 15, Click to expand Bobbsy said:. Quite seriously, set your file playing, push your chair back from your keyboard and close your eyes.
You may be surprised how different things sound without the visual clues and clutter. If it sounds right, then it's probably right. I wonder if you're over-thinking things a bit too much. With the spoken work, less is more in terms of processing.
Add any EQ you want--but don't go overboard, you shouldn't need much if you've recorded properly. Maybe a subtle boost in the upper mids to aid intelligibility, maybe some low cut since you probably don't need those anyway.
Then use a compressor to even out the dynamic range. How much? It depends on both your target audience and what you're recording.
For example, audio books which are often listened to in cars, on trains, etc. And that's probably it for "production" processing. The final step is to bring the levels you have at this point up to the maximum they can be for burning to CD.
If levels are pretty consistent, just normalising to If there are still a few big peaks for whatever reason maybe the mastering limiter as suggested earlier. To use a limiter, at this point DO use your eyes. Note on the waveform were the vast majority of your peaks are sitting.
Let's say they're at -5dBFS. Tell the limiter to limit at Edited to Add: Your post about the fruity limited popped up while I was typing the above. If you have hiss to get rid of, then something is wrong with your recording chain They're there for restoration of old stuff, not a normal part of the chain.
Time for going right back to the basics rather than messing up your product more and more with extraneous processing methinks.
Thank you so much, Bobbsy, for taking the time to explain that. Next, route the source to two auxiliary channels on two sends. Duplicate the limiter to both auxiliary channels, and bypass the limiter on your source track. On the second channel, flip the limiter itself into bypass. Next, load any utility plug-in after the limiter that flips the phase of both the left and right channel. Some of them are exceedingly cheap as well. Limiters are getting better and better all the time.
Some are quite revolutionary—Ozone Pro, for instance, employs an assistant which intelligently sets your limiter, and goes farther by placing a dynamic equalizer before the limiter which helps achieve an even more transparent operation.
It is my hope I have provided you with the necessary tools to do so in this article. May you walk away with unlimited knowledge on a limited subject.
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You can unsubscribe at any time. Get the highest quality sound every time. Music Production Suite Pro. Try for Free. Explore the future of mastering:. Ozone 9. Learn More. Never Miss an Article! What is a limiter? Questionable side effects People often use limiters to increase the overall level or loudness of an instrument or more frequently, groups of instruments.
When to use limiters You may find yourself using limiters on peaky instruments that otherwise sound fine metal drums come to mind when mastering. True peak operation Within the last few years, true-peak technology has become de rigueur for any modern limiter to compete—and many limiters now offer it as a selectable option.
Common controls in mastering limiters Limiters can come with attack and release controls, but not all of them do. The rhythm of algorithms These days, limiters often employ selectable algorithms to better suit your individual music, some of which deploy sophisticated multiband technology under the hood.
Set up a delta test This is where things get fun—and depending on the limiter, a bit tricky. Limited Piece of Music. Limited Music's Delta Signal. Sorry, had to. Learn More about Mixing and Mastering. Audio Dynamics Compressors, Limiters, Expanders, and Gates Aug 06, Audio dynamics processing is a major part of mixing in music production.
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