OCELOT Limiter is a very special, no nonsense powerful approach to getting a professional, unique, and personal expression for artists working with sound. The design is elegant, logical, revealing, and most importantly the sound is magnificent. Fuse Audio Labs continue to innovate and elevate the communication of sound itself.
I can't believe you could make something like that. The plugin is incredible. I usually don't leave comments but this time you really deserved it. It's the best limiter on the market. I don't know how you managed to do it. The loudness reach is just crazy! Just wow, seriously
Taking a hint from their website's description of this plugin, it looks like we'll be seeing more of this Ocelot series. So long as it's still Reimund behind it all, this is going to be a stellar set of plugins. I love everything I own from Fuse
It's still Reimund at the helm. I'm hyped to see what's planned for the Ocelot Series as well. Fuse releases always turn out to be just-take-my-money scenarios. XD
@@lucasturney4269 Yeah no kidding, I picked this one up & as usual it's exceeded all expectations. Reimund is killing it. Can't wait to see what else comes out in this Ocelot series. This is likely going to take the spot of my master limiter from here on out.
@fuseaudiolabs Not the same as being able to control every parameter individually per channel like hardware. HUM Audio LAAL limiter is a great example. It would move this design into perfection.
Thanks for your comment @alemarrena8792. This is by design though. With brickwall limiters you typically get one of the following: An input and an output gain (with a fixed internal limiter threshold of 0 dBFS/TP) or an input gain and a threshold/limiter ceiling. Both parametrizations have their advantages and disadvantages and it comes down to what one is used to. Assuming the OCELOT Limiter is the last insert on your 2-Bus, you can easily use your DAW's master fader. It's also possible to hold down the shift key when adjusting the input/ceiling knobs which will retain the limiter's gain structure while changing the output volume, esentially this gives you an output gain control. Hope that helps.
@@fuseaudiolabs Thank you for your kind reply. I understand your thinking, but in digital, as opposed to analog, people use these tools in hundreds of different ways and in different places, more than the developer can think of. That's why every limiter I know of has an output control. In my case, the first time I tested OCELOT it imposed to me the need of an extra plugin to control the output because of the specific way I wanted to use it. This is just wrong. The output should be controlled via the plugin, not master fader or extra plugin (side note: I never ever touch the master fader, never needed it and if I do I run the risk of forgetting it's been lowered). I was going to buy OCELOT, because it sounds amazing, but because of the lack of an output control I just couldn't. Please, consider adding an output knob, or even just a screw, like PA's Maag EQ. It will make what's already an excellent device perfect.
I recently got this. It's an OK plugin if you're looking for loud masters. Beware: The "true peak" function isn't really true peak, so don't use it as your last limiter in your master chain.
@NickWaves Thanks for your comment. "The true peak function isn't really true peak" - I would like to debate that statement / give a little bit of context. Please don't feel offended: There is an ongoing controversy about what qualifies as "true peak" and people are discussing e.g. the discrepancies in the level readouts they see on their different loudness metering tools. The closest we come to a real definition of true peak is www.itu.int/dms_pubrec/itu-r/rec/bs/R-REC-BS.1770-5-202311-I!!PDF-E.pdf (pp. 18) and we adhering to that "standard". It boils down to oversampling your signal by a factor of x4, but one has to admit that the specification of the interpolation filter is a little vague. The recommended FIR is a 12 point linear-phase polyphase FIR kernel, i.e. a 48-tap filter which gives a decent tracking accuracy while allowing for a low latency and CPU-load. It's easy to get higher quality tracking by using more oversampling or a longer kernel, but they all come at the expense of - well - CPU-load and latency. To be perfectly transparent, from a signal processing point of view there is no such thing as perfect "true peak" level tracking because that involves a sinc kernel which extends infinitely in the time domain and thus can only be approximated in the real world. On top of that there different ways to implement reconstruction filters in a DAC so that has to remain an unknown parameter and all you can do is to give your signal enough headroom by trying to exceed its performance in the digital domain. There's a good read on the topic I recommend to the inclined reader if you don't want to take the deep dive into the mathematical aspects of this: www.izotope.com/en/learn/true-peak-limiter.html It also demonstrates how you can always construct pathological examples that will throw of even even with the "best" filtering applied in the digital domain to emulate the analog output. These are, of course, theoretical constructs and you eventually have to take a pragmatic stance. The OCELOT Limiter tries to strike a balance between usability/low CPU-load/signal integrity and we observed a discrepancy of
I don't know about the Specifics, but for me is a true peak for real. I mastered a client record these days and it was loud, the ceiling was at -0.2 and the final export read -0.2 true peak. Cheers for the great limiter Fuse Audio Labs 😊
@@marksaxon_plays All of IK Multimedia's T-racks 6 compressors and Limiters have it, as well as their whole TR6 plugin container. Which is why I'm forced to used those plugins exclusively - and it annoys me, that nobody else is picking up on this. I do own the limiters you mentioned and host of others - all of which I can rarely use because of missing the Side Chain facility. I have been in touch with iZotope and they came back saying they might implement it in the next version of Ozone, after I explained why it's needed.
@@dutnakke Compressors should have them but a limiter should be your last plugin in the chain. Sidechaining a compressor means it’s not compressing a portion of the signal. Limiting has to limit the whole thing or it’s not limiting. Yes?
The manual is fantastic and this presentation of the instrument in under 3 and a half minutes is stellar. Fuse Audio Labs, never disappoints.
OCELOT Limiter is a very special, no nonsense powerful approach to getting a professional, unique, and personal expression for artists working with sound. The design is elegant, logical, revealing, and most importantly the sound is magnificent. Fuse Audio Labs continue to innovate and elevate the communication of sound itself.
Thanks a lot for the kind words, much much appreciated!
AI generated?
you little dirty bot
@@SitWithAnkit No, it's all human.
@@chevywilliams2717 I'm a human robot.
I can't believe you could make something like that. The plugin is incredible. I usually don't leave comments but this time you really deserved it. It's the best limiter on the market. I don't know how you managed to do it. The loudness reach is just crazy! Just wow, seriously
Taking a hint from their website's description of this plugin, it looks like we'll be seeing more of this Ocelot series. So long as it's still Reimund behind it all, this is going to be a stellar set of plugins. I love everything I own from Fuse
It's still Reimund at the helm.
I'm hyped to see what's planned for the Ocelot Series as well. Fuse releases always turn out to be just-take-my-money scenarios. XD
@@lucasturney4269 Yeah no kidding, I picked this one up & as usual it's exceeded all expectations. Reimund is killing it. Can't wait to see what else comes out in this Ocelot series. This is likely going to take the spot of my master limiter from here on out.
Would love to see more plugins which are not clone of hardware and provide the best DSP possible.
OCELOT Limiter is great !!!!
Nice GUI 😌 well played.
Dual Mono version please?
Just set the channel link parameter to 0% ;)
@fuseaudiolabs Not the same as being able to control every parameter individually per channel like hardware. HUM Audio LAAL limiter is a great example. It would move this design into perfection.
Love your plugins. But this one lacks an output knob.
Thanks for your comment @alemarrena8792. This is by design though. With brickwall limiters you typically get one of the following: An input and an output gain (with a fixed internal limiter threshold of 0 dBFS/TP) or an input gain and a threshold/limiter ceiling. Both parametrizations have their advantages and disadvantages and it comes down to what one is used to.
Assuming the OCELOT Limiter is the last insert on your 2-Bus, you can easily use your DAW's master fader. It's also possible to hold down the shift key when adjusting the input/ceiling knobs which will retain the limiter's gain structure while changing the output volume, esentially this gives you an output gain control. Hope that helps.
@@fuseaudiolabs Thank you for your kind reply. I understand your thinking, but in digital, as opposed to analog, people use these tools in hundreds of different ways and in different places, more than the developer can think of. That's why every limiter I know of has an output control. In my case, the first time I tested OCELOT it imposed to me the need of an extra plugin to control the output because of the specific way I wanted to use it. This is just wrong. The output should be controlled via the plugin, not master fader or extra plugin (side note: I never ever touch the master fader, never needed it and if I do I run the risk of forgetting it's been lowered). I was going to buy OCELOT, because it sounds amazing, but because of the lack of an output control I just couldn't. Please, consider adding an output knob, or even just a screw, like PA's Maag EQ. It will make what's already an excellent device perfect.
does it have internal oversampling?
If it's like their other (amazing) plugins I'd assume yes. Confirmation would be nice though.
Yes it does once you enable True Peak mode.
Is it usable live?
The latency is around 1.5 ms, so I'd say yes ;)
Sounds good! How many samples does it need to do its magic at 48k?
At 48k the latency is 68 samples, which is less than 1.5 ms. Hope that helps.
That's good! Thanks for the reply 👍
I recently got this. It's an OK plugin if you're looking for loud masters. Beware: The "true peak" function isn't really true peak, so don't use it as your last limiter in your master chain.
@NickWaves Thanks for your comment. "The true peak function isn't really true peak" - I would like to debate that statement / give a little bit of context. Please don't feel offended:
There is an ongoing controversy about what qualifies as "true peak" and people are discussing e.g. the discrepancies in the level readouts they see on their different loudness metering tools. The closest we come to a real definition of true peak is www.itu.int/dms_pubrec/itu-r/rec/bs/R-REC-BS.1770-5-202311-I!!PDF-E.pdf (pp. 18) and we adhering to that "standard". It boils down to oversampling your signal by a factor of x4, but one has to admit that the specification of the interpolation filter is a little vague. The recommended FIR is a 12 point linear-phase polyphase FIR kernel, i.e. a 48-tap filter which gives a decent tracking accuracy while allowing for a low latency and CPU-load.
It's easy to get higher quality tracking by using more oversampling or a longer kernel, but they all come at the expense of - well - CPU-load and latency.
To be perfectly transparent, from a signal processing point of view there is no such thing as perfect "true peak" level tracking because that involves a sinc kernel which extends infinitely in the time domain and thus can only be approximated in the real world. On top of that there different ways to implement reconstruction filters in a DAC so that has to remain an unknown parameter and all you can do is to give your signal enough headroom by trying to exceed its performance in the digital domain.
There's a good read on the topic I recommend to the inclined reader if you don't want to take the deep dive into the mathematical aspects of this: www.izotope.com/en/learn/true-peak-limiter.html
It also demonstrates how you can always construct pathological examples that will throw of even even with the "best" filtering applied in the digital domain to emulate the analog output. These are, of course, theoretical constructs and you eventually have to take a pragmatic stance.
The OCELOT Limiter tries to strike a balance between usability/low CPU-load/signal integrity and we observed a discrepancy of
I don't know about the Specifics, but for me is a true peak for real. I mastered a client record these days and it was loud, the ceiling was at -0.2 and the final export read -0.2 true peak. Cheers for the great limiter Fuse Audio Labs 😊
@@fuseaudiolabsTo be really safe a -0.3 dB safety margin does the job
No Side Chain? Pretty important in a Mastering Limiter these days
Pretty sure limiters don't have sidechains. Ozone Maximizer, sonible Smart Limit or TDR Limiter 6 don’t have them.
What?
@@marksaxon_plays All of IK Multimedia's T-racks 6 compressors and Limiters have it, as well as their whole TR6 plugin container. Which is why I'm forced to used those plugins exclusively - and it annoys me, that nobody else is picking up on this. I do own the limiters you mentioned and host of others - all of which I can rarely use because of missing the Side Chain facility. I have been in touch with iZotope and they came back saying they might implement it in the next version of Ozone, after I explained why it's needed.
@@dutnakke Compressors should have them but a limiter should be your last plugin in the chain. Sidechaining a compressor means it’s not compressing a portion of the signal. Limiting has to limit the whole thing or it’s not limiting. Yes?
Trolling maybe 🫤