you don't understand. peak and true peak are 2 completely different things. he's setting the limiter ceiling to -0.1 dBFS, which means that it's going to limit at that level. then disables the true peak limiting which means the limiter is not going to limit the true peak specifically. (which in stereo mastering is not really that important)
@@msatr_ the plugin does say that *before* you disable true peak limiting. once you disable it, it doesn't limit the true peak anymore, and becomes a standard dBFS limiter.
I'm so used to the Waves L2 ( yes showing my age here! ) I don't even think of anything else, even though I've got this one. Will give it a shot though. I remember it had a good look ahead function that can be very useful.
I have used Waves on and off for 20 years. I had the top subscription and swapped to plugin alliance. They both have their strengths but I miss way more of my Waves stuff than I do plugin alliance when I swap between them. I think Waves looks better. I don't need a hardware image. I need to have simplicity on my screen. I always say no matter what I try that the Waves Renaisance plugins are my favourite set of plugins ever. It seems every man and his dog love Pultecs but I just find REQ dials in that kick drum better for me. It has the most musical sounding Q control. I was taught on Waves and though it was just budget shit they used at college. I came to really change my opinion over the years. And the L2. It just works. I can make the L2 way more invisible than I can other brands. Maybe I'm just used to them but I am defo missing my waves. I think if I bought the blackbox and Shadow hills from plugin alliance, I could cope without the rest. I have Reason and they have a lovely SSL style bus compressor, I also have T-racks. So have a nice mu compressor with that. To me all these other companies cover mastering nicely but Waves really cover the mixdown like no other. They just have so many useful tools that are irreplaceable. REQ Trans x and r comp make my drum sound and I feel when I make music without them, the drums lose my characteristics. I am defo swapping back and permanently. They need to drop the 20+5 price structure though.
How do you get that saturation in the vocals when you push the limiter hard (normally I hear it when the kick or 808 punches over a vocal). can that only be achieved with analog limiters or will digital limiters do the same thing?
You set up a limiter the way you set up everything else: exaggerate the effect so you can hear what it's doing, and then dial it back to the desired amount.
I used to record all my tracks slightly lower than maximum. When I combined them, they would peak and crackle. I solved a lot of the crackle by offsetting the recordings by plus or minus 1-3 ticks from each other, but there were still annoying exceptions that would sneak by the offsets. When the waves combine just right, a tidal wave amplitude occures here and there. Any suggestions on stopping this without obvious limiting that sounds like someone turning the volume up and down (like garbage dolby)?
if it sounds better that way just leave it there. i feel like it has to do with the genre in your case. Streaky is mastering house music most of the time.
nope. the difference between a compressor and a limiter is the ratio. a limiter has an infinite:1 ratio, which results in the signal not exceeding the set threshold. the attack does not work differently on a limiter.
@streaky but HOW do you decide exactly what millisecond to use for attack/release? Do you use a BPM to millisecond converter or do you just set it by ‘ear’? Cheers
the release time is kinda stupid on a mastering limiter, so just leave it to fastest possible. for the attack you can either go by ear or you can actually use a BPM to ms.
the way it limits the whole signal. the best thing you can do is use one limiter to limit your track without TP, and then send the thing to another limiter which only works for the TP. HUGE difference.
the help manual warns against unlinking the release because it can affect the stereo image, do you just set it like that because you like the sound, or is there some other logic behind it?
I'm pretty sure that the algorithms in Pro-L2 do different things under the hood to reduce distortion. The 0 release time isnt always actually 0, just like the attack time isn't actually high (because if it was you'd get spikes over 0 db, which sort of defeats the purpose of a limiter)
@@ezrabrownstein3237 give it a try with the 1.1 thing. It's definitely distorting. Inherent to a 0.0ms release. Personally a very nice sound, the tip is a bit odd
Some algos are more true to the release time than others. pretty sure all around is the closest whereas modern has a very slow release time built-in even at 0 ms
first of all, it's true PEAK not pick. second, on stereo masters, platforms DO NOT CARE if it's true peaking. third, a safe ceiling is always -1dBFS, cause different digital systems might distort anywhere above that.
'Yes, turn it off , I don't like the sound of it!...'
hahahaha
😅😅😅
Lots of people don't like true peak limiting. It can be good to check for ISPs after limiting though
You have made a clipper. Congrats 🤣
Almost, yeah.
I've been using this plugin for years and never realized that 1:1 button was even there... FML...
TIL
Me too)))
So you use the 1:1 to see if it makes a difference and then you turn it off before the render right?
Use L1 limiter plugin and don't do any of these ❤️
You mean Wave L1 limiter?
@@jayreel1736yup
Set up true peak limiting at -0.1 and then turn off true peak limiting 🗣️🗣️🗣️🗣️
you don't understand. peak and true peak are 2 completely different things. he's setting the limiter ceiling to -0.1 dBFS, which means that it's going to limit at that level. then disables the true peak limiting which means the limiter is not going to limit the true peak specifically. (which in stereo mastering is not really that important)
@LeChapeauMusic Bro what 😂 it literally says -0.1 dbTP not dbFS, what do you think TP stands for if not true peak
@@msatr_ the plugin does say that *before* you disable true peak limiting. once you disable it, it doesn't limit the true peak anymore, and becomes a standard dBFS limiter.
You have some interesting videos and ideas but you explain very little of why you do what you do so it's of limited use to someone trying to learn
i don’t understand why you would use a 1.5 second attack
Thanks Streaky, would love to see how you set up Newfangled Elevate, which has a few unorthodox parameters
Ok will do that
“Pro mastering engineer”
turns off true peak 😂
Pick??? Jokes on you😂
it doesn't matter in stereo mastering mate.
Thank you🎉
I'm so used to the Waves L2 ( yes showing my age here! ) I don't even think of anything else, even though I've got this one. Will give it a shot though. I remember it had a good look ahead function that can be very useful.
I have used Waves on and off for 20 years. I had the top subscription and swapped to plugin alliance. They both have their strengths but I miss way more of my Waves stuff than I do plugin alliance when I swap between them. I think Waves looks better. I don't need a hardware image. I need to have simplicity on my screen. I always say no matter what I try that the Waves Renaisance plugins are my favourite set of plugins ever. It seems every man and his dog love Pultecs but I just find REQ dials in that kick drum better for me. It has the most musical sounding Q control. I was taught on Waves and though it was just budget shit they used at college. I came to really change my opinion over the years. And the L2. It just works. I can make the L2 way more invisible than I can other brands. Maybe I'm just used to them but I am defo missing my waves. I think if I bought the blackbox and Shadow hills from plugin alliance, I could cope without the rest. I have Reason and they have a lovely SSL style bus compressor, I also have T-racks. So have a nice mu compressor with that. To me all these other companies cover mastering nicely but Waves really cover the mixdown like no other. They just have so many useful tools that are irreplaceable. REQ Trans x and r comp make my drum sound and I feel when I make music without them, the drums lose my characteristics. I am defo swapping back and permanently. They need to drop the 20+5 price structure though.
L2 has a sound, and it’s nice to have different options in your kit, but it is still very useful and excellent sounding if you don’t overdo it.
How do you adhere to the specs without TP Limiting?
I don’t let that bother me if it sounds good that’s what matters to me…
Hi Streaky. Have you tried Smart Limit by Sonible?
great limiter but doesn’t sound good on everything. then again neither does fab. best to have a few weapons in your arsenal to choose from.
Big up Streaky you’re really doing a great service for the community ❤️
some people try to create stuff. others just bullshit people. way to go!
How do you get that saturation in the vocals when you push the limiter hard (normally I hear it when the kick or 808 punches over a vocal). can that only be achieved with analog limiters or will digital limiters do the same thing?
use a clipper
We love you
Feel sorry for anyone learning to mix that watches this dude at all
You set up a limiter the way you set up everything else: exaggerate the effect so you can hear what it's doing, and then dial it back to the desired amount.
Streaky, what value do you choose for LookAhead?
Keep it low as I think it sounds weird higher up
Awesome... missed this one... should have been in my Professor Streaky playlist
I used to record all my tracks slightly lower than maximum. When I combined them, they would peak and crackle. I solved a lot of the crackle by offsetting the recordings by plus or minus 1-3 ticks from each other, but there were still annoying exceptions that would sneak by the offsets. When the waves combine just right, a tidal wave amplitude occures here and there. Any suggestions on stopping this without obvious limiting that sounds like someone turning the volume up and down (like garbage dolby)?
You need to record the tracks themselves with enough headroom.
@@rmorris8544 Thank you.
So pretty simple then....
Been doing this for months now! When done right it's exactly what you need
-0.1 with 16x is ok, but with 8x not.
I press all the buttons you say. What next.
Goat
I love this beat Where can I find it
Nope. That's not what I heard
I've tried the oversampling and turning off true peaks but my mixes always sound better and less distorted when I just leave it as default settings?
if it sounds better that way just leave it there. i feel like it has to do with the genre in your case. Streaky is mastering house music most of the time.
2? Yh
you are the only one whom I can trust blindly 😎🔥
Omg! Thx! Try it now! Works good)
Nice
You are the best
With the slow attack, isn't it more or less acting like a compressor? I always think of a limiter as letting through zilch.
nope. the difference between a compressor and a limiter is the ratio. a limiter has an infinite:1 ratio, which results in the signal not exceeding the set threshold. the attack does not work differently on a limiter.
@streaky but HOW do you decide exactly what millisecond to use for attack/release? Do you use a BPM to millisecond converter or do you just set it by ‘ear’? Cheers
Yeah set it by ear imo
the release time is kinda stupid on a mastering limiter, so just leave it to fastest possible. for the attack you can either go by ear or you can actually use a BPM to ms.
🤯
Thank you bro
Why don’t you like the true peak, Streaky? What sounds bad about it to you?
the way it limits the whole signal. the best thing you can do is use one limiter to limit your track without TP, and then send the thing to another limiter which only works for the TP. HUGE difference.
@@LeChapeauMusiccool! Thanks😊
You doing this on mix bus or master chain
master chain
the help manual warns against unlinking the release because it can affect the stereo image, do you just set it like that because you like the sound, or is there some other logic behind it?
it's all about loudness mate. when you don't link the transients and release time, you can retain a more natural sound while pushing the gain up.
I've done this multiple times on that limiter and the stereo image wasn't affected at all.
You should post more bro
😂😂😂
Thank You
Thanks for the tip.
Amazing!! Streaky, thanks for all your fabulous insights 🎙🎹🎧🎶🎶🎉
Limiter on 0 release is distortion heaven. Interesting concept you got there. Will have a look
I'm pretty sure that the algorithms in Pro-L2 do different things under the hood to reduce distortion. The 0 release time isnt always actually 0, just like the attack time isn't actually high (because if it was you'd get spikes over 0 db, which sort of defeats the purpose of a limiter)
@@ezrabrownstein3237 give it a try with the 1.1 thing. It's definitely distorting. Inherent to a 0.0ms release. Personally a very nice sound, the tip is a bit odd
I’m never pushing it too hard as I’m gain staging for level
@@Streaky_com ah ok, that makes sense
Some algos are more true to the release time than others. pretty sure all around is the closest whereas modern has a very slow release time built-in even at 0 ms
should i do -0.1 or -1?
Or -0.001
-10
You should do -2 TRUE PICK if you going louder than 14 lufs. Read any streaming platform guide for musicians and don’t listen to this dude.
first of all, it's true PEAK not pick. second, on stereo masters, platforms DO NOT CARE if it's true peaking. third, a safe ceiling is always -1dBFS, cause different digital systems might distort anywhere above that.
It's funny, really
You should read a manual to that plugin, man
Loved this one mate, thanks so much!
Yeah, fuck true peak limiting. it only really seems to stifle the transients on most limiters that offer it