No I didn't, but that is due to forgetting it was in a similar price range I will add it as I'm planning to have another listen later. I will say the thing that really helped the FAST was the Transient slider in the advanced options.

With each I turned off the TP where applicable and was aiming for 3-4dB reduction just to push them a bit and make it easier to hear. I also did them all with and without AB Level Match.

The ones I have done so far are:
TDR Limiter6 (own)
Ozone 9 Elements Maximiser (own)
bx_True Peak (own, but can't disable TP so dismissed)
TB Barricade 3 (own - also tried 4 but dismissed as not much difference although I didn't play with algorithms)
Sonnox Oxford Limiter (demo)
FAST Limiter (demo)
Weiss Comp/Limiter (demo)
Will add Pure:Limit

Yeah i just got an email from PB and was quite surprised to see them there actually.. wonder what is happening over at P.A..

Sacrilege!!!!!!! How very dare you!!!!! Reported to Mods......You'll never post in this forum again!!!!!!!!

I think it is because of the Soundwide thing. The others under the umbrella have stuff there so it would make sense.

He cheated.....he waited a while to start his WW

UAD issues a cut-price all-in bundle… So does PA. UAD shows up on PB… so does PA. I think I can spot a pattern here.

Some you should give a try are missing.
DMG Limtless - usually in the top 5 of lists
AOM Invisible Limiter - comes up frequently
Newfangled Audio Elevate - bundle but powerful, my go to
sonible smart:limit - AI but who gives a f
Weiss Maximizer - maximizer but nice
Voxengo Elephant
Edit: Forgot DSM V3

I believe Adaptr is completely independent, so is dear reality (except for an investment from sennheiser) IIRC shadow hills is independent hardware wise but brainworx makes their plugins, as well as the black box stuff.

Thanks for that, I have seen them all get mentioned a lot too but they are currently all well out of my price range besides the Weiss Maximizer (I am trying the Comp/Lim instead because was curious about the extra functionality, specifically the stepped release)
Tried the DSM V3 before and might get when the price is right.

Fair enough. I couldn't find any info on what the deal is with the different brands. I first heard of dearVR when Sennheiser first released the Ambeon plugins so knew they were independent then, but that could have changed for all I know.

Ah, I see. I guess if you're on a budget the TDR limiter for 30 is good bang for the buck.

Good MEs, generally, will manifest majority of volume before it hits any limiter.

Fwiw. when doing a lot of comparisons between limiters, sometimes it can be beneficial...or maybe just a certain type of fun to create a delta file of the actual sonics that are being affected.

Then, listen to the delta files and compare. Waveland makes it easy, however I'm sure there are other apps that will also print a delta file.

That's very helpful. Smart:Limit also has tone shaping, I'll be very interested in your thoughts when you get the chance to compare it

u can still buy them from PA

Limiter I Have:

Voxengo Elephant (I think I don't have the latest version)
God Particle
Weiss
Fabfilter Pro-L2
MD4
UAD Precision Limiter (very small, but sound good)

maybe I forgot sth. but all of them above get used sometimes and they sound all good to me.

PS: I also use and have Ozon 10

Yeah I got it last year for a tenner. Whenever highly regarded stuff comes into a viable price range I always like to test it out against what I already have to see if it offers something either significantly better or different. I generally avoid testing too much beyond that but do occasionally if the ol' curiosity about something has kicked in. I'm intrigued by the AMEK Mastering Comp, but not demoed it yet for that very reason, same with the Unisum and other Weiss plugs.

That's a really good idea, thanks. REAPER has a delta function per plugin so will give that a try. I'm planning on rendering files and then doing blind tests to see if the differences I am hearing are actually there too.

Went on my own Limiter demo excursion a few months ago. Everyone has different taste and usage so take this list with a grain of salt!

1. Smart:Limit (Mastering)
Pros: Respects the material and ultra transparent up to -6db, IMO, though I go back to the mix if I hit more than -3db GR on a loud sonic 'burst' in a track. TP can now be disabled.
Cons: The Saturation is not my cup of tea. Very Ozone like, IMO.

2. NFA's Elevate (Drum Bus): Usually I clip the drum bus with Flatline. But if the song doesn't need an aggressive drum sound I go with Elevate.
Pros: Extremely flexible with loads of options
Cons: Same as the Pros! Can get tweaker syndrome with it

3. URSA Boost (anything that I want to stay put volume wise)
Pros: Doesn't add distortion unless you want it to. Flexible yet transparent. Really great at just pinning the peak level.
Cons: For some reason I never got along with it as a mixbus or group bus limiter. But on channels it is my goto when I want transparent leveling without 'character'. Tho it can be made to pump!

4: God Particle (Dirty Limiting) On sale ATM for $79.
Pros: I only reach for this one with limiter engaged when I want some griminess.
Cons: The least transparent limiter I'll use.

Just curious, mainly because I haven't got very far in my understanding of when to use limiters / clippers / compression etc. Do many of you use limiters on most of what you produce?

My cheat sheet:

Limiters: Make it loud with an expectation that some rounding/softening will happen (tho that varies based on material and limiter settings)

Clippers: Make things more Grrrrrrrr

Compressors: Control dynamic range / make things fuller sounding

I personally use far less limiting now than when I started out mixing my own music. A combination of all 3 has led me to better results....I think!

I use limiters as a safety valve and never just to raise the apparent level of anything. Not into that kind of thing and certainly not in the realm of Death Magnetic. BTW Lars did acknowledge that he was the cause of that overblown mix engineering for what he told the engineer to do.

I use a limiter on my drum bus - actually I have two drum busses. One that collects all the feeds from the individual tracks which feeds a second drum bus and has a send to a separate drum verb track which returns to drum bus 2. Both busses get a limiter. Either Pro L2 or the SSL Limiter. Yes I have others but they don't get used.

My other use for a limiter is on my 2-bus and that's always Pro L2. All my limiters are set at either -.2dB or -.5dB.

Compressor on the 2-bus. That can be the SHMC green or red and sometimes an SSL bus comp emulation. Compressors on tracks and busses as needed but ONLY as needed. Just like eq's I don't put compressors on everything.

Clippers - NEVER! Just not my cup of Earl Grey (hot).

I got SSL Drumstrip on one of their really good sales last year for about the same price as now.

Then, I thought, geez, why did I get this….probably another one to just collect more v-dust. However, I really have to agree with both of you! I was quite surprised how easy it was to get nice results from this. Very glad I got it! And as a bonus, one can get cableguys timeshaper for free from PB at present, which is also good!

When I produce I have normally a limiter as my last plugin, just to save Equipment and my ears .. lol

I try to not do too much mixing when im Producing. I normally bounce out stems and mix it in another session when it is ready. Im using even different DAW´s - FL Studio or Live for producing and PT for mixing and recording.

When I mix I put on my Mixbus Chain quit early, even when I know the mix will go to another Mastering Engineer. When its finished I bounce the mix with and without limiter. I dont do a lot of final limiting 1-3 db. Its a good indicator where I am with my loudness and I dont like to polish my mix and at the end my mix sound different or even fall apart when I turn on my limiter.

BTW No one has taken me up on the use by the 24th $75 voucher yet. If you want it just PM me

Now gone sorry.

Lars strikes again!

I'm 99% sure that Lars was mainly responsible for Jason Newsted's bass being inaudible in the mix on ...And Justice for All - probably due to him wanting the constant cllicky, double bass drum played as fast as he possibly could, to be so prominent (although, I suspect that dealing with the tragedy of Cliff Burton also played a part).

It's very interesting that you return the verb track to drum bus 2. I will have to try that. Thank you for the insight.

I was wondering if you do re-amping with external guitar pedals

This is my favourite Lars video :p

Hilarious, I PMSL

The way he walks around and shakes everyone's hand, like he's granting it to them and I can't believe he actually said about air drums and tennis rackets for guitars, I mean WTAF?

The comment about 'no mistakes' was classic!

:D :D :D
Someone who made this parody is a genius

50 off

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