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Limiter vs volume envelope
Old 1 week ago
  #1
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jnorman's Avatar
 
3 Reviews written
🎧 15 years
Limiter vs volume envelope

Do you guys use a limiter or volume envelopes to control peaks during post processing? I have always used volume envelopes, but it can become time consuming in multi-track recordings.
Old 1 week ago
  #2
Lives for gear
 
🎧 15 years
I use a volume envelope. For isolated applause peaks/percussion transients/other transients, etc. I use Izotope Rx Spectral Editing-Attenuate with very narrow selection and 0.2 or 0.3 strength.
Old 1 week ago | Show parent
  #3
Gear Guru
 
1 Review written
🎧 5 years
i'm using dynamic processors, sometimes even on the way in.
Old 1 week ago
  #4
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springer's Avatar
 
🎧 10 years
Always volume fader envelopes and you will avoid artifacts as explaind in the attached vid. It sometimes takes a lot of work with some artists. Funny tho I have worked with some amazing people that almost have built in dynamics processors when they play and it is astonishing to work with them.
https://www.youtube.com/watch?v=EiRMYoqU3ys&t=267s
Old 1 week ago
  #5
Lives for gear
 
🎧 10 years
In the acoustic music world the "less is more" axiom is boss. In the acoustic Americana genre smaller numbers in the ensemble size allows for more emphasis on the specific initial individual tracking input. This very simple protocol will insure a usable track when working with session ready musicians. The biggest two mix advantage gained is the very small amount of compression, if any, it will take to fit each individual track into the mix.
I have a Studio One DAW and the summing "Project Page" is a decent do it yourself mastering suite. I use the K14 metering that is more appropriate for managing, but not killing, dynamic range and I prefer a very small amount of the SSL master comp on the way out.
Given the streaming leveling, that is the new audio reality with most all of the streaming services, dynamic range is now back in vogue! The audio world will be a better place if the loudness wars are terminated.
Hugh
Old 1 week ago | Show parent
  #6
Gear Guru
 
1 Review written
🎧 5 years
there's a fairly steep contrast between stupid practices (such as clipping the converters on purpose, aiming at maximum loudness but without any regard for subtle sonic details) and intelligent loudness management which takes listen environment into account as the most important criterion for evaluating dynamics.

some very smart algorithms were deleveloped by tc and jünger which can help to bring out sonic details which are often masked when using an unrestricted dynamic range; also worth noting that we've come to like the sonic landscape defined by the use of tape for decades, for which dynamics often needed to get restricted (or which forced minimalistic approaches to be used in order to not to get too much noise).

imo the dogma of unrestricted dynamic range is long outdated and corresponds more to a theoretical than an aesthetic ideal, let alone that it would be practical! anyone who has ever mixed live, has switched off the automatic loudness compensation in the car or has been trying to listen to a symphony in a noisy environment with lots of background noise should have realised this by now.

in short: a specific and suitable dynamic range should be selected for each playback environment! - to achieve this, i don't try to be smarter than the devices i have at my disposal, so i'm happy to let them do some of the work for me.
Old 1 week ago
  #7
Lives for gear
 
🎧 15 years
Both, as part of a general technique that uses a little of a lot of things to get the job done, vs a lot of one thing, which I usually don't like the sound of.
Old 1 week ago
  #8
Gear Maniac
 
🎧 5 years
The ancient Junger D01 gets slapped on nearly everything that doesn't have to be 96k. It's not really a compressor, it's a rather clever upward expander.
Every once in a while I'll use the Charter Oak SCL1 -- it is an 'elliptical' compressor which functions more as a sort of analog program leveler if you will.

They both save a lot of late-night clicky-clicky.

EDIT: I should clarify, for those looking into the Junger... I disable everything on the box except the 'Compressor' function, which if you set it up right functions - as I said - like an expander. What Junger calls the 'Expander' feature is something else entirely -- turn that crap off. And use the 'Compressor' with a very light touch only.
Old 4 days ago
  #9
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by jnorman ➡️
Do you guys use a limiter or volume envelopes to control peaks during post processing? I have always used volume envelopes, but it can become time consuming in multi-track recordings.
If you're using Reaper as your DAW, and you have a small control surface to drive your faders, or via mouse, you can automate your volume envelopes, duplicate them etc via custom actions...which can considerably speed up your editing/mixing workflow.

There's a bunch of them already made up for you, you just need to recall them and make them quickly accessible. You can also lock in a 'response time' constant, so that fader moves are instituted more gradually, rather than too instantly/noticeably....

Here's the video which shows you how: https://youtu.be/8szptXeVDCo
Old 1 day ago
  #10
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Tommy-boy's Avatar
 
🎧 15 years
I use volume envelopes if there is a specific piece of audio I want to address, rather than the whole piece. Applause comes to mind as an obvious example.

I use Wavelab as my audio editor and it's handy for this. I have a bunch of custom volume presets I programmed up.

I also use limiting and loudness normalization in moderation where warranted.

Tom
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