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Running a compressor plug hot into a brackwall limiter
Old 28th November 2009
  #1
Running a compressor plug hot into a brackwall limiter

Anyone else do this? I do not hear any distortion or anything but I am wondering if there is anything theoretically bad with this?

What I am talking about is running a compressor plugin with a bit too much make-up gain into a brick-wall limiter plugin set with a ceiling of -0.2dB. If I where to bypass the limiter I would get overs (and a bit of distortion) but in my experience running a compressor a bit hot into the limiter has the same effect as running it less hot and than bring down the limiter threshold to the same extent that the make-up gain on the compressor is being pushed over 0dB. The limiter catches the overs before they get there though so the signal never exceeds 0dB on my digital fader. Am I right on this or am I missing something?
Old 28th November 2009
  #2
Here for the gear
 
🎧 10 years
Quote:
Originally Posted by aleatoric ➡️
Anyone else do this? I do not hear any distortion or anything but I am wondering if there is anything theoretically bad with this?

What I am talking about is running a compressor plugin with a bit too much make-up gain into a brick-wall limiter plugin set with a ceiling of -0.2dB. If I where to bypass the limiter I would get overs (and a bit of distortion) but in my experience running a compressor a bit hot into the limiter has the same effect as running it less hot and than bring down the limiter threshold to the same extent that the make-up gain on the compressor is being pushed over 0dB. The limiter catches the overs before they get there though so the signal never exceeds 0dB on my digital fader. Am I right on this or am I missing something?
It depends on what kind of headroom your DAW has allocated in that situation. I do the same sort of thing sometimes in Pro Tools, and it seems to work fine.
Old 28th November 2009 | Show parent
  #3
Right.

I think it also has to do with your plugins internal headroom. I use PSP mastercomp a lot which is 64 bit double precision and allows for a lot of headroom. For awhile I would go through a song and make sure that the compressor was not hitting the red when the limiter was bypassed but I am finding now that it OK if I hit the red in a few places because when the limiter is engaged its simply as if I did not have the overs and set the limiter thresh to -0.5 or something. This speeds up my work flow a bit. Ultimately I just don't have to lower the threshold as much in my limiter because since it is already being driven a bit by the comp.
Old 28th November 2009 | Show parent
  #4
Lives for gear
 
🎧 15 years
Ozone's clipper does a decent job of this, but to be honest the best sounding ITB method I' ve heard for adding silly amounts of loudness is clipping the mix-bus in SONAR. If you export to a 24-bit file it truncates the overs but does so in a very transparant (to my caveman ears) way.
Old 12th May 2010 | Show parent
  #5
Lives for gear
 
🎧 15 years
Quote:
Originally Posted by Gordon ➡️
Ozone's clipper does a decent job of this, but to be honest the best sounding ITB method I' ve heard for adding silly amounts of loudness is clipping the mix-bus in SONAR. If you export to a 24-bit file it truncates the overs but does so in a very transparant (to my caveman ears) way.
Gordon, I'm interested in this method of clipping the mix-bus for loudness. What exactly does exporting to a 24-bit file do that makes clipping the mix-bus sound transparent in SONAR. Do you here the clipping more before exporting? And why not export to a 16 bit file?
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