What is a limiter

How to Set up Limiters?

Are you ready to take your mastering skills to the next level?

Setting up limiters is an essential part of the mastering process. With the right settings, you can increase loudness without distortion.

In this article, we’ll look at how to set up limiters, from brickwall limiters to attack time and stereo expansion.

Let’s get started!

What is a limiter

A limiter is a mastering tool used to increase loudness and prevent distortion. It catches the loudest peaks of an audio source and keeps them from exceeding the clipping point of 0 dBFS. It’s an essential step in mastering a song, allowing for commercial loudness without distortion.

Limiters can be used on peaky instruments and vocals during mastering, and are commonly used on the master bus in the mastering chain. Brickwall limiters keep the audio signal from breaking through a predetermined ceiling, usually between -1 and -0.3 dBFS.

True peak detection and oversampling are important aspects to consider when setting up a limiter. A/B comparison and delta tests can help evaluate the effect of the limiter. Input and output limiters can also be linked for better judgment.

Continuous exploration and experimentation with different parameters is key to achieving the desired audio results.

When to use limiters

You can use limiters to increase loudness and prevent distortion in your audio master. Limiters are most often used on the master bus to control the overall volume of a track and avoid clipping.

Limiters can also be used on individual tracks to keep them from clipping or over-compressing. If a track has a lot of peaks, a limiter can be used to reduce the dynamic range and increase the perceived loudness.

Limiters are also useful for controlling the volume of a song without sacrificing the dynamics and clarity of the mix. However, it’s important to be careful not to overuse limiters as too much limiting can lead to a loss of detail and a dull-sounding master.

Brickwall limiters

Brickwall limiters catch the loudest peaks of an audio source and prevent it from exceeding a predetermined ceiling, usually between -1 and -0.3 dBFS, to avoid distortion. Some limiters have a lookahead parameter to adjust how far they can anticipate peaks.

Metering may not always show clipping, especially true peaks, so true peak operation has become common in modern limiters. Setting up a delta test allows for real-time comparison between the limited mix and the bypassed version, helping identify what’s missing from the limited material.

Experimenting with different limiters and their parameters helps in achieving the desired audio results. Linking the input and output helps prevent being fooled by sudden increases in loudness. A/B comparison between limited and bypassed signals also helps understand the limiter’s impact.

True peak operation

True peak operation has become the norm in modern limiters. It allows limiters to accurately identify any potential clipping by detecting peaks beyond the 0dBFS ceiling. This helps avoid distortion by limiting the peaks before they hit the threshold.

It’s important to note that true peak operation may affect the material differently, so experimentation is key. When using true peak detection, it’s best to lower the ceiling of the limiter rather than using it.

Additionally, oversampling can also be used to reduce aliasing distortion and help ensure accurate quantization.

Overall, true peak operation can provide more accurate peak detection and help prevent distortion when limiting.

How to set up a limiter

Setting up a limiter can be a simple process.

First, link the limiter’s input and output as you tweak. This allows you to monitor the changes you make to the audio signal in real-time.

Next, A/B between a gain-matched bypass and the limited signal. This comparison helps you to hear the difference between the original audio and the audio that has been limited.

Link the limiter’s input and output as you tweak

Link your limiter’s input and output as you adjust the settings for the best possible sound. This will ensure that the signal won’t exceed the threshold you’ve set, resulting in distortion.

You can use a linking feature to couple the input gain or threshold with the output ceiling. This will help you avoid being fooled by sudden increases in loudness.

A lookahead parameter can be adjusted to anticipate peaks. Metering may not always show clipping, so consider using true peak operation when possible.

Try to keep it at around -1 to -0.3 dBFS to avoid distortion. You’ll get better results when you experiment with different settings and limiters.

A/B between gain-matched bypass and limited signal

Compare your limited and bypassed signals with a gain-matched A/B test to determine the impact of the limiter on the sound.

Start by setting the bypassed signal’s gain to match the limited signal.

Then, switch between the limited and bypassed signals in real-time to hear the difference.

This will help you identify what’s missing from the limited material, so you can adjust the limiter accordingly.

The A/B comparison also gives you an accurate measure of the limiter’s effect, so you can adjust its parameters with confidence.

Keep in mind though that metering won’t always show clipping, so use true peak detection if necessary.

Set up a delta test

Try a delta test to compare the limited mix to its bypassed version to gain a better understanding of the limiter’s effect. This test allows you to listen to the differences between the two versions in real-time.

To set it up, make sure the limited mix and bypassed version are gain-matched, and then set up a switch to switch between the two. You’ll be able to hear the differences in loudness and clarity between the two.

Additionally, you can also try raising the ceiling of the limiter slightly to see how it affects the sound. This is especially useful for when you want to get a louder mix but don’t want to compromise on sound quality.

Remember to use your ears to judge the sound, rather than just relying on a meter.

Limited Piece of Music

Listening to a limited piece of music can help you identify how the limiter has impacted the sound and understand the differences between the limited mix and its bypassed counterpart. Compare the limited mix to the original and pay attention to the dynamics, the tone, and the overall level of the track.

Listen to the track in sections and focus on individual elements to identify how the limiter has affected them. Note the difference in loudness and note any distortion or unnatural elements.

Don’t forget to listen to the track as a whole to get a better overall picture. If necessary, make further adjustments to the limiting parameters until you get the desired result.

Limited Music’s Delta Signal

Comparing the limited mix to the bypassed version gives you an immediate understanding of the delta signal in your limited music. Setting up a delta test allows for real-time comparison between the two. You’ll be able to hear what’s missing from the limited version and how much of your signal is being lost during the limiting process. This helps you make the necessary adjustments to get the desired sound.

When listening, pay close attention to the timbre and dynamics of the signal. You’ll also want to make sure no clipping is occurring, as this can cause distortion. With a delta test, you can easily identify any problems with the limiting process and adjust accordingly.

Go back to the A/B comparison

Compare your limited mix to the bypassed version to identify any problems with the limiting process. After the delta test, go back to the A/B comparison. Listen carefully and switch between the two versions to hear the differences in loudness and timbre.

If the limited mix lacks something, adjust the attack and release time of the limiter to get better results. Don’t forget to check the ceiling of the limiter and the gain of the input; they should be linked to prevent fooling yourself with sudden increases in loudness.

Experimenting with different limiters and parameters can help you find the right balance. Don’t forget to take breaks and listen with fresh ears when needed.

What is a mastering limiter

A mastering limiter prevents audio from exceeding a certain threshold, allowing you to increase audio levels without distortion. It should be the last effect in your mastering chain, with the other effects and mix set beforehand.

The ceiling or output setting controls the final output level after the limiter, usually set to -0dB. Attack determines how quickly it starts working, while release sets the time for it to return back to 0.

To reduce distortion, enable oversampling, although it may increase CPU usage. Linking the input and output can help prevent sudden increases in loudness.

A/B comparison and delta tests can help you discern the impact of the limiter on the sound. Experiment with different limiters and their parameters to get the results you want.

Preparation before using the limiter

Before using the limiter, it’s important to set up the parameters correctly.

Adjust the ceiling or output, attack and release times, and enable oversampling.

Also, consider linking the gain or threshold to the output ceiling, and adjust the lookahead and pre-gain settings.

Ceiling or Output

Set the limiter’s ceiling or output to -0dB for a louder, non-distorted master. This is the final output level for the limiter and should be set after all other parts of the mastering chain have been set.

The ceiling or output setting determines the maximum level of the signal after the limiter. This will prevent the signal from exceeding the threshold, avoiding distortion and clipping. For a more commercial sound, a ceiling of -1 to -0.3 dBFS is recommended.

Additionally, the lookahead parameter can be adjusted to anticipate peaks and prevent them from overshooting the ceiling.

Attack & Release

Adjust the attack and release time of your limiter to control how quickly the limiter starts working and the time it takes to return back to 0 for a better sound. Quicker attack times will reduce distortion while longer attack times will provide a louder master. Release times of 50ms are best for creating a loud master without distortion, but longer release times like 250ms will provide a smoother sound.

The attack and release time of the limiter can also affect the master’s timbre, so experiment with different settings to find the perfect combination for your song. Keep in mind that too much attenuation can be avoided by using low-level compression prior to limiting.

Understanding how to properly set up a limiter is an essential step in creating a professional-sounding master.

Oversampling

Ozone Pro has a linking feature that pairs the threshold slider to the ceiling, allowing for more accurate quantization and reduced aliasing distortion with the use of oversampling.

Oversampling is a process that increases the sampling rate of an audio signal, resulting in increased accuracy. This can be especially useful for limiting, as it can help avoid unwanted distortion and artifacts in the audio.

To enable oversampling, simply adjust the limiter’s settings to the desired level. Keep in mind that it may increase CPU usage, but this is usually negligible.

When pushing the signal into a brick wall ceiling, oversampling can be particularly effective in avoiding aliasing distortion.

Gain or Threshold

Gain or Threshold is an important parameter when setting up a limiter. It’s the level at which the limiter begins to take effect. Most limiters have a gain control that allows you to adjust the input level of the signal. This helps to ensure that the signal doesn’t clip or distort during the limiting process.

The threshold setting is also important as it determines the level at which the limiter starts to reduce gain. This should be set to a level that will prevent the signal from clipping or distorting. Linking the input gain and output ceiling will ensure that any sudden increases in loudness are prevented.

Setting the gain and threshold properly will ensure that your limiter is working as intended and that your master is as loud and distortion-free as possible.

Lookahead & Pre-Gain

Lookahead and pre-gain on limiters allow you to anticipate peaks and adjust the amount of gain before they occur, giving you more control over your master.

Lookahead is a parameter that adjusts how far in advance the limiter can detect a peak. A longer lookahead will give you more time to react to a peak, but it can also add latency.

Pre-gain is an additional control that allows you to set the amount of gain reduction before the peak even occurs. This gives you more control over the limiter’s reaction to the peak.

Both of these features can be used to prevent clipping and distortion and make your master sound cleaner. Experimenting with different settings will help you find the best settings for your music.

True Peak Limiting

True peak limiting helps you achieve a cleaner and louder master by preventing distortion and clipping, allowing you to get the most out of your mix. It works by monitoring true peaks instead of short-term peaks, meaning it can detect and limit peaks that are louder than what’s indicated by the meters.

In addition, true peak limiting can be used to spot frequencies that cause distortion, as well as to reduce inter-sample peaks. True peak limiting is also very useful when limiting the master track as it allows for a more accurate quantization and reduced aliasing distortion.

To get the most out of true peak limiting, make sure you use an oversampling rate of at least 4x. This will help to ensure a consistent and accurate true peak detection.

Stereo Expansion

Stereo expansion is a mastering technique used to create a wider soundstage for your mix, giving it more depth and detail. It’s done by adding low-level signals to the left and right channels of the mix.

This can be done using a stereo expander, which is a plugin that widens the mix by adding subtle amounts of signal to the left and right channels. This technique can be used to create a more immersive listening experience, as well as add more clarity and width to the mix.

It’s important to note that this technique should be used sparingly, as too much expansion can lead to a muddy mix. Experiment with different amounts of expansion to find the sweet spot that works best for your track.

Channel Linking

Channel linking allows you to pair the input gain or threshold control with the output ceiling, giving you better control over the effect of the limiter. This helps prevent sudden increases in loudness from being fooled, and is a feature found in many limiters.

Ozone Pro has a linking feature that pairs the threshold slider to the ceiling, so you can have better judgement of the limiter’s effect.

When using a limiter, it’s important to adjust attack and release time for maximum loudness without distortion. Quicker attack times create less distortion, while longer release times can often be used for a louder master.

True peak detection should be avoided, as it can lead to unwanted distortion. Instead, lower the ceiling of the limiter.

Gain Reduction Metering

Checking the gain reduction metering on your limiter can help you accurately measure the effect of limiting on your audio. Metering can be used to visualize the amount of gain reduction that’s applied to the signal. This can help you make sure that the limiter isn’t introducing too much distortion or losing too much of the original signal.

Look for a meter that has a peak and RMS feature to give you an idea of the total gain reduction. You should also be able to set the ceiling on the limiter to determine the maximum level of gain reduction. This can help you avoid any unwanted distortion.

Experiment with different settings to find the best possible result.

Limiters & Loudness Meters

Understanding how limiters and loudness meters work will help you create a loud and distortion-free master.

Limiters are designed to catch the loudest peaks of an audio source and prevent it from exceeding a certain level, usually 0 dBFS.

Loudness meters, on the other hand, measure the average loudness of a track, usually measured in LUFS.

Both limiters and loudness meters are essential for achieving commercial loudness without distortion.

To get the most out of these tools, you must set up the limiter correctly. Set the ceiling or output setting to -0dB, and adjust the attack and release times to your liking.

Turning on oversampling will reduce aliasing distortion. Linking the input and output limiters is also recommended to prevent being fooled by sudden increases in loudness.

Experimenting with different limiters and their parameters will help you find the perfect sound for your track.

What are Some of the Best Limiters

Looking for the best limiter for your project? Check out Limiter No. 6, Waves L1, FabFilter Pro L2, Newfangled Audios Elevate, and Voxengos Elephant for a great-sounding master.

Limiter No. 6 is a free limiter with an intuitive interface.

Waves L1 is great for beginners, while FabFilter Pro L2 is a versatile option.

Newfangled Audios Elevate is great for retaining detail, and Voxengos Elephant has an overall great sound.

Avoid more than 5-6dB of attenuation, and use a 50ms release time for a loud master without distortion. For smoother sound, use a 250ms release time.

Attack time is nearly instant, and true peak detection should be avoided.

Lastly, use oversampling for accurate quantization and reduced aliasing distortion.

How Much Attenuation when Limiting

When limiting, it is best to avoid more than 5-6dB of attenuation for optimal results. Significant attenuation can reduce the dynamics of the signal and result in a flat-sounding track.

To increase loudness without introducing peaks, try using low-level compression before applying limiting. This technique can help to control the dynamics of the track effectively.

Experimenting with different release times can also have an impact on the overall sound. Quicker release times may cause mild to moderate distortion, while longer release times (250ms or above) can provide a smoother sound.

When setting the attack time, it is generally recommended to keep it as short as possible. However, it is important to consider how the attack time may affect the track’s timbre when combined with the release time.

Best Release Time When Limiting

For the best sound when limiting, use a release time of 50ms for loudness without distortion, or 250ms and above for a smoother sounding master.

The release time on a limiter helps determine the master’s loudness and timbre. A quicker release time can cause mild to moderate distortion, while a longer release time can result in a louder master.

For maximum loudness, try 5-10ms. However, this can lead to unwanted distortion. If you’re looking for a smoother master, use 250ms or more. This will produce a more balanced sound.

Consider combining attack time and release time to get the best results. Knowing the appropriate release time for your mix is essential to achieve the desired sound.

Best Attack Time When Limiting

Adjust your limiter’s attack time for the right sound; quicker attack reduces distortion while longer attack makes your master louder.

Attack time on limiters is nearly instant or 0ms. This helps catch the loudest peaks of an audio source and prevents it from exceeding the clipping point of 0 dBFS. A shorter attack time of 5 to 10ms will give you maximum loudness, regardless of distortion.

Combining attack time with release time gives you greater control over the master’s timbre. Longer attack times increase loudness but can also cause distortion. Experiment with different settings to find the perfect balance of loudness and clarity.

Keep in mind that true peak detection should be avoided, as it can lead to distortion.

Should I Use True Peak Detection when Limiting

You should generally avoid using true peak detection when limiting, as it can lead to distortion. Instead, lower the ceiling of the limiter to prevent clipping, and use oversampling for accurate quantization and reduced aliasing distortion.

Oversampling can also help prevent unwanted distortion when pushing the signal into a brick wall ceiling. True peak detection can be useful under certain circumstances but its use is subjective and may affect the material differently.

To get the best results, experiment with different limiters and their parameters, and compare limited and bypassed signals to understand the impact of the limiter.

Should I Use Oversampling when Limiting

Oversampling should be used when limiting to ensure accurate quantization and reduce aliasing distortion. It has no negative effect on the signal, and is particularly important when pushing the signal into a brick wall ceiling. By increasing the sample rate of the signal, you can be sure that the limiter is accurately measuring and quantizing the audio. This will also help prevent distortion and unwanted artifacts from creeping into the master.

True peak detection should be avoided, as it can be unreliable and lead to unwanted distortion. Lowering the ceiling of the limiter instead is the best course of action. By using oversampling, the master will have a clearer, more accurate sound.

Stereo Expansion when Limiting

Using a stereo expander when limiting can help you preserve a wider stereo image and increase the loudness of your master. Stereo expansion is a process of widening the stereo image of a track by adding more width and depth to the left and right channels. This can be beneficial when limiting, as it helps to preserve the stereo image while still allowing for a loud master.

When setting up the stereo expander, it’s important to adjust the threshold, ratio, and attack and release times. The threshold should be set to the desired level of stereo width, while the ratio determines the amount of gain reduction applied. The attack and release times will determine how quickly the expander responds to the signal.

With careful adjustment, a stereo expander can help you achieve a wide and loud master without sacrificing sound quality.

Frequently Asked Questions

How Can I Get the Most Out of My Limiter?

To get the most out of your limiter, set the ceiling to -1 or -0.3 dBFS, choose a lookahead parameter, use true peak detection, and experiment with attack and release times. You can also link the input and output for better control.

What Techniques Should I Use to Evaluate the Effect of Limiters?

Evaluate the limiter effect by A/B comparing, setting up a delta test, and experimenting with parameters. Use lookahead and true peak detection for accuracy.

What Are the Advantages of Linking Input and Output Limiters?

Linking input and output limiters has several advantages, such as preventing fooled by sudden increases in loudness, allowing for better judgment of the limiter’s effect, and providing consistent control of the ceiling.

How Can I Overcome Writer’s Block When Finishing a Song?

Take breaks, experiment with production techniques, seek feedback, explore different genres, and use limitations as creative catalysts to overcome writer’s block when finishing songs.

What Are the Differences Between Using Headphones and Studio Monitors for Audio Production?

Headphones offer a more intimate, detailed listening experience than studio monitors, perfect for precise editing and mixing. Plus, they’re more portable and convenient – perfect for on-the-go production. Both have their strengths, so use them together to get the best results.

Conclusion

By now you should have a good understanding of limiters and how to set them up. Remember to adjust the attack time, consider true peak detection and oversampling, and use stereo expansion.

With the right settings, a limiter can help you increase perceived loudness and protect against clipping. With practice, you’ll be able to master your audio like a pro.

So go ahead and give it a try!

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