[gregory butterworth]

I need to get a great quality limiter (pc vst or dx)
I want something better than the waves L2.
The massey L2007 is supposedly great but protools only as is the McDSP
ML4000 (I have not heard either).
Anyone played with voxengo elephant or Kjaerhus MPL-1 Mastering Precision
Limiter.
Any suggestions )

[Scott Dorsey]

gregory butterworth wrote:
I need to get a great quality limiter (pc vst or dx)
I want something better than the waves L2.

For what? Do you want to limit a little bit or a whole lot? Do you want
limiting as an effect, or do you just want to kill the occasional peak to
bring the average level up? Do you want to use it on a particular instrument
or on the 2-buss?
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[gregory butterworth]

I tend to limit as little as possible killing the occasional peak but I had
to limit a track (2-buss) more than I usually have to and could hear the L2
side effects. I guess if I had to narrow it down I want a transparent
limiter to place after the mix compressor to catch the peaks. The style of
music is mainly rock, pop, acoustic, classical, and country and is not rap.
I would like it to be great at all things you mention but realisticaly that
may mean buying two plugins.
ps someone on the cakewalk forum did a post including mp3s showing that the
L2 dulled the snare in a heavy rock track while the timeworks (If I remember
correctly) kept it there. So if the transparency is dependant on the program
material I would like it to shine on acoustic ballads/country.

"Scott Dorsey" wrote in message
...
gregory butterworth wrote:
I need to get a great quality limiter (pc vst or dx)
I want something better than the waves L2.

For what? Do you want to limit a little bit or a whole lot? Do you want
limiting as an effect, or do you just want to kill the occasional peak to
bring the average level up? Do you want to use it on a particular
instrument
or on the 2-buss?
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Federico]

Did you check Waves L3?
Do you like it?
F.

[gregory butterworth]

I assumed ( I know I should not) that the L3 would not be too different and
that is multiband.
So I checked and have pulled this review of the L3 off the sound on sound
site. Seems like I am not the only one that does not love the L2.

I've always found that you can't push L1 or L2 all that far before these
start to acquire a papery, thin quality, and that this tends to be the
factor that limits the amount of the process you can apply. I was interested
to see whether L3 would make it possible to achieve more gain reduction
whilst retaining a solid snare sound, but I had only limited success.
Turning up the Priority in the mid and high-mid bands did seem to give the
snare more body, but only at the expense of obvious pumping in the bass and
low-mid bands. I didn't find this any more pleasant than the papery snares I
got with full-bandwidth limiting, but I suppose at least it's a different
compromise, which might be more appropriate in some situations.
One of my other test tracks was a laid-back folk tune where the scope for
wide-band limiting was restricted by the prominent female vocal, which had
to be treated carefully to prevent it distorting very obviously on loud
consonants. Again, dumping some of the gain reduction into the bass and low
mids helped somewhat, but the results were still less than perfect.

"Federico" wrote in message
...
Did you check Waves L3?
Do you like it?
F.

[thesquirrel]

I used to use the L2, but recently got the Roger Nichols Finis. It's
really nice and transparent, especially when used sensibly. The
interface is also a breeze.

On Feb 19, 2:19 pm, "gregory butterworth"
wrote:
I assumed ( I know I should not) that the L3 would not be too different and
that is multiband.
So I checked and have pulled this review of the L3 off the sound on sound
site. Seems like I am not the only one that does not love the L2.

I've always found that you can't push L1 or L2 all that far before these
start to acquire a papery, thin quality, and that this tends to be the
factor that limits the amount of the process you can apply. I was interested
to see whether L3 would make it possible to achieve more gain reduction
whilst retaining a solid snare sound, but I had only limited success.
Turning up the Priority in the mid and high-mid bands did seem to give the
snare more body, but only at the expense of obvious pumping in the bass and
low-mid bands. I didn't find this any more pleasant than the papery snares I
got with full-bandwidth limiting, but I suppose at least it's a different
compromise, which might be more appropriate in some situations.
One of my other test tracks was a laid-back folk tune where the scope for
wide-band limiting was restricted by the prominent female vocal, which had
to be treated carefully to prevent it distorting very obviously on loud
consonants. Again, dumping some of the gain reduction into the bass and low
mids helped somewhat, but the results were still less than perfect.

"Federico" wrote in message

...

Did you check Waves L3?
Do you like it?
F.

I

[Les Cargill]

gregory butterworth wrote:

I need to get a great quality limiter (pc vst or dx)
I want something better than the waves L2.
The massey L2007 is supposedly great but protools only as is the McDSP
ML4000 (I have not heard either).
Anyone played with voxengo elephant or Kjaerhus MPL-1 Mastering Precision
Limiter.
Any suggestions )



Look up "digitalfishphones" .

--
Les Cargill

[Sonic_Hero]

If you want your limiter to be transparent, I can highly recommend the Tin
Brooke Tales Pocket Limiter. It is hands down the best limiter I have ever
used. I have limiters I've paid good money for and the TBT Pocket Limiter
eats them for breakfast. And here's the best part - it's free!

http://hem.bredband.net/tbtaudio/

Bill.

"gregory butterworth" wrote in message
...
I tend to limit as little as possible killing the occasional peak but I had
to limit a track (2-buss) more than I usually have to and could hear the L2
side effects. I guess if I had to narrow it down I want a transparent
limiter to place after the mix compressor to catch the peaks. The style of
music is mainly rock, pop, acoustic, classical, and country and is not
rap.
I would like it to be great at all things you mention but realisticaly
that may mean buying two plugins.
ps someone on the cakewalk forum did a post including mp3s showing that
the L2 dulled the snare in a heavy rock track while the timeworks (If I
remember correctly) kept it there. So if the transparency is dependant on
the program material I would like it to shine on acoustic ballads/country.

"Scott Dorsey" wrote in message
...
gregory butterworth wrote:
I need to get a great quality limiter (pc vst or dx)
I want something better than the waves L2.

For what? Do you want to limit a little bit or a whole lot? Do you want
limiting as an effect, or do you just want to kill the occasional peak to
bring the average level up? Do you want to use it on a particular
instrument
or on the 2-buss?
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."





--
Posted via a free Usenet account from http://www.teranews.com

[Federico]

L3 comes in 2 flavours: Multimaximizer and Ultramaximizer.
Multi is a multiband limiter while Ultra is like an L2.
I started using the Ultramaximizer from a couple of weeks and I haven't
tested much to have an idea compared to an L2.
I'll let you know in a couple of weeks....
F.

[Scott Fraser]

Look up "digitalfishphones" .

Why? Have they redesigned their plugs so that they don't reset
themselves randomly each time you reopen a project? And did they add a
readout for gain reduction?

Scott Fraser

[Les Cargill]

Scott Fraser wrote:
Look up "digitalfishphones" .

Why? Have they redesigned their plugs so that they don't reset
themselves randomly each time you reopen a project?

Eh? I never caught 'em doing that.

And did they add a
readout for gain reduction?


No GR meter. I still like Blockfish as an "over" limiter,
sometimes as a compressor.

Scott Fraser


--
Les Cargill

[Scott Fraser]

Look up "digitalfishphones" .

Why? Have they redesigned their plugs so that they don't reset
themselves randomly each time you reopen a project?

Eh? I never caught 'em doing that.

Once was too many times for me, but since it was ongoing, I trashed
it.

And did they add a
readout for gain reduction?

No GR meter.

I need to know how much something is working. Even at the reasonable
price of free these plugins weren't worth it for me.

Scott Fraser

[Les Cargill]

Scott Fraser wrote:

Look up "digitalfishphones" .

Why? Have they redesigned their plugs so that they don't reset
themselves randomly each time you reopen a project?

Eh? I never caught 'em doing that.


Once was too many times for me,

On a PC? Those are an "every day above ground is a good
one" sort of experience...


but since it was ongoing, I trashed
it.


From ( rather distant ) memory:
The plugin itself is not responsible for serializing
the data necessary to restore the settings.
The ones I have written do not serialize this data, and
the settings are persistent across sessions.

The host really owns the classes. The plugins are
just extensions of 'em - superclasses. The VST
kit, at least, offers the 'chunk' mechanism for
opaque serialization of data more complex than scalar
floats, but Blockfish only uses a handful of scalar
floats...

The plugin can store a named setting, but the thing
that saves the current settings of the plug is the
host. And this is in the base class, not in the
superclasses which the plug's author can do anything
about.

For whatever reason, programmers have all but completely
lost the fine art of saving state to persistent
media. Pity.


And did they add a
readout for gain reduction?

No GR meter.


I need to know how much something is working.

It'd be nice, but I more depend on measuring the crest
factor of the mix after the fact these days.

I don't really use much of anything, or I use
some offline software I wrote for reducing crest
factor. If I use a compressor these days, it's
there to funk up the signal, not be
discreet about it.

Even at the reasonable
price of free these plugins weren't worth it for me.


It doesn't flattop too badly.

Scott Fraser


--
Les Cargill

[Scott Fraser]

Why? Have they redesigned their plugs so that they don't reset
themselves randomly each time you reopen a project?

Eh? I never caught 'em doing that.

Once was too many times for me,

On a PC? Those are an "every day above ground is a good
one" sort of experience...

No, Mac OS X.

From ( rather distant ) memory:
The plugin itself is not responsible for serializing
the data necessary to restore the settings.
The ones I have written do not serialize this data, and
the settings are persistent across sessions.

The host really owns the classes. The plugins are
just extensions of 'em - superclasses. The VST
kit, at least, offers the 'chunk' mechanism for
opaque serialization of data more complex than scalar
floats, but Blockfish only uses a handful of scalar
floats...

The plugin can store a named setting, but the thing
that saves the current settings of the plug is the
host. And this is in the base class, not in the
superclasses which the plug's author can do anything
about.

I was using an AU version, VSTs don't run on my host. Every other make
of AU plugin has no problem with settings being retained with Digital
Performer sessions. So if it is a host problem, this particular host
is singling out Digital Fish plugs. Doesn't seem very likely to me.

No GR meter.

I need to know how much something is working.

It'd be nice, but I more depend on measuring the crest
factor of the mix after the fact these days.

The Digital Fish stuff is obviously not intended for surgical
precision, so GR readout is wishful thinking in their case. I need a
better tool than that, but I sure can't argue with the price vs
performance ratio.

Scott Fraser

[Peter Larsen]

gregory butterworth topposted:

I tend to limit as little as possible killing the occasional
peak but I had to limit a track (2-buss) more than I usually
have to and could hear the L2 side effects. I guess if I had
to narrow it down I want a transparent limiter to place after
the mix compressor to catch the peaks.

You got that wrong too, first the quote and then the comment, and first
the fast gain change device and then the slow gain change device. The
first is as per general usenet guidelines and the latter is old ARD
recommendations from either an equipment manual or from some article in
Studio Sound.


Regards

Peter Larsen

[gregory butterworth]

"Peter Larsen" wrote in message
...
gregory butterworth topposted:

I tend to limit as little as possible killing the occasional
peak but I had to limit a track (2-buss) more than I usually
have to and could hear the L2 side effects. I guess if I had
to narrow it down I want a transparent limiter to place after
the mix compressor to catch the peaks.

You got that wrong too, first the quote and then the comment, and first
the fast gain change device and then the slow gain change device. The
first is as per general usenet guidelines and the latter is old ARD
recommendations from either an equipment manual or from some article in
Studio Sound.


Regards

Peter Larsen

)
So what are your limiting recs and what is the best setup?
Are you saying fast limiter and then slow compressor?

Regards Greg