Fast attack and fast release can act like a limiter
Problem: overusing compressor for limiting
When using fast attack and fast release settings with a high ratio, a compressor can function similarly to a limiter by setting a ceiling on the signal. This is useful for preventing peaks from exceeding a certain level,…
Use a limiter instead of a compressor for fast attack and fast release tasks
Problem: using the wrong tool for limiting
When dealing with fast attack and fast release settings, a limiter is often a better tool than a compressor. This is because limiters are designed for this specific task and can provide a more transparent and controlled…
Use a limiter to tame transients quickly
Problem: transients too aggressive, peaks too loud
For material with strong transients, a limiter is often more efficient than a compressor with a fast attack and release. Limiters can achieve similar results with simpler settings, making them ideal for quickly…
Fast attack and fast release is useful for controlling transients and headroom
Problem: transients too loud, inconsistent dynamics
Fast attack and fast release settings are typically used for precise transient control and headroom management. This is especially useful in mastering or when dealing with aggressive transients that need immediate…
Use a ratio of 2:1 for mastering compression
Problem: mastering lacks consistency and polish
A 2:1 ratio is often used in mastering compression because it provides a subtle and smooth amount of gain reduction. This ratio is less aggressive and allows for more natural dynamics while still achieving a polished and…
Use a limiter to shave off transients for mastering headroom
Problem: transients taking up too much headroom
Clipping transients with a limiter helps free up headroom during mastering by reducing the initial peaks of sounds like snares and kicks. This is especially useful in mastering to ensure the track doesn't clip when…
Use a limiter cautiously on hi-hat transients
Problem: hi-hat transient too loud, over-limiting
While a limiter can be used to control the hi-hat's transient, it should be used with caution. Limiters are more aggressive than compressors and can reduce the dynamic range of the hi-hat too much. It's better to use a…
Use a limiter before a compressor to catch loud transients
Problem: loud transients overwhelming the mix
Placing a limiter before a compressor allows you to manage the loudest parts of a signal without affecting the overall emotional feel of the track. This setup is particularly useful for controlling transients that are…
Add a limiter to control dynamics in the drop
Problem: uneven dynamics in the drop
The producer adds a limiter to the track to control the dynamics and ensure the drop has a consistent and powerful presence. This helps maintain the energy of the track while preventing any elements from peaking too…
Use a maximizer on the master bus to prevent clipping
Problem: clipping on master bus, lack of loudness
Adding a maximizer to the master bus helps maintain loudness without causing distortion. This is especially useful during the final stages of mixing when pushing the track to its maximum potential. The speaker uses Ozone…
Use a limiter or clipper to control transients in percussion
Problem: percussion transients are too loud or clipped
If the percussion is getting too loud or causing clipping, using a limiter or clipper can help control the transients. This ensures that the percussion remains punchy without overloading the mix. Setting the ceiling…
Use soft clipping before the limiter for subtle saturation
Problem: lack of warmth or punch in the mix
Soft clipping adds a gentle form of distortion that can warm up a track without harshness. It's often used before a limiter to shape the signal and add character. This technique is especially useful in genres like trance…
Use a limiter for sidechain but be aware of its limitations
Problem: sidechain is too long or unclean
While a classic limiter can be used for sidechain, it has limitations such as long sidechain responses. This can make the bass feel disconnected from the kick in modern EDM. Producers should be aware of these limitations…
Reverse engineer the mastering process during mixing
Problem: mixing without mastering in mind
The speaker advocates for incorporating a limiter early in the mixing process to reverse engineer the mastering stage. This ensures that the mix is already balanced and ready for mastering, reducing the need for major…
Aim for -8 LUFS with controlled gain reduction
Problem: track too quiet or too loud
Setting your track to around -8 LUFS ensures it's loud enough to compete with commercial releases without sacrificing dynamic range. Using a limiter with 7 dB of gain and a clipper to reduce peak levels helps achieve…
Use a clipper before the limiter to reduce gain reduction
Problem: over-compressed or distorted master
Adding a clipper before the limiter can help reduce the amount of gain reduction needed, resulting in a more dynamic and open-sounding master. By clipping only 2 dB of the peaks, the limiter doesn't have to work as hard,…
Use a limiter like the Pro L2 at the end of your mastering chain
Problem: insufficient loudness or distortion
A limiter like the Pro L2 should be the final plugin in your mastering chain. It helps increase the overall loudness of the track while preventing distortion. It's important to use a limiter to ensure that the track is…
Consider using a clipper before the limiter to prevent distortion
Problem: distortion from over-limiting
A clipper can be used before the limiter to help prevent distortion by gently shaping the signal before it reaches the limiter. This allows you to push the limiter harder without introducing unwanted distortion. It's a…
Use a limiter on the master channel for mastering
Problem: track lacks loudness or dynamic control
Applying a limiter on the master channel helps control the overall dynamics of the track and ensures it meets loudness standards. In this example, the limiter is set to 'soft clip' with a look-ahead of 1.5ms, which helps…
Use a limiter to control dynamics and add punch
Problem: bass lacks punch or is too dynamic
A limiter can be used to control the dynamics of the bass and add punch by preventing the signal from exceeding a certain threshold. In this case, the limiter is set to a ratio of 4:1, which helps to maintain the bass's…
Use saturation to increase loudness without heavy limiting
Problem: loudness achieved through limiting causes distortion
Saturation can be used on the entire mix to increase loudness and add harmonic content, reducing the need for aggressive limiting. This approach allows the track to reach high loudness levels (e.g., -4 to -5 LUFS) while…
Avoid over-limiting to prevent unpleasant distortion
Problem: over-limiting causes distortion and loss of dynamics
Over-limiting can lead to unpleasant distortion and a loss of dynamic range, making the track sound lifeless and fatiguing. This is evident in the comparison with the Death Magnetic track, which sounds heavily limited…
Controlling the low end improves limiter performance
Problem: limiter not performing well
By cleaning up and controlling the low end, you reduce the amount of energy that needs to be pushed through the limiter. This allows the limiter to work more effectively, resulting in a louder and more dynamic final mix.…
Gain matching is a learning tool, not a requirement
Problem: Over-reliance on gain matching during mastering
Gain matching plugins helps beginners understand how processing affects the signal chain, but experienced engineers can skip it once they trust their ears. Overusing gain matching can create a false sense of precision,…
Add a limiter for 2-3dB of extra compression
Problem: vocal lacking presence
A basic limiter is used to add 2-3dB of extra compression on vocals, ensuring they remain present in the mix. This is done sparingly to avoid over-processing, focusing on making the vocal 'in your face' without losing…
Apply heavy limiting to vocal chops/edits
Problem: inconsistent vocal edits, dynamic jumps
The engineer uses a limiter aggressively on vocal chops and edits to maintain consistency and prevent dynamic jumps. This ensures that edited vocal sections (like ad-libs or chopped phrases) match the overall vocal level…
Maximize low end for glue and impact
Problem: weak or muddy low end
Using a maximizer on the low end bus enhances the punch and presence of bass and kick without over-compressing. The speaker shows this by applying Ozone's maximizer to the low end, making the bass and kick feel more…
Real-time clipping for dynamic glue
Problem: loose, dynamic mix lacking cohesion
Using real-time clipping on the master bus can create a 'glue' effect by subtly compressing the entire mix. The speaker shows this by applying a clipper in real-time, making the mix feel more cohesive and 'locked'…
Use a high-pass filter at 30Hz on the master track
Problem: unnecessary low-end frequencies affecting mastering
Historically, vinyl records couldn't handle frequencies below 30Hz, and modern mastering avoids them to prevent issues with limiters and playback systems. While inaudible to humans, these frequencies can cause physical…
Set limiter attack time to match the track's transients
Problem: limiter squashing transients or losing dynamics
When using a limiter (e.g., FabFilter Pro L2), adjust the attack time to match the track's transients. A faster attack (e.g., 1ms) works for punchy tracks, while a slower attack (e.g., 10ms) preserves natural dynamics…
Avoid overthinking limiter gain — push until it sounds good
Problem: overthinking limiter settings leading to suboptimal results
When adjusting the limiter's gain, focus on the sound rather than the meter. Push the gain until the track sounds good without distortion. Overthinking the exact gain value can lead to unnecessary adjustments. The goal…
Adjust limiter output to fix true peak overages
Problem: true peak distortion on streaming
True peak max exceeding 0dB can cause distortion on streaming platforms. In Pro L, reducing the limiter's output knob to -0.1dB ensures compliance without sacrificing loudness. This is a common fix in mastering to…
Apply a soft clipper to add saturation and control peaks
Problem: drums lack warmth or punch
Using a soft clipper on the drum bus can add warmth and saturation while controlling the peaks of the mix. This technique helps to make the drums sound more full and punchy without introducing harshness. It's a simple…
Apply limiters during mixing to predict mastering outcomes
Problem: inconsistent loudness between mixing and mastering
Using a limiter on the master bus during mixing helps producers hear how the track will sound when mastered. This avoids surprises where mastering might drastically alter the balance. Set the ceiling at -0.5dB and adjust…
Use limiters on individual tracks for transparent dynamic control
Problem: over-compression artifacts on individual tracks
Limiters can be applied to individual channels (e.g., guitars) as an alternative to heavy compression. They act faster and more transparently, preserving the original tone while taming peaks. This is useful for…
Use clipping as a saturation-based limiter alternative
Problem: harsh limiting artifacts on transients
Clipping plugins use harmonic saturation to prevent signals from exceeding a set threshold (e.g., -10dB), unlike traditional limiters that rapidly reduce volume. This creates a warmer, more analog-like distortion while…
Use a clipper to manage transients before a limiter
Problem: loud transients causing limiter distortion
A clipper sets a threshold and hard-limits signals above it, unlike saturation which adds drive. This helps control loud transients without reducing overall gain, preserving headroom for mastering. It’s particularly…
Use limiter during mixing for mastering simulation
Problem: mix balance changes during mastering
Adding a limiter early in the mixing process allows you to hear how the mix will sound when mastered. This prevents surprises during mastering where transients may be crushed or balance shifted. It ensures your volume…
Maintain transient integrity after limiting
Problem: loss of punch after limiting
After applying a limiter to bring the mix to target loudness (-9 to -11 LUFS), adjust the kick's punch to restore lost transients. This prevents the mix from sounding lifeless due to over-limiting, ensuring the kick…
Use limiter stress test to check for distortion
Problem: distortion, pumping, or loss of dynamics
Apply a limiter to the stereo output and raise gain until the mix reaches -9 to -11 LUFS. Monitor for distortion, pumping, or loss of punch. If issues arise, reduce levels or refine processing. This test ensures the mix…
Use a limiter after establishing foundation levels
Problem: overloading the limiter, poor loudness control
The limiter should be applied only after balancing levels and creating headroom. This ensures the limiter isn't overworked and can shape the final loudness without compromising dynamics. The speaker mentions this as a…
Set loudness target between -9 and -11 LUFS
Problem: inconsistent loudness, poor mastering
The speaker adjusts the limiter's target to -10.5 LUFS (between -9 and -11) to achieve a balanced loudness. This range ensures the track is competitive with commercial releases without introducing distortion. The process…
Limit peaks in bass to avoid masking later elements
Problem: inconsistent bass peaks causing masking
Uncontrolled peaks in the bass can clash with kick, snare, and hi-hats during the final mix. Use a limiter to catch these peaks, ensuring the bass remains consistent and doesn't overpower other elements. This is…
Use into sample peaking instead of Truepeak limiting for louder Spotify playback
Problem: tracks too quiet on streaming platforms
Spotify's loudness normalization algorithm prioritizes into sample peaking over Truepeak measurements. By avoiding Truepeak limiting, tracks can achieve higher perceived loudness on streaming platforms without triggering…
Avoid over-limiting to -0.5 Truepeak as reference tracks don't use it
Problem: unnecessary Truepeak limiting
The speaker notes that commercial reference tracks don't limit to -0.5 Truepeak, suggesting this is an unnecessary constraint. Over-limiting to Truepeak can reduce headroom and negatively impact sound quality. Instead,…
Use a transient shaper with fastest attack on Distressor for peak control
Problem: uncontrolled peaks in low-end transients
A fast attack on the Distressor's transient shaper aggressively limits transients, effectively controlling peaks without affecting the body of the sound. This approach was critical in achieving the desired -5 peak level…
Use a limiter to catch transient peaks in the mix
Problem: uncontrolled peaks, clipping
Adding a limiter helps control sudden loud transients that could cause clipping or distortion. This is particularly useful during the final stages of mixing when balancing levels. The limiter acts as a safety net for…
Avoid over-limiting kick transients to preserve punch
Problem: loss of kick punch from over-limiting
Using a clipper and limiter on the kick initially created more headroom but reduced the transient's punch. The speaker later disables this to retain the kick's natural attack. This shows that aggressive transient control…