Download Video and Audio from YouTube


4,315 views 239 6

Limiters are the most important tool for mastering so which ones am I really into currently, let me know yours in the comments. ▶ JOIN NEWSLETTER - ▶ 20% DISCOUNT ON MASTERING - Use Code: thanksforwatching ▶ LEARN MASTERING WITH STREAKY - “I Will Teach You To Master” Mastering Course ▶ STALK ON SOCIAL Instagram - Facebook - Twitter - ▶ BUSINESS CONTACT Streaky Ltd, Pinewood Studios, Iver Heath, SL0 0NH Tel :  +44 (0) 207 458 4428 Limiting never used to be really important. When I first started mastering 20 odd years ago, we used to master to zero PPM. And then if it was peaking over we'd use a limiter, a clipper type limiter. And it would just take the sort of top of it and just smooth it out. If you think of it like that. Just smooth that out so that it didn't just get cut off at the end. So that's really how we used limiters then. That left the level about -14 LUFS which is kind of where we're going back to or trying to go back to. So that's where we were with limiters to start with, but as the TC Finalizer, I'm not going to go into the full history, but as the TC Finalizer came in, people started sort of smash their tracks and then they started working from home with them. So you weren't in a professional environment. So as soon as you let the monkeys at the equipment, it starts going a bit crazy. So when it was all kind of controlled and we all had our standards and we were all kind of quite nice and very BBC, we kept it to just plus one on a limiter and that was the level we went to and it was all nice. But then TC came along with the Finalizer, gave it to everyone in their bedrooms, people started working from home a lot more. And here we are with everything smashed to pieces. But that's kind of changed the whole mastering landscape. So limiters have become super important for the fact that we all want to get it as loud as we possibly can, whether that's -8, -6 some people are going -4, can you believe RMS. So they're crazy levels. But really where you want to be, is between -10 and -8. So after analogue equipment, if you are using analogue equipment, you're usually having to get about 6 dB of gain, maybe a little bit more on a limiter. Now, so limiters a lot of the older limiters can't handle that. So you have to use stuff in the box these days. And we all know there's plenty of those around. Now the way that I look at limiters, which is a bit different to I think a lot of other people the way they look at it. Is I see them as compressors. Because what they're doing as you're going into the sound, they are literally pushing the sound down to just hold the level that you've set at. So for me, it's a compressor. It's working at a high ratio. And so it's pushing the sound down. So if you've got that kind of mindset as a mastering engineer, you're using it as a compressor. And you're pushing in. So what you want to do, you want to use it in the way that you're pushing it, but you can't hear the compressor working. Which is the whole point a lot of the time of using compressors. You don't hear them working in mastering, you just want to use them to get a bit of glue or something. You don't want to smash them so you can hear them pumping. And it's the same with limiters. Because I'm listening to them as a compressor. So what I want to do, is I want a really transparent limiter. So, which ones am I using now? It's 2019, which ones am I ... There's a plenty on the market. Loads of different people are using them. My main go to and this is the main go to of most mastering engineers is the FabFilter Pro-L 2. You can't really go wrong there. It's a pretty standard thing. It's got loads of different presets so you can get a few different sounds out of it. And as I say, that's why I see it as a compressor because you can literally get some flavours out of it because you're pushing into it a lot. That can handle a super amount of level. So you can, some guys I know will just put +9 on. And they'll just use one limiter. I actually like to use a selection of a few limiters. I don't like one thing to be doing all the heavy lifting. So I kind of stack them up and have a couple of different ones for using the different sounds. I still use the L 2. Would you believe? I still love that sound. It's kind of pop sound. You can't get too much level out of an L 2. But some people do. Some people smash it to pieces, but I think it only can handle about one or two dB and it just gives that kind of really bright flavour for pop music. It's really nice. I tend to use the elevate plugin as well. I really like that. That's got some good style. And they're really my three main ones that I'm using at the moment.