As a result, the signal can never get above where you set the target level.Ī limiter does its job by reducing the peaks of the signal and bringing up the overall level. A brickwall limiter, which is what you'd typically use in a mastering situation, has a ratio of infinity:1. This guide will help you determine which type of limiter is right for your song.įor those unfamiliar, a limiter works just like a compressor, except that it has a much higher ratio. Still, limiting is essential for getting the music up to standard listening levels and sometimes for subtly shaping frequencies and transients. Because streaming services like Spotify, Apple Music and YouTube have instituted loudness limits, you no longer need to squash the life out of your music to allow it to compete in level with other recordings. If you're doing your own mastering, whether it's for a complete album or it’s just a song you're releasing online, you'll need a mastering-quality limiter to use as the last processor in the chain. Here we’ll guide you through picking the most effective limiter for your music. At this point until I get a top of the line interface I'm in the habit of freezing everything as I go anyway.Putting a brickwall limiter at the end of the master chain is a staple in the sound of modern releases, but you have many different options. The only con is that because it is so good, and is doing a lot of work in real time, there's a small latency penalty which I get around by freezing my tracks once I get them close. I've tried MANY other compressors and this is the only one I can get sounding exactly how I want across many instrument tracks and song types when mastering. I really can't stress how great the 元 is. It really does depend on how fine you need/want to be.
Alternatively, I've also put a parametric EQ in the chain and accomplished the same thing with even more granuality. It can be a time saver especially if mastering someone else's work. The bands are fully modifiable, so if you only want to maybe raise the snare's pop you can set a band to the common snare frequency range. It's just a way of adding flexibility to an already great tool. I've also used it to brighten up a mix, and does so without being harsh. It's especially clever since it's really just a priority and doesn't blindly raise the entire spectrum like a volume control. I've used it to bump the low end on a master without needing to EQ everything from scratch (or remix). The multiband is pretty sweet though, depending on the need at the time.
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