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Limiter on your master? To use or not to use!


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#21
neil (spatialize)

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Re the compressor I think there are a couple of important differences between a studio that records people and a typical project studio that creates electronic music.

In the project studio you are creating the track from scratch and gradually building it up. Now if anyone else is remotely like their master channel is clipping all over the place during the creative process. My track volumes might be running stupidly high for a while as I don't really want to stop the creative process to balance the mix. If u had a compressor in the mix I would be constantly having to watch the threshold and that seems like just another thing to distract my attention.

Whereas in a studio clients are walking in with pre made music in a way and all the studio needs to do is record and mix it. So I can very much see why a compressor is used at that point as it can give a smoother sound to the production from the get go and, like your say matt, maybe even knock out the need for processing at a track level, or at least minimise it.

As a compromise, maybe I could introduce a compressor on the master at a point when the track is starting to coalesce and it's getting time to think about mixing it properly. Cos personally I don't compress or eq too much during the arrangement / creative / building part of the track (though there are exceptions) .

#22
Matt Freak Flag

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Now if anyone else is remotely like their master channel is clipping all over the place during the creative process. 

 

Not here... different workflow probably.  I start with ridiculous amounts of headroom - setting my kick at -10 or less, never any more than that.  For something to be clipping, it would have to massively overpower my kick, so it's unlikely that I wouldn't immediately turn it down.  

 

Totally agree with you though about the comp being a distraction.  You're probably right - I think that's main reason most electronic music producers don't seem to do it. That's why I don't do it.  

 

I watched some Future Music video with some French deep house producers (forget the name, but, sounded good, with tons of juicy analog gear), and about halfway through the production process, he slapped an API 2500 on the mix buss.  With four-to-the-flour music, it makes a little more sense.  Trying to get the sound pumping and all.  But if you're beats are broken up, you probably don't want that.  


If it sounds good, it is good.  


#23
AstroPilot

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you can use compressor for glue it all together. but if it will be mastered by another guy - keep it for him



#24
AstroPilot

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Check this great limiter - https://vladgsound.w...ugins/limiter6/:) 



#25
andorra

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Damn this is nice compressor! Gives some very nice results. Thanks for sharing!



#26
AstroPilot

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Ok, my new tip about using maximizer in mixing! :)

Astropilot Mastering Studio Tips #3!

Do you wanna be ready for results after mastering of your track? Probably you know that after compression, maximizer the balance of you track could be changed. To avoid this you can some standard maximer of your DAW or L2 from Waves. Just put on master channel with 2-3 db gain reduction while you do mixing. And don't forget to switch off it then you will rendering of the track. 



#27
Hermetech Mastering

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Leave it to the mastering. As long as the mix sounds great, you are working in 24 bit, and there is no clipping (digital overs) you are good to go.

 

I tend to limit ambient music far less than pumping dance floor stuff.

 

I bought Limitless when it came out and haven't looked back. Before that I was using Elephant for about six years, but Limitless blows it out of the water. It's much more transparent at the same gain reduction/loudness level.






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