Hard limiting

[BobSacamano]

I've noticed that 90% of the regional/national spots that I encounter are hard limited wihin an inch of their life...how much do YOU use?

Discuss...

 

[VODood]

I use the L3 Multimaximiser.

-8.2 on the Threshold, -2 on the Output, to start with. I play from there.

As a rule I keep the attenuator between 3 & 6.

Sometimes I won't use the L3 (or L2) but rather opt for the Sony Wave Hammer ( 1.8 comp).

 

[overcompressedcrap]

I compress then limit all my stuff. Very subtle though. I go through the SSL Comp first...compressing around 3db ( basically taming just the loud sylables or smacks of the piece) nothing dramatic...just some subtle glue. I usually boost the output of the compressor about as much as I'm compressing (around 3db). This brings the audio up to around that pretty looking 0db. I then run it through Waves L1 with usually a threshold of -1.5 out ceiling of -0.8 and release of 1. That's barely doing anything to the sound of the audio itself (maybe a hair fatter) but, mainly for eliminating peaks. Like the compressor...I find any attenuation over around 3db on the L1..2..or 3 to be too much.

One of the things I used to do is master til I thought it sounded perfect. When I heard it on-air...it wasn't. Usually when you smash something to hell mastering it. That's what it would sound like on-air if you HADN"T smashed it...cause it's simular to what station processing would do to it. It takes some time, but get to know the station processors youre dealing with. What are they going to do to certain sounds? After a while you'll find your self mixing and mastering to your processor and not your studio speakers.

One more tip! When mastering...trying cutting all lows around 32. It takes away some bass, but makes imaging cleaner after station processing.

Dylan Paul
Westwood One - DC

 

[BobSacamano]

Hi Dylan,

How do you like the SSL compressor? I have the "listen" mic compressor plug-in, and I find that it sucks all the low end out of the voice track...

 

[overcompressedcrap]

It's really good. I use it a lot mixing music. Sending drums to two BUS channels. Compressing the hell out of one, then blending it with the uncompressed BUS to fatten things up. It's killer for pumping drums. In imaging, I really only find myself using it in the mastering process. Although, I do have a good Snare Drum preset that seems to make the tiniest sound like a xylophone ding really jump out.

 

[Goat Rodeo Cowboy]

This conversation "begs" as many questions as it answers.

Does a limiter that works well in handling drums banging away in a music mix really tell us anything about what it will do for the human voice in a commercial, a voice-over, or industrial read?

I get the idea that many "voice-folk" actually turn to different mics for each of these voice assignments. Is it reasonable to assume they might... if they can afford the cost... turn to different limiters for different tasks?

 

[VODood]

Dylan
I am using the SSL4000 on VO processing - L1 > C1 comp/gate > SSL4000. Sounds ok on air. At least to me.

I found your SSL setup on your Myspace page

My standard master chain: REQ6 > L3

 

[VODood]

Goat
I know a few imaging VO who use Dominators, Compellors and/or Distressors in their chains.

Years ago when I worked at WMJI in Cleveland, we ran all VO thru UREI 1176's, then the mix went back thru the 1176 (had stereo UREI's) and an Aphex 320A - This was before plug ins.

VO Jon Carter (Fresh NYC, Chicago, etc) has a Dominator in his chain. I too am thinking of either getting a Dominator or a 320A.

VO Carter Davis used to use a Distressor. Not sure if he still does.

 

[BobSacamano]

I do most of my processing via free plug-ins, ..as stated before I don't quite know what to make of the SSL "listen" mic comp plug-in, I kinda prefer Blockfish..

for limiting I use the W-1,..which is supposed to be a virtual clone of the L3 Multimaximiser...threshhold at -5 ceiling at -2.5