![]() ![]() The limiting can be configured as a conventional full-bandwidth process, but Limitless also offers the option to have it operate independently in up to six frequency bands. The second then squishes the transients, in conjunction with the third of Limitless’s processing elements: a soft-clip stage preceding the limiter, which can mimic the characteristics of several different clipping options. ![]() Two separate limiters are designed to work in tandem the first is intended to allow transient events to pass through, but control dynamic variation with slower attack and release characteristics. ![]() Limitless reflects this approach and includes not one but three processing stages, all of them highly configurable. What’s more, many mastering engineers don’t only use limiting to control the latter: there are cases where allowing transients to clip the input of an A-D converter can actually sound more natural than having a limiter do all the work. To achieve the loudest possible master with the fewest possible side-effects, it may be necessary to tackle longer-term dynamic variation separately from the transient peaks. At the ‘micro’ level, most mixes contain instantaneous, transient peaks caused by events such as drum hits but the level of the audio also changes in a ‘macro’ fashion too. The reason for this is that dynamic variation within programme audio happens on different timescales. Putting a simple output limiter across the master bus is fine when you need to send clients a quick reference mix, but mastering engineers in pursuit of the best results will often use more than one stage of processing. Many limiting plug-ins thus have hardly any user controls beyond a simple threshold or gain setting - but you probably won’t be surprised to learn that DMG Audio’s Limitless is not among them. After all, a mastering limiter is intended to do one very specific thing: to make your mixes as loud as possible, with as few side-effects as possible. His Equilibrium equaliser and Compassion compressor are already the most comprehensive examples of those two processors I’ve ever come across, and now he’s turned his attention to the challenge of creating the ultimate plug-in mastering limiter.Īt first glance, this seems like a less ambitious goal than designing the mother of all equalisers, or the compressor to end all compressors. If you’re feeling limited by your existing limiter, perhaps DMG Audio have the answer?ĭave Gamble is a plug-in developer who sets out to make his products the very last word in whatever it is they do. ![]()
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