When pushed too far, unlinked limiting can cause the stereo image to wander in distracting, unpleasant ways. Conversely, you can often opt to link the left and right channels, in which case the louder one, regardless of its stereo placement, will trigger gain reduction across the board. Often degrees of linking are provided, usually in percentages.
Your ears will ultimately be the judge of what sounds best here. These days, limiters often employ selectable algorithms to better suit your individual music, some of which deploy sophisticated multiband technology under the hood. Luckily, most companies offer manuals to explain their algorithms, and iZotope is no exception, providing a detailed explanation of IRC in their documentation.
Where does multiband come in? All of this is well and good, but how do you actually use a limiter to your advantage? After all, if set wrong, limiters can introduce their own distortion, as well as unpleasant side effects on the groove. I usually go through some iteration of this process every time I demo a newly-released limiter. Many limiters allow you to link the input gain or threshold control with the output ceiling, so that as you push one, the other comes down in level. Ozone Pro has a linking feature that pairs the threshold slider to the ceiling.
Turn that on as you pull the threshold down. Compare the limited signal with its bypassed variant, carefully noting the differences in timbre. Does the track feel narrower with the limiter on? Are the transients pillowy, softer, or otherwise altered? Does the groove of the whole piece seem different? Note your generalized findings, and write them down if that helps you it helps me with internalization.
This is where things get fun—and depending on the limiter, a bit tricky. Isolating and soloing these artifacts will call attention to them. The same general principle underscores this exercise. Some limiters offer specific delta parameters, but not all do. Luckily, you can make your own with some clever routing, multiple instances of a limiter, and a plug-in that flips polarity. Please note : different DAWs handle latency in different ways, so you may need to experiment for your own purpose in order to create a true A minus B listening test.
Next, route the source to two auxiliary channels on two sends. Duplicate the limiter to both auxiliary channels, and bypass the limiter on your source track. On the second channel, flip the limiter itself into bypass. Next, load any utility plug-in after the limiter that flips the phase of both the left and right channel.
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Mobile Newsletter banner close. Soft limiters begin to rein things in sooner. A hard limiter cuts either the spark or more commonly the fuel, halting combustion and robbing the engine of all its power in an instant. Power is restored as the engine speed drops by a small amount, then gets cut again as it reaches the limiter. These normally set the maximum revs lower while the car is stationary, for example, or while the engine is still in a warm-up phase.
With modifications to your motor you can safely raise the limiter; a process that can even be done with aftermarket tuning software. If you use a limiter while mixing, it can throw off the way you balance mix elements against one another. So, mastering remains the best use for limiters. This occurs after completing the mix. Now is the time to take the mix as a whole and adjust its loudness and possibly its frequency profile.
So when it comes time to master, how do we use an audio limiter? First, keep in mind the LUFS loudness units full scale metering system. If you recall, this system acts as a guideline for the loudness level of commercial music and audio. Different music distributors and streaming services dance around different levels. Use these standards as a guide for how loud you want your master in the end by increasing your input gain.
Depending on how you set recording levels and other factors, you might have to increase input gain by a little or a lot, relatively. Remember, a quicker attack results in more aggression. A slower release means a smoother track. Lastly, pay attention to the output gain of the track as well. Clipping can still occur through certain speakers and devices when the song gets converted for distribution and streaming.
An audio limiter is a powerful tool, if and when used correctly. Otherwise, you risk killing the musicality of your song.
You can use a full-band or multi-band audio limiter depending on the needs of your mix.
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