# Best Limiter/Compressor for Soundtrack/Trailer Music



## Zhao Shen (Nov 25, 2015)

The title says it all. I'm pretty lost when it comes to industry standards and favorite picks in compression, so let me know what plugins come to mind!


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## Jdiggity1 (Nov 25, 2015)

I haven't done much trailer work, but I've been happy with Waves' Renaissance Compressor, along with the Renaissance EQ and L2 Ultramaximizer.

But I'm not an industry heavyweight.


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## davidgary73 (Nov 26, 2015)

Compressors, Sknote SDC (based on a Shadow Hill Comp) or Cytomic The Glue. 

For limiters, check out Sonnox Limiter or Fab Filter Pro L.


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## emid (Nov 26, 2015)

Personally I use Overtone FC70 on bus channel (very clean) or Waves L2.


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## Jaybee (Nov 26, 2015)

Lots of choice out there for different jobs. I've had this bookmarked for ages, it's a good overview of 20 hardware compressors most of which have digital emulations. Gives a good indication of what is suitable for each type of job:

http://www.attackmagazine.com/reviews/the-best/top-20-best-hardware-compressors-ever-made/

n.b. the order of 'popularity' runs from "20" down to "1"


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## Zhao Shen (Nov 28, 2015)

Thanks everyone for your help! Especially Orcel, what an informative response!


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## Lemmonz (Nov 29, 2015)

For an easy (and free) option, check out Loudmax:

http://loudmax.blogspot.com/

Multiband limiter with release times preset. Just pull the threshold back and see if you like the results. Can be an effective way to get things to peak level while being quite transparent. Of course the more you push it, the more you'll run the risk of pumping/distortion (just like any limiter). 

If you're looking to buy, Izopote's Ozone has nice maximizer/limiter with a range of options to tweak it to get things dialed in. Also comes with a range of other plugins all designed to be the final stop on the master buss. If you're not familiar with it, check it out:

https://www.izotope.com/en/products/mixing-mastering/ozone


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## Walid F. (Nov 29, 2015)

Great suggestions so far.

I *really* love the FREE TDR Feedback Compressor - it's so clean and powerful. Goes perfect on the master bus for glueing together a track (try the "Glue" preset and twist around a bit with the knobs).

http://www.tokyodawn.net/tdr-feedback-compressor-2/

You won't regret it.

W.


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## Noam Guterman (Nov 29, 2015)

My go-to master bus plugin is FG-X by Slate Digital. I use it for dithering too, and master bus compression if needed. It's a great clean "final stage" tool. I've also had some cool results with Oxford Limiter by Sonnox, but it does add some color (although a pleasant one).


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## rayinstirling (Nov 29, 2015)

PSP Xenon


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## ghostnote (Dec 1, 2015)

I switch between TDR Kotelnikov for clean compression and Density MKIII for more coloration. As for Limiting, Fabfilter ProL.


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## tokatila (Dec 1, 2015)

Orcel said:


> You can not use the same compressor for all instruments. For percussions you need compressor to improve attack , and for winds you need transparent compressor. For hight tune instruments you need compressor with a soft color, and for low instrument compressor witch can stabilized low frequency. Then, for punch, I recommend : Klanghem Mjuc, or Solid compressor (Native) . For soft attack, Softube CL1B (but very expensive) or as good but cheeper, NATIVE VC76. The VC76 is very soft too for winds instruments, Oboe, flute etc. For low instruments, Bass, Double Bass etc. I recommend Fxpension (DCAM is free and very good, but limited for editing).
> If you want just 1 compressor to do everything, FAB Filter is complet and efficient. About Limiter, The free limiter from Melda is really, really good, but if you want a very professional, try : NUGEN audio Limiter ISL2. (Your music sound already better when you insert it)
> I hope it helps
> Cyril (from Paris)



Bought the Isl2. Thanks.


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## emid (Dec 1, 2015)

+1 for Sonoris Comp MST. No colouring, extremely transparent.

@Orcel do you have any personal settings on Isl2 or use the presets? Me too, just got it


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## soniceldorado (Dec 25, 2015)

The plugins from Toneboosters are really worth adding to the list:
Don't let the low prices fool you, the developer Jeroen Breebart works as a scientist
and launched this plugin series because of his passion for music / audio engineering.
So that's a perfect match I think. 
I really like the sound of the plugins. 

TB Barricade
http://www.toneboosters.com/tb-barricade/

TB BusCompressor (really transparent with MS processing etc.)
http://www.toneboosters.com/tb-buscompressor/


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## Near Decision (Dec 31, 2015)

For compression, either TDR Kotelnikov or Fabfilter Pro-C. Both are very clean and can do M/S processing.

For limiting, I almost exclusively use MeldaProduction's MLimiter: it combines a conventional peak limiter with a saturator to add a bit of richness (though you can forego the added harmonics if you wish).


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## Dr.Quest (Dec 31, 2015)

These guys make some cool things I just discovered. https://goodhertz.co/
So far I think this will become a very steady use for mixing, especially the limiter.


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## bryla (Jan 2, 2016)

I tend to use a combination of:

Fabfilter Pro-C2
Waves SSL Comp
Ozone 7 Vintage Limiter, Compressor, Maximizer (as individual plug-ins)

On either the mix busses or the master out.


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## geoffreyvernon (Jan 7, 2016)

My favorite compressor to use for Film Score / Trailer Music is the Waves API 2500. One of the best sounding software compressors i've used.


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## vewilya (Jan 8, 2016)

I do like the Renaissance Compressor. But on the Master bus I prefer the Slate FG-X, Fabfilter Pro-L, Faraday Limiter by Goodheartz and the Waves L3. And also my hardware Focusrite Red 3...


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## afterlight82 (Jan 18, 2016)

Really, to be honest, if you want loudness and weight it can all be done better with multi band compression first to really tame the dynamics by frequency (and even some gentle dynamics control on the stems, which they usually want, in which case 2 buss matters little, but the mix is where that should really happen)...and maybe shaving a few db off the top on the stereo buss with a limiter and setting a good level - at which point it matters little which limiter you use, because if it's reasonably transparent you can get a decent sound out of any and all of the above. Massey limiter still rocks. But some (quite a bit?) of trailer stuff sounds absurd now, clipped and distorted beyond all reason, and whilst it may sound great on the trailer music supervisor's laptop, so much of it sounds terrible in the theater...


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## pixel (Jan 18, 2016)

Nobody mention Stealth Limiter? Unfortunately I spent only one day with this plugin while demo period and I tested it on electronic music but I was shocked how much gain reduction I could do without pumping effect and other artifacts. Awesome. Worth to try if you really need to push your mix to the limits 
http://www.ikmultimedia.com/products/trstealthlimiter/


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## 1982m (Jan 23, 2016)

Make sure to check out DMG Audio's new Limitless MB due out soon. His products are some of the best available.
Here's the manual-
http://dmgaudio.com/dl/DMGAudio_Limitless_Manual.pdf


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## 1982m (Jan 24, 2016)

DMG Audio's Limitless video, being released tomorrow-


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## Living Fossil (Jan 24, 2016)

My favorite limiter is Ozone's limiter with algorithm III (it's in there since Version 5).

As long as i work, i have it set to algorithm I because of the latency of Nr. III, for bounces i switch to this one.


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## dan1 (Jan 24, 2016)

Noam Guterman said:


> My go-to master bus plugin is


חחחח מה זה כמה ישראלים פה


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## Michael Rajecki (Jan 25, 2016)

I've heard good things about MLimiter. I've been using it lately and I've been liking it a lot.

https://www.meldaproduction.com/plugins/product.php?id=MLimiter


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## Pixelee (Jan 25, 2016)

I only use a limiter at the mastering stage. Rarely do I use it during mixing nor do I put it at the masterfader. I use ozone 7's maximizer. It's pretty solid!


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## Chandler (Jan 25, 2016)

Michael Rajecki said:


> I've heard good things about MLimiter. I've been using it lately and I've been liking it a lot.
> 
> https://www.meldaproduction.com/plugins/product.php?id=MLimiter



MLimiter is certainly a nice product, but keep in mind that it is a clipper and not a limiter. That's not to say that you can't use it in the same way as you can a limiter, but it does work differently. That said at the end of the day if it sounds good it is good and MLimiter does sound good.


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## germancomponist (Jan 25, 2016)

Sonnox!


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## EC2 (Jan 25, 2016)

There is no magic bullet, it all depends on the program material. Sometimes an aggressively set API 2500 will be the perfect fit, sometimes you´ll rather want an SSL type gentle bus compression, an 1176 with a Dr. Pepper setting, or Waves´ H-Comp for some parallel compression on the stereo bus or you can even turn your standard Logic Pro stock compressor into a solid dbx160 clone and let it rock your drums and percussions subgroup. Recently I became quite fond of the Avid Channel Strip in PT, which features the algorithms of Euphonix´s System 5 console. PSP Vintage Warmer is also a great option to try out on subgroups and the stereo bus.

Limiting wise it´s quite the same - it´s the driver, not the car. I´ll usually try to match settings and switch between Pro-L, L2, L3, Sonnox, some free stuff like Molot´s Limiter N° 6 and my stock DAW limiters until I like what I hear. I find that Ozone has a tendency to smear the sound, although 1 out of 10 times it will nail the job better than the rest.


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## Living Fossil (Jan 26, 2016)

EC2 said:


> I find that Ozone has a tendency to smear the sound,


As written, Ozone gives you the choice between 4 different limiters, so it makes few sense to speak about "Ozone"...
Algorithm III definitely does not smear the sound.


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## EC2 (Jan 26, 2016)

Living Fossil said:


> As written, Ozone gives you the choice between 4 different limiters, so it makes few sense to speak about "Ozone"...
> Algorithm III definitely does not smear the sound.


I was indeed referring to all 5 Algorithms. I like to use it a lot in other genres, but not so much for trailerish stuff. But to each his own my friend. Still working on Ozone 5 Advanced, so I can´t comment on Ozone 6 and 7.


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## Living Fossil (Jan 26, 2016)

@EC2: of course you can feel free with liking what seems good to you. 
What i meant is that the attribut "smearing" is one that, if it occurs, can be proven by empirical means/analysis. It would be great if you could post a snippet (waveform/sonogram data) that proves that this "smearing" is real!


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## EC2 (Jan 26, 2016)

Living Fossil said:


> @EC2: of course you can feel free with liking what seems good to you.
> What i meant is that the attribut "smearing" is one that, if it occurs, can be proven by empirical means/analysis. It would be great if you could post a snippet (waveform/sonogram data) that proves that this "smearing" is real!


It was rather meant as an attempt to share my most subjective impression. But I do get your point and think it is a great idea. I am really afraid that I will not find the time for preparing and conducting a proper A/B/.../n-test on the fly that shall satisfy scientific standards. What I can offer is that the participants of this thread agree on a) a piece of appropriate programme material that is to be provided, b) a set of compulsory parameter values to be dialed in with any given brickwall limiting processor(s) (time constants, etc.), so that everyone who is interested can feed their limiter(s) of choice with the same source material at preferably matching settings and share their results. This would still leave plenty of room for errors, but we might have a more binding conversational basis. I´d be happy to contribute to this in the days to come.


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## Dr.Quest (Jan 26, 2016)

1982m said:


> Make sure to check out DMG Audio's new Limitless MB due out soon. His products are some of the best available.
> Here's the manual-
> http://dmgaudio.com/dl/DMGAudio_Limitless_Manual.pdf


I just downloaded the demo. Very, very nice! I like it a lot so far.


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