I personally really enjoy using this one.
TDR limiter 6 GE
TDR limiter 6 GE
Limiters
- Thread starter JPQ
- Start date
The L1 is a full-spectrum limiter, the L3 is multiband. Those are useful for mastering things that have been turned into stereo already, among other applications, but for multitrack music mixes I personally have always preferred to handle bulging frequencies before they get to the final bus.
Without proclaiming my way the high way, I only use a limiter at the last stage to tweak the overall level - before that I don't turn it on.
EDIT: That's as distinct from a mix bus compressor (I like Cytomic The Glue), which I turn on earlier in the mix process. Point being, for me a limiter is a last-minute processor.
The L2 is really great, in fact I had the hardware version a number of years ago. Lousy limiters sound sort of harsh, but the L2 is transparent.
Of course, you can also use harshness to good effect.
Alex Niedt
Senior Member
I would never put a Waves limiter on the mix buss, but they can be useful on individual tracks. For transparent heavy limiting, DMG Limitless and iZotope Ozone 8 are fantastic, and for light limiting, Slate FG-X is great. These are tools that require a heavier learning curve to utilize to their fullest potential, though.
Dietz
Space Explorer
... and I hardly ever mix without one on this position.
(Might also be Vienna Suite's Limiter, though.)
Joël Dollié
Active Member
Having tried many, Pro L2 seems to be the most transparent. You can have a bit more gain reduction compared to other limiters without hearing actual artifacts. The "Modern" setting is fantastic.
... and I hardly ever mix without one on this position.
That's right, I forgot I have that now with VE Pro 7. Will have to try it.
As I've posted before, the exciter is outstanding.
synkrotron
A creator of Stuff
I really like Pro-L2 also, mainly on the master buss but every now and then I use it on a single instrument.
In fact I prefer to do all my monitoring with that plugin rather than watching my master level in REAPER. I always work with LUFS level now and have settled on -16 for all my material, which is mainly beat-less and ambient. If I do create a track with percussion then I up it to -14.
For the -16 stuff I try to iron out any peaks with automation first, and then there comes a point where Pro-L is there to catch the odd rogue and usually resonant peak.
cheers
andy
In fact I prefer to do all my monitoring with that plugin rather than watching my master level in REAPER. I always work with LUFS level now and have settled on -16 for all my material, which is mainly beat-less and ambient. If I do create a track with percussion then I up it to -14.
For the -16 stuff I try to iron out any peaks with automation first, and then there comes a point where Pro-L is there to catch the odd rogue and usually resonant peak.
cheers
andy
