FabFilter Pro-L 2 - Limiter Plug-In

Fabfilter pro l2 free download Archives

fabfilter pro l2 free download Archives

Tag Archives: fabfilter pro l2 free download. FabFilter Pro-L 2 Crack + License Key (Mac) VST Free Download. By crackorg | July 8, FabFilter Pro L2 Tutorial by Luca Pretolesi Free Download Latest. It is of FabFilter Pro L2 Tutorial by Luca Pretolesi free download. FabFilter Pro L2. Tag Archives: FabFilter. FabFilter – Total Bundle (STANDALONE, VST, VST3, AAX,AU) [OSX]. By Admin | August 22,

Fabfilter pro l2 free download Archives - think, that

Cockos Incorporated Forums > REAPER Forums > REAPER General Discussion Forum > L2 or event Horizon? I need a master limiter


PDA

View Full Version : L2 or event Horizon? I need a master limiter


CrankyChris

, AM

I've completed mixing my project. I need to master.

I'm sure hiring a mastering engineer is the best way to go (in terms of quality) but my budget is small and I plan on giving the EP away for free anyway. (there just aint' no money in this racket anymore:))

Is the Waves L2 a good/easy to use tool? It seems to be a standard. I'd love a set it and forget it type of tool. I use event horizon2 sometimes for rough mixes. It's OK - but only to a point. Any thoughts?


mad demon

, AM

Even Horizon is just bad. It's even worse than plain clipping. That's the part where you said good until a certain point - clipping is also good until a certain point!

So I would go with the L2.


henge

, AM

This thing is great for quick and dirty mastering!! Free too.
alloverlimo.us


Quest The Wordsmith

, AM

I have 3 suggestions, all of which I use extensively:

iZotope Ozone - I'm sure your familiar with Ozone, but just in case, its a mastering plugin suite. It does way more than limit, but the limiting option called "Loudness Maximizer" is just incredible. I do Hip-Hop exclusively, and Ozone tames the low-end beast with NO clipping artifacts, no matter how hard I push it. Great option if your don't mind shelling out a few $. Izotope rocks (alloverlimo.us).
Beta Bugs W1 - This bad boy is a freebie. And an incredible freebie at that. It was designed as a clone to the Waves L1 if I'm not mistaken. In any case, this sucker has excellent results in getting a mix to sound louder. It's a bit sonically different from Ozones tools, but its a great plugin to have in your arsenal. Get it here (alloverlimo.us) and try it out.
Maxwell Smart - ahh, this little gem that came forth from this past KVR developers challenge. To be honest, I've been using this one more than anything as of recent. Everyone has different tastes, I know, but my main goals in Hip-Hop mastering are to be loud AND clear. This freebie does both very well. You can download it from the KVR developers challenge page (alloverlimo.us). I can't praise this little gem enough. A must try.


Having written all this, I forgot to mention one last option that works very well, within limits though. Reapers own included "ZeroCrossingMaxizer". It's a JS FX and does a great job within its limits. It reduces entire wave cycles at each cycles "zero crossing". So technically it's not a compressor or a limiter in the classic sense. Theoretically this should work the best when trying to get more volume out of your mix without audible distortion. But like I said, it has its limits. Push it unreasonably hard and you'll see what I mean. But let me say that I use this plug almost as often as the others mentioned above. I hope this helped you on your path to mastering in the box!


Quest The Wordsmith

, AM

This thing is great for quick and dirty mastering!! Free too.
alloverlimo.us

Being unable to resist trying sexy plugins, I thank you in advance for this ;).


richie43

, AM

I love event horizon, for the record. NOT for mastering work thoughOMG this thing can get dirty. But on individual drums, or drum buss, I love it.
Mastering limiter, I highly HIGHLY suggest Barricade by ToneBooster (alloverlimo.us). I have tried many, free and paid, and this is the only one I use anymore for mastering. Check it out.
You are right about sending them out for mastering, I try not to ever master what I mix, it's too hard to be impartial after knowing the music so well. But I also understand the budget thing, I am a poor and struggling audio guy too. I'd be happy to help you out for incredibly cheap. Check out my website and get back to me if you are interested. My site is new and self-made, and I am still adding text (I don't even mention mastering on the site yet), but I indeed do very affordable mastering. I am in it for the pure flaky joy of audio. PM or email me if you want. And if you are still doing it yourself, I still suggest Barricade. Cheers!


barricade is nice

but richie and those with some spare change really want to look at this puppy there is nothing else I know about that is like it and nothing else that I know of that can do what it can do.

alloverlimo.us


richie43

, AM

barricade is nice

but richie and those with some spare change really want to look at this puppy there is nothing else I know about that is like it and nothing else that I know of that can do what it can do.

alloverlimo.us

You are the third person to suggest that to me recently hmmmmm and I actually thought that I had my limiter all figured out darn you hopi)

(and what is that strange term you used, "spare change" that seems like a distant memory or foreign concept to me)


ummmm well my friend three's da charm :D

spare change means it's a bit pricey, but really for what it does, not at all

you should go to the developers site and find and watch all the videos there not just one of them but ALL of them.

You, especially, will appreciate that.


richie43

, AM

ummmm well my friend three's da charm :D

spare change means it's a bit pricey, but really for what it does, not at all

you should go to the developers site and find and watch all the videos there not just one of them but ALL of them.

You, especially, will appreciate that.

Me enjoy the geekiness?? How dare you!! (I am already into the second videorolleyes:)


henge

, AM

barricade is nice

but richie and those with some spare change really want to look at this puppy there is nothing else I know about that is like it and nothing else that I know of that can do what it can do.

alloverlimo.us

Guess it's time I checked this thing out!!I've heard nothing but goodness about it.


richie43

, AM

Guess it's time I checked this thing out!!I've heard nothing but goodness about it.

Ok, so I have checked out the vids for that fancy thing. And for my work, I personally can use the $+ dollars in smarter ways and continue using Barricade. Barricade is not as versatile, for sure. But it is super clean and definitely "master grade". Besides, I only use a limiter for mastering to stop those rare errant peaks, I try to master at reasonable levels anyway (unless a client really needs their project smashed to today's standard destroyed levels at which time I also work under a pseudonym!!) Thanks for the link though hopi, it seems like a useful tool for the right person.


Ascendant

, AM

I've been using the TLS Maximizer for a year now and I think it works great for pushing dat loudness, very transparent and doesn't distort that easily. To be honest I can't see why anyone would want to spend so much money on the waves L1 or L2 (haven't tried any of their other limiters) when you can get free plugs that do the job better. I've been meaning to test barricade though, heard some good things about it and for 15€ it seems like a steal.


richie43

, AM

I've been using the TLS Maximizer for a year now and I think it works great for pushing dat loudness, very transparent and doesn't distort that easily. To be honest I can't see why anyone would want to spend so much money on the waves L1 or L2 (haven't tried any of their other limiters) when you can get free plugs that do the job better. I've been meaning to test barricade though, heard some good things about it and for 15€ it seems like a steal.

I totally agree with you regarding the "why spend so much on a limiter" sentiment. Bust as I said, my use of limiters is well, limited (lol). I can understand why someone working with certain genres are going to want more squashing-pumping-pushing-maxing options. Those are the folks who may want to consider shelling out the big dollars for a full-featured limiter-maximizer.


I still like the L2. I prefer the UA Precision Limiter and Precision Maximiser.

Just don't use these things as a crutch. Try to make your final 24 bit master loud enough without going into brick-wall limiting (completely flat wave tops). Go back to your mix and clean things up further if needed. It's OK (and likely necessary) to make the reduced portable version (CD quality) a good 4 to 6 db louder and brick-wall it.


henge

, AM

I totally agree with you regarding the "why spend so much on a limiter" sentiment. Bust as I said, my use of limiters is well, limited (lol). I can understand why someone working with certain genres are going to want more squashing-pumping-pushing-maxing options. Those are the folks who may want to consider shelling out the big dollars for a full-featured limiter-maximizer.

Well $ is overkill for me. I always suggest my clients go to an ME and if they want me to master I honestly tell them I'm just going to make my mix louder. Imo you definitely need a fresh pair of ears in a great room to get the most from mastering. I have 4 ME's that I trust to make stuff louder in a nice way,and all of them use mastering grade ANALOG eq's and compressors and a little digital limiting! That being said I've had to "master" the last 5 mixes because of budget and Limiter 6 did a fine job!LOL


Ok, so I have checked out the vids for that fancy thing. And for my work, I personally can use the $+ dollars in smarter ways and continue using Barricade. Barricade is not as versatile, for sure. But it is super clean and definitely "master grade". Besides, I only use a limiter for mastering to stop those rare errant peaks, I try to master at reasonable levels anyway (unless a client really needs their project smashed to today's standard destroyed levels at which time I also work under a pseudonym!!) Thanks for the link though hopi, it seems like a useful tool for the right person.

I've tried the DSM, although back in version 1. It is a very powerful tool, but to be honest there is no reason someone who already knows how the mastering process works should need it, and I'd go as far as to say better results are possible without it. It does exactly what it shows in the video but it really seems to be intended for folks who master their own music and have limited knowledge or experience of mastering, anyone with the skills and tools to charge for their services I think would find it of limited use.

The one interesting thing I found with it is on individual instruments, bass tracks in particular. You can take a profile from one bass sound and apply it to another which is very handy if you have a bunch of songs to master which were recorded over different sessions or with different equipment to sort of 'homogenise' the sound between tracks.


richie43

, PM

I think would find it of limited use.



Clever, very clever Stu lol. I just emailed you too, by the way.


qwanta

, PM

If it's just a limiter you are looking for I would take a look at Voxengo Elephant (alloverlimo.us). I love it, it's the only one I use, though I prefer the V2 look and simplicity.


moliere

, PM

I've had excellent use out of Barricade. I still fire up Ozone when I need a bit more manipulation, but for straight limiting I always go for Barricade.


planetnine

, PM

Fabfilter Pro-L.


>


CrankyChris

, PM

OK

I've downloaded both the Barricade and the L6.

I know there are some things I need to learn butOn both, the limiters show max levels of or less. But in Reaper, it's going over at levels like + What?

And I'm sure it's b/c I don't know what I'm doing, but both sound considerably worse than when I simply turn up my "The Glue" make-up gain to where it peaks around 0 - and turn on the peakclip (I'm assuming this is a brick wall limiter of sorts).


karbomusic

, PM

If it's just a limiter you are looking for I would take a look at Voxengo Elephant (alloverlimo.us). I love it, it's the only one I use, though I prefer the V2 look and simplicity.

I always find myself coming back to this limiter. :)


Quest The Wordsmith

, PM

OK

I've downloaded both the Barricade and the L6.

I know there are some things I need to learn butOn both, the limiters show max levels of or less. But in Reaper, it's going over at levels like + What?

And I'm sure it's b/c I don't know what I'm doing, but both sound considerably worse than when I simply turn up my "The Glue" make-up gain to where it peaks around 0 - and turn on the peakclip (I'm assuming this is a brick wall limiter of sorts).

Is the limiter the last plugin in the chain? It needs to be in order to work properly.


CrankyChris

, PM

Is the limiter the last plugin in the chain? It needs to be in order to work properly.
Of course! I'm not that stuoh wait











:D Just kidding. I appreciate your help. I should probably shut my hole and fiddle with the knobs. I'm messing with it now - seems to be working. I probably had something bypassedor something silly like that.

Thanks though.


zappa

, PM

I recommend the Sonnox Limiter. Ok, it's a little pricey (£ rrp from alloverlimo.us) but they were doing a 40% promotion before 31st Dec, you could ask whether they can do the discounted rate for you - it never hurts to ask!

So why? it sounds awesome. Compared against Waves L1/L2 and Ozone 4/5, no comparison to my ears. It's warmer, smoother and handles drive, well, better. The enhance function can add some beautiful sparkle and air to your mixes, and it's very versatile for different material. It's my go-to mastering limiter for nearly everything these days, and my secret weapon; I don't tell clients when they ask ;)

They do a day trial so you can judge for yourself.

z. :)


Fabfilter Pro-L.


>

I agree Fab stuff is always well just FAB! :)


DigiDis

, AM

On a tight budget I would go with Voxengo's Elephant. I used it for years and it is very versatile and of a quality that is more than enough for ITB mixing and mastering. I now use Fab Filter's Pro-L but it is more pricey. I would get Elephant first, and then if you want another then look into Pro-L.


Fabfilter Pro-L.


>

+1

(and Ammunition too, but that's Sampliquoia only).


This thing is great for quick and dirty mastering!! Free too.
alloverlimo.us

Dirty is the best word to describe it. I wouldn't use that for mastering, but a nice occasional tool to color some tracks. The same for Molot.


chronocepter

, AM

get clip shifter. Amazing visual feedback and superb low CPU usage. Sounds great too.
alloverlimo.us
ah. its free. (and x64 module)

And man if you can do % with Waves, FabFilter etc I think you can do easly 99% with good placed REAPER native plugins. e.g.
JS schwa soft clipper + JS LOSER MGA JS limiterST

Just matter of taste.


I use Eventhorizon as the last plug on the master, and i like it a lot.

I just use it to shave off a few dBs though, its probably not the right tool for more than thatbut bad? Not in my world for what i use it for.

Not sure if it makes a difference, but i am talking about the vst, not the JS that comes with Reaper.


richie43

, AM

I use Eventhorizon, and i like it a lot.

I just use it to shave off a few dBs though, its probably not the right tool for more than thatbut bad? Not in my world for what i use it for.

Not sure if it makes a difference, but i am talking about the vst, not the JS that comes with Reaper.

As I said in a post earlier in this thread, I LOVE Event Horizon, I just don't think it is clean enough for mastering, not to my ears. But it is on almost all of my drum busses, for sure.


Wolffman

, PM

As I said in a post earlier in this thread, I LOVE Event Horizon, I just don't think it is clean enough for mastering, not to my ears. But it is on almost all of my drum busses, for sure.

Why do you use a limiter instead of a compressor on your drum buss ?

Is it so you can push the volume and keep the peaks out of the red or does it go much deeper than that :)


Cheers


moliere

, PM

I use Event Horizon (the stillwell VST) on drums all the time. Pushed hard it sounds great, nice and dirty.


karbomusic

, PM

Why do you use a limiter instead of a compressor on your drum buss ?

Is it so you can push the volume and keep the peaks out of the red or does it go much deeper than that :)


Cheers

Not richie, but drums are extremely transient based thus at least some light limiting goes a long way where compression may not at least if compression were by itself. In otherwords, you might end up setting the compressor to limiter like settings anyway because the majority of the energy is the transient. :) Once the transients are under control, lightly compress the result if desired. I see you mention buss but I assume it is similar and the fact that limiting has a certain sound to it IMHO.


mad demon

, PM

I use Eventhorizon as the last plug on the master, and i like it a lot.

I just use it to shave off a few dBs though, its probably not the right tool for more than thatbut bad? Not in my world for what i use it for.

Not sure if it makes a difference, but i am talking about the vst, not the JS that comes with Reaper.

While the Event Horizon+ VST is better than the JS ones it is not very good either.

OK. Let's see. The Event Horizon+ VST's limiting mode nulls with JS:LOSER/ZeroCrossingMaximizer. Note: JS:LOSER/ZeroCrossingMaximizer uses a wrong dB formula so it's a bit off, but if you use dB in Event Horizon+ and dB in JS:LOSER/ZeroCrossingMaximizer it is a perfect null.

The soft clipping is the same as JS:SStillwell/realoud, % = 6dB, 50% = 3dB, etc. Perfect null.

The clipping mode is a hard clipper, just like JS:Utility/Volume. Again the JS one uses a wrong dB formula but doing dB = dB yields a null.

So all in all it is very crude technology inside. I can't see the hype. Though I see the irony of "No cookie-cutter textbook DSP formulas with all the serial numbers filed off".


richie43

, PM

Not richie, but drums are extrememly transient based thus at least some light limiting goes a long way where compression may not at least if compression were by itself. In otherwords, you might end up setting the compressor to limiter like settings anyway because the majority of the energy is the transient. :) Once the transients are under control, lightly compress the result if desired.

Am Richie:)
and lol karbo I actually compress the buss first, often add transient monster (another 99% must-have on my drum buss from Stillwell) after the compression, and THEN event Horizon to bring up the final levels to a consistent WHACK. I never claim to do things "right", but after some experimenting and using my ears, this has proven to be an awesome rough formula for many of my drum busses. But this is not THE drum buss, it is a buss with all drums and one set of room and overheads, all bussed together with whatever fx are there. I also have a pre-fx send from room and overheads that bypass the main buss, so I have a cleaner and sparklier room and overhead sound to blend in. Then ALL of that goes into THE drum buss that if is an ITB mix will be "summed" through a good console buss plugin, and if hybrid, that would be routed through a console buss. Not really conventional, but since when is digital audio really following any conventions anyway?


karbomusic

, PM

but since when is digital audio really following any conventions anyway?

No need to really, I agree there is a certain smack to limiting that I like myself. :) Should be mostly the same either way because the transient would have passed right through the compressor no? :D


Wolffman

, PM

Am Richie:)

Then ALL of that goes into THE drum buss that if is an ITB mix will be "summed" through a good console buss plugin,

Thanks for the explanation ( mucho grassyass :D )

And the good console buss plugin would be something like Satson or stripbuss etc or one of those Nebula cpu crushers ? something else.


Cheers

PS: my apology for slightly derailing this thread but it seems relevant with the op and also educational :)


richie43

, PM

I love both Satson and Stripbus, especially the lightness on the CPU but I am head over heels in love/lust with my obnoxiously large Nebula collection, so most of my console emulations are from the Nebula world. Henry Olonga has released some stuff lately (very affordable, too)that have permanently become my go-to's for a while at leastlol. But regarding limiters on drum busses, I just love Event Horizon on the buss, it really smack without ruining whatever delicateness there is.


ngarjuna

, PM

I do a fair bit of limiting every day (I master film/television mixes) and have a lot of experience with the L series limiters. The L2 is the best of the bunch but honestly that's not saying much, the L1 almost always sounds horrible and the L3 (the non-multiband variant) is a weird sounding limiter imo, worse than the L2 on pretty much anything. And I consider multiband compression/limiting to be only for very special cases/fixes so I pretty much never use the multiband L3. Since those are effectively the only limiters I have available to me at work, I end up going with the L2 99% of the time. My complaint about all three of them is that they are very delicate when it comes to distorting and reach the point of unpleasantness really quickly. Also ARC is not as good at catching sharp transients as other limiters I've used so you have to really watch out for overshoots if you're mastering to a standardized max peak level (that happens to me less and less anymore but it happens).

Worth keeping in mind is that I am never, ever getting loudness out of my limiting. I am using it to maintain peak level beneath a certain threshold and occasionally for transient shaping if I have a pressing deadline and need to accomplish widespread transient shaping quickly (my preference is to address specific voices with the necessary fixes rather than hit the entire mix with a blunt instrument but if the mix is in need of enough of that it can be more time-effective to be blunt). So this is in no way a case where I'm pushing the hell out of my limiter; we're talking dB (on rare occasions, mostly it's just there to catch). Ideally I don't want to hear my catcher when it's kicking on and the L2 isn't very good at that either (it can often be pretty obvious).

The limiters I like have been mentioned in this thread: Elephant is generally my go-to limiter outside of work. In addition to being really versatile the clipper mode is top notch. Pro-L is really great, that would be my preferred go-to at work if I could (RTAS! to be fair I have never owned Pro-L, only demo'd it, but I was really impressed and it was beating Elephant in my A/B'ing, just not by enough to justify the cost in my home environment where I don't do very much mastering or limiting). I did buy Barricade not because I liked it better than Elephant (probably about equal on most of what I demo'd it on) but, for the price, it's really an outstanding limiter. Another choice for those ultra-rare occasions when I need a mastering limiter and Elephant isn't getting it done. It's a very good limiter neglecting price entirely and I'd surely grab for it over the L1/L2/L3 for literally any task. I also own EventHorizon+ at home but I've never really liked it for whole mix/mastering purposes. For track and sometimes buss duty it can be really great. Truthfully, I don't use limiting ratios in that context nearly as much as compressor ratios but when I do I almost always grab for EH+ first. I've never used the Sonnox but it often gets mentioned in these kinds of discussions among mastering folk so I wouldn't hesitate to try it out if I had access (as it is I really don't need another limiter). I haven't really given the L6 a proper spin either for the same reason, when you don't do much limiting in your VST production environment you really only need so many.

TL;DR: I think you'll get better results out of Pro-L, Elephant or Barricade (in order of preference, depending on your budget constraints) than the L2 or EH+.


funkystrings

, PM

What a wealth of info I've received from all of your collective wisdom. My thanks to everyone who posted. The Barricade demo is truly impressive! I never heard of it until now. Good sound, Low CPU use what more do ya want for $20 bucks? I thought Limiter 6 was quit the CPU hog and for that reason, it didn't really justify it's decent sound. I'm surprised there was no mention of ReaXcomp. Is there no love here for it? If so, why? I also didn't know there was a little Event Horizon 2 hiding in the JS plug area of Reaper. I took a little time to compare it to the VST version and found it to have a tad less upper harsh mids. The addition of the release replaces the soft clip but even in it's absence, it still had that slight dirty sound for the drum buss but now I can tweak the release. Pretty cool. I also compared the Elephant demo to the stock ReaXcomp Supersolid 2 preset and to be honest I didn't really find it, (or the Barricade for that matter),to pee all over the Rea plug. They did sound better though. I'll have to pick the Barricade up. Wish it had more stock presets to get you going. Does anyone know of additional preset downloads for it?


compasspnt

, PM

Fabfilter Pro-L.


>


Yes


funkystrings

, AM

Sorry Henge, I bagged on Limiter No. 6 when I really should have spent a little more time with it. For machines like mine having CPU issues, the Upsampling can be turned down or off giving it a CPU usage somewhere between Elephant and Barricade and it still ends up sounding good. Damn good! If you bring up the "Mix BUSS" preset, then start bringing up gain 1 and gain 2 a little, it ends up sounding better then the Elephant or the Barricade. Of course that's subjective. But it's free! The knobs are touchy in version but I'm sure that will get better over time.


Magicbuss

, AM

Fabfilter Pro-L.


>

/Thead

Not only does it sound good (Its in the same realm as the other top limiters) but it is BY FAR the easiest to use. The GUI is justsmart.


The best cheap Limiter is Barricade. Voxengo elephant is also good for a little more

You can get an older version of Barricade Pro for free here. The best free Limiter by far.
alloverlimo.us

The other freebie to have is Limiter 6. It is the opposite Pro-L in that it is not the most user friendly interface. The sound is good though.


planetnine

, AM

/Thead

Not only does it sound good (Its in the same realm as the other top limiters) but it is BY FAR the easiest to use. The GUI is justsmart.


Agreed.

I didn't believe the GUI when I first saw this in action, I thought it was telling me lies, the limiting was that unoticeable.

I have their compressor and EQ too, though I don't use the EQ much, the compressor is vey nice and well-equipped. I'm trying out their new de-esser I'd like it to replace my Renaissance DS when I built my next WS.


>


Magicbuss

, AM

Agreed.

I didn't believe the GUI when I first saw this in action, I thought it was telling me lies, the limiting was that unoticeable.

I have their compressor and EQ too, though I don't use the EQ much, the compressor is vey nice and well-equipped. I'm trying out their new de-esser I'd like it to replace my Renaissance DS when I built my next WS.


>

Yeah Pro-C is great if you want to SEE exactly how compression works. It would be my first recommendation to newbs because as we all know, compression is the hardest effect to get your ears and head around.


planetnine

, AM

Yeah Pro-C is great if you want to SEE exactly how compression works. It would be my first recommendation to newbs because as we all know, compression is the hardest effect to get your ears and head around.

Yes, good thinking -especially as compression should be set up to be as transparent as possible in many cases which is hard to judge for learners


>


funkystrings

, PM

Hmmm, just watched the video for the Pro-L on their site. It is comprehensive from the start. Looks like they really did cover all the bases too and put it into a user friendly GUI. I'd better start throwing more change in the piggy bank.


planetnine

, PM

I'm using the Pro-Lwhere I need home-mastered tracks, but I'm also using Toneboosters' EBULoudness metering to master to a loudness reference (loudness normalisation) rather than as high as possible while brickwall-limiting it to death.

Clients can take it to a mastering engineer if they want it mangling. Now I'm measuring LU, I have quantified how far I want to go.


>


funkystrings

, PM

That sounds like the best way to go planetnine. With the Limiter and the meter. So those newer "K" presets (on the TB and Pro-L), are a new attempt to standardize levels so they're more predictable throughout the industry? The brickwall is just to control a few overs here and there. I'll have to start thinking that way. I guess it really becomes an art form with better use of EQ to get a good (or punchy) mix depending on what you're mixing. Last night I was messing with TB Barricade followed by TB EZQ to quickly try a huge number of eq curves. When I found a sweet spot, I was able to reduce the limiter quit a bit. Their products seem to compliment each other pretty well that way. I'm still new at this but I am picking up on most of what you're saying and I think my ears are getting a little better tuned. Thanks.


ngarjuna

, PM

That sounds like the best way to go planetnine. With the Limiter and the meter. So those newer "K" presets (on the TB and Pro-L), are a new attempt to standardize levels so they're more predictable throughout the industry?
The K-system is an attempt at loudness standardization. I'm not sure how widespread its use is in that respect (in addition to DAW/DAC levels it is attached to dB SPL calibration) but it's an interesting and potentially useful way of looking at headroom and quite a few of the major third party metering systems come with K-calibrated presets, so that's something.

Last night I was messing with TB Barricade followed by TB EZQ to quickly try a huge number of eq curves. When I found a sweet spot, I was able to reduce the limiter quit a bit. Their products seem to compliment each other pretty well that way. I'm still new at this but I am picking up on most of what you're saying and I think my ears are getting a little better tuned. Thanks.
Definitely. Loudness, unlike voltage, is subject to psychoacoustics.


Caustic

, PM

I Love the Event horizon + i use it on end of my mastering chian over ozone and plenty other limiters, the rest of my mastering chain is analog and i find this plug in finshes of my work nicely, ive been meaning to try barricade and a few other new contenders but ive been hooked on event horizon for years and it just works for me, never had any complaints, i dont push it too hard as by the time things get to the limiter they are sounding pretty right, i would only take off a few dbs with it but it keeps the vibe of the track and handles the transients nicely unless pushed further than it likes, i dont master super loud unless its asked of me, for that i would use prob ozone and as i can get a louder master with it, it almost makes you make a louder master cuz the sweet spot is so far down.


G-Sun

, AM

I almost exclusively use LoudMax
for lookahead limiting
alloverlimo.us


vBulletin® v, Copyright ©, vBulletin Solutions Inc.

Источник: [alloverlimo.us]

Category: Audio Plugins

Best Mastering Chain

Published in Audio Plugins

  Insert 1: FabFilter Pro Q 3 &#; Subtractive Equalization Insert 2: Soothe 2 &#; De-essing and High-end Compression Insert 3: FabFilter Saturn 2 &#; Saturation and Harmonic Distortion Insert 4: Softube Tape &#; Saturation, Stereo Widening, Gentle Equalization Insert 5: Oxford Inflator &#; Loudness Enhancement, Harmonic Distortion Insert 6: Weiss EQ1 &#; Additive Equalization […]

FabFilter Pro-Q 3: 10 Things You Need to Know

Published in Audio Plugins

  The Display is 4k and Can be Made Full-Screen You can Zoom In on Specific Frequencies Up to 24 Dynamic Bands can be Created EQ Matching Allows for an Inverse EQ Technique Bands can be Snapped to Notes Using a Piano Roll There are 9 Available Filter Types and a Gain-Q Setting 7 Different […]

Are Logic Pro X Stock Plugins Any Good?

Published in Audio Plugins

  Quick Answer Logic Pro X Stock plugins are surprisingly good for both mixing and mastering.  Although you may still want to download or purchase other 2nd and 3rd party plugins, Logic Pro X Stock plugins are good and easy enough to use, to create decent mixes and masters. Are Logic Pro X Stock Plugins […]

Top 6 Easy Mastering Plugins to Use

Published in Audio Plugins

  Exciter &#; Stock Logic Plugin L1 &#; Waves Audio Wider &#; Infected Mushroom Harmonics Analog Saturation Pro &#; Softube Tape &#; Softube MV2 &#; Waves Audio Mastering can be a complicated part of the audio production process &#; but the plugins used don’t need to be. Some plugins are simplistically designed, but still, sound […]

What is Wave’s Best Tape Plugin: J37 Tape vs. Kramer Tape?

Published in Audio Plugins

  When trying to find a great tape plugin, Waves audio has been a go-to for many engineers.  They offer 2 affordably priced and widely used plugins &#; the J37 tape emulation and the Kramer tape emulation. Both of these have unique characteristics, functions, and nuances that make them better for certain genres, individual instruments, […]

All of the Free Plugins from Klanghelm!

Published in Audio Plugins

  Klanghelm Offers These 3 Free Plugins: DC1A &#; Compressor IVG12 &#; Saturator MJUC jr. &#; Tube Compressor Free plugins are hit or miss &#; some are great, while others may not even load.  Fortunately, Klanghelm has developed some fantastic and versatile free plugins. Today, we’ll look at the 3 free plugins that they currently […]

10 Things You Need to Know About the FabFilter Pro-L2

Published in Audio Plugins

  The Plugin has a 4k Display and Can be Made Full Screen You can Decrease Distortion with the True Peak Limiting and Oversampling Options A DC Offset Filter is Available, but will Rarely Be Needed It’s Designed to Sound Great for Every Genre The Attack Does Not Behave Like a Compressor’s Attack It includes […]

What is this New Free Plugin by Tokyo Dawn Labs!?

Published in Audio Plugins

  Quick Answer The TDR Molotok was released in Oct. and is a vintage emulation of multiple soviet-era audio compressors.  The sound that this plugin creates is unique due to the alpha-beta-sigma variable weighting and the subtle distortion it imparts onto the signal when using a quicker attack. The Tokyo Dawn Labs Molotok in […]

The Oldest Plugin vs. The Best New Plugin

Published in Audio Plugins

  Quick Answer: The oldest commercially available audio plugin was the Waves’ Q1, a 10 band equalizer that’s incredibly simple by today’s standards.  Although the Q10 is still used by many engineers, comparing it to the FabFilter Pro Q 3 shows how far digital processing and audio plugins have come. The Oldest Plugin vs. The […]

The BEST Free Reverb Plugin?

Published in Audio Plugins

  What is the Best Free Reverb Plugin? Although there is no &#;Best&#; reverb plugin, the Valhalla Supermassive is by far one of if not the best FREE reverb plugins that we have used. The functionality is comprehensive and versatile, while the overall sound rivals that of some of the best paid reverb plugins. The […]

Источник: [alloverlimo.us]
FabFilter Pro-L 2

Loud and clear

A true peak limiter is an essential tool for every mastering or mixing engineer. Are you looking for a professional, feature-packed limiter that is loud and transparent at the same time, equipped with extensive loudness metering? Then FabFilter Pro-L 2 is your weapon of choice!

Buy nowday trial

Dana Nielsen

Dana Nielsen

I fell in love with the Pro-L right away with its incredible sound and intuitive interface. Then, when I dove deeper into the &#;advanced&#; settings, it was case closed.

Top-class metering

Top-class metering

FabFilter Pro-L 2 features precise true peak level meters and extensive loudness metering with support for the EBU R, ITU-R BS and ATSC A/85 standards. Combined with its unique real-time level display, you have all the information you need to achieve the best possible results.

Goodies!

FabFilter goodies

Of course, you also get all the usual FabFilter goodies: perfectly tuned knobs, MIDI Learn, Smart Parameter Interpolation for smooth parameter transitions, an excellent help file with interactive help hints, SSE optimization, GPU-powered graphics acceleration and much more.

Computer Music Magazine

Computer Music Magazine

One of the best, most versatile and most popular limiters around just got even better. Verdict: 10/10!

Key features

  1. Great transparent sound combined with maximum loudness
  2. improved - Eight different limiting algorithms, all with their own character and purpose
  3. new - True peak limiting
  4. improved - Unique real-time level display with peak gain reduction labels and new innovative display modes
  5. improved - Up to 32x linear-phase oversampling
  6. improved - Highly accurate output and gain reduction metering including true peak metering
  7. new - Extensive loudness metering with support for the EBU R, ITU-R BS and ATSC A/85 standards
  8. new - Surround support including Dolby Atmos and formats with flexible surround channel linking
  9. new - Optional DC offset filter
  10. new - External side chain triggering for stem mastering
  11. new - Unity Gain option to easily listen to the effect of the current limiting at unity gain level
  12. new - Audition Limiting option to listen to the difference between the input and output signal
  1. Adjustable meter scale, including K-System support
  2. Low CPU usage
  3. Separate channel linking for both the transient and release stages
  4. Advanced dithering with three different noise shaping algorithms
  5. GPU-powered graphics acceleration
  6. Double-click text entry of parameter values
  7. Adapts to stereo, mono and surround audio formats
  8. Adjustable look-ahead, attack and release settings
  9. Optional Compact interface layout
  10. Supports common Pro Tools hardware control surfaces
  11. MIDI Learn
  12. Undo/redo and A/B comparison
  13. Smart Parameter Interpolation
  14. Extensive help file with interactive help hints
  15. Available in VST, VST3, Audio Units, AAX Native and AudioSuite formats (all both bit and bit)

Video's

Information

Help and tutorials

Plug-in formats

All FabFilter plug-ins are available in VST, VST3, Audio Units, AAX Native and AudioSuite formats.

Download now

Requirements

Windows
  • Windows 10, 8, 7 or Vista
  • bit or bit
  • VST 2/3 host or Pro Tools
macOS
  • macOS or higher (bit only)
  • AU or VST 2/3 host or Pro Tools
  • Intel or Apple Silicon processor
Part of the Mastering bundle

Part of the Mastering bundle

The Mastering Bundle contains FabFilter&#;s essential plug-ins for mastering: our professional limiter, EQ, multiband dynamics and compressor plug-ins.

View the Mastering bundle

Источник: [alloverlimo.us]

Professional Mastering Chains for AbletonIn this article we’re going through the mastering chains of pro producers like Deadmau5 and Laidback Luke. We will also show you our PML Mastering Chain, made with Ableton stock plugins. These racks come in handy when polishing up your tracks - that’s why we have included them as a free download. Enjoy!

Get the free download of our Ableton-only mastering rack in the free section

Deadmau5's Mastering Chain

1) LinEQ (Waves)

Low Cut: roll-off below 32HZ (depends a bit on input track)

Removing low frequencies we can hardly hear on most playback systems and gaining headroom for our other elements.

LinEQ Mastering Chains

2) MStereoExpander

Widening the stereo spectrum of the track, achieving a richer stereo image.

34% Depth (in this case)

MStereoExpander mastering Chains

3) Xfer Records OTT

Multiband Compressor, Compressing our different frequency bands (low, mids, highs) with different intensities, depending on what the track needs

Xfer records Mastering Chains

 4) FabFilter Pro MB

Used by Deadmau5 as Dynamic EQ - for one band at Hz, +dB,

Usually is used as multiband compressor

5) FabFilter Pro-L

Allround Limiting (increasing general loudness of the track)

+13dB (track dependent), Attack ms, Release ms

Fabfilter Pro L view for Mastering Chains

6) L2 UltraMaximizer (Stereo Mode)

Additional subtle limiting ( Threshold)

(depends on the source track)

L2 UltraMaximizer

See article: Top 6 Goals In Mastering

Laidback Luke's Mastering Chain

1) Ableton EQ8/FabFilter Pro-Q

Multiple instances for surgical and balance control over the frequency range. Settings vary from track to track.

Ableton EQ8/FabFilter Pro-Q Mastering Chains

2) Izotope Ozone 6 - Exciter

Slightly overdriving the higher frequencies for a "crisp hihats" effect

Dual Triode Setting

Low Band: 0% Amount

Mid Band: Hz - kHz. % Amount

High Band: kHz - kHz. Amount

High Band 2: kHz - 20k. Amount

Izotope Ozone 6 - Exciter Mastering Chains

3) Ableton Stock Compressor

Compressor focussed on adding a bit of punch to the track:

Threshold: dB (depends on track)

Ratio:

Attack: ms

Release: ms

Dry/Wet %
Makeup Gain On

RMS setting

Lookahead: 1ms

Ableton Stock Compressor Mastering Chains

4. Ableton Stock Chorus

Stereo enhancing for high frequencies. Therefore its highpassed: 

Hipass setting at kHz

Amount ms

Rate Hz

Fix Mode

32% Feedback

Dry/Wet 15%

Ableton Stock Chorus Mastering Chains

5. T-RackS Spectrum Analyzer

Analyses adjustments made before applying the limiter.

T-RackS Spectrum Analyzer Mastering Chains

6. FabFilter Pro-L

Brickwall limiting at the end

fab filter pro L

See article: What are RMS & Peak levels?

PML „Ableton Only” Mastering Chain

When “mastering” on this basic level, we are trying to accomplish 3 things:

- balance the mix

- clean up resonance

- add loudness (punch) to the track

EQ8

Lowcut - This EQ is operating in mid side mode. We are cutting out frequencies below hz on the side and freqs below 35 hz in the mids. That way we have a clean low cut and our bass is operating in mono

Glue compressor

We are catching some of the peaks over the entire frequency range

EQ8

We are flattening out some unwanted resonances

Multiband Dynamics

We are balancing the low, mid and highs with 3-band multiband compression

Compressor Punch

We are adding punch to the mix, emphasizing the dynamics

Compressor Sustain

We are flattening out the mix a little bit (in order to be able to make the sum louder in the end)

EQ8

Final touches, we are pulling up the bass a bit and adding a little bit of brilliance in the top end

Limiter

We are increasing the loudness of the sum of our track. Note: don’t push it too far, Ableton’s limiter starts distorting the sound quite quickly.

Of course, this chain has its limitations - but we found it a good way to start with a basic master for your Ableton productions. Make sure you adjust the loudness of your mix before entering the chain. If the mix plays at low volumes, add a utility in front of the chain an turn up the level to get the chain compressors working - if its getting too heavy - turn it down a tad.

Author: k-pizzak-pizza

I’m a music maker who likes to share his experiences with other producers. I regularly show up with tutorials, articles & project files at PML.

Skype lessons with me: alloverlimo.us

More articles on Mastering:

Keywords: Mastering with Izotope Ozone, LUFS vs dbFS, Fab-Filter Saturn, Mastering with Fab-Filter only, Mastering with Ableton only, Fletcher-Munson Curve, Mastering Chain Blueprint


Share0Tweet0+1


← Older PostNewer Post →

Источник: [alloverlimo.us]
Powered by Wordpress

Источник: [alloverlimo.us]
Powered by Wordpress

Источник: [alloverlimo.us]
fabfilter pro l2 free download Archives

Notice: Undefined variable: z_bot in /sites/alloverlimo.us/drivers/fabfilter-pro-l2-free-download-archives.php on line 99

Notice: Undefined variable: z_empty in /sites/alloverlimo.us/drivers/fabfilter-pro-l2-free-download-archives.php on line 99

Comments

Leave a Reply

Your email address will not be published. Required fields are marked *