Limiter Trick They All Use 

shhhh. you’re giving away my secrets!! i also do this for reverb decay and pre delay lol

@@nikovaude It’s standard practice as a starting point for compression also. 😁👍

By that calculation, release time for the slow ambient track I'm working on should be around 1700 ms 🤣

This makes so much sense! Gonna have to give this a try

Thats a compresor calculation! in a limiter on a mix bus u have a lot of elements going on some of them play 1/4 notes some of them 1/16 or 1/64 so wich one u chose to follow for the release setting is genre dependent and using your ears to feel if the groov is right .

Hi, what video did you get that from please? thx

It's basically the same information that's in this video. I don't remember if it was a short or another video of Streaky where he shows his limiter settings.

Nope… your daw processes everything in 32 even if it’s 24 bit file. So you need to dither. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-2iDrbgfPjPY.html

@madsonit | Madalin MADS Rosioru sorry, maybe I should have worded it better. I wouldn't be exporting a mix or mastered file as a 32bit fp. It would be 24bit or 16bit. So yes, I would always dither down.

@@compoundaudio that’s right. Distributors need 24bit files.

Afaik it's because the actual clipping that results isn't terribly audible in 99% of cases since there's already artifacts from the lower Bitrate streaming Codecs. If you're going to have it at -1.1 then it might be worth creating two masters for streaming and live/ungated use (like on CDs)

You are right and streaky wrong (as often) 1,1db is a lot tho.. try 0,5 to 0,3 depending on how loud your mix is

@@schallfarben5614 really -1db is safe, when converted to lossy codecs psychoacoutic filtering is used to reduce the necessary bandwidth to make streaming easier, this results in occassional peaks of up to 1db. also the true peak limiting doesn't have a sound so use it, really all that's happening is internal oversampling to interpolate sample points between the existing sample to provide a more accurate readout and gain reduction ( I know you didn't claim that but it's something streaky says in the video which is just flat out wrong,

that 0.5 and 0.3 is like that 0.1 bull here. A dude wants to make money over plugs but has no clue. If you mix it with the right loudness without too much compression you could use 03 or 05 but its more for natural sounds or organic music. If you have more modern styles you go some below. ​@@schallfarben5614

Most djs are redlining the FUCK out of their mixers and a lot of those systems have their own limiting algorithms built in to avoid clipping, but they aren't meant to be doing so much work and they can cause extra distortion. Maybe you're hearing that.

Well Panorama Mixing & Mastering is also on YT. There don't seem to be a ton, but there are some others.

There’s others actually. Wish he didn’t say that, he knows it’s not true, not sure what’s up there because this guys solid overall

It's needed streaky you need to do more for you are the best all round teacher I see on RU-vid MORE WINDOWS DAW VIDEOS

These are the settings that work for me

I'm a bit new to this also but definitely use EQ and compress/limit the individual tracks

And then Spotify will normalise back down to -14dB LUFS. Loudness is a game of compromise, you sacrifice dynamic range and punch to get the LUFS up, which is a waste of dynamic range and punch if Spotify is going to bring them back down again.

@@Mikey__R that's not true. If that was the case 99% of stereo masters would sound horrible. The truth is, Spotify only does this when the user manually turns normalisation on, and this setting is turned off by default. I used to do stereo masters in -23LUFS and they sounded significantly quieter compared to industry masters on Spotify. Now that I work in Atmos I don't care about the stereo master's loudness at all tbh, but if you do, -9LUFS (CD target) is great.

So the Loudness Wars are back on? That's a shame.

@@Mikey__R they've always been on on stereo mastering. That's why Atmos is good, people.

​@@LeChapeauMusic wrong, normalization is on by Default. Only snowflakes turn it off. Sadly i dont know statistics of how many people are turning that off tho. Also even if its normalized you might wanna get louder than that because of the overall feel and also the loudness dynamic range can be important since the lufs are measured at the loudest parts

To my ears the 16x sounds more open with less lose in transients

just commented the same thing. i think you’re right Indigo.

you can test this by running one L2 with True Peak and another with 8x/16x/32x oversampling in parallel then inverting the phase of one. You actually do lose some snap on true peak even with various oversampling. Ableton users, you can use an audio effect rack. In general, you can use this nonbinary A/B technique with any plugin.

He was mostly reffering to Ozones true peak limiter.

Thanks! Have you tested if theres an audible difference between setting the limiter to 4x OS at -1.1 ceiling without TP vs -1 ceiling with TP on?

It gets better! The reasom mix/mastering is "hard" is that we typically spend less time doing it! By the time you mix/master 10 tracks itll be easy!!

(If you are too lazy to watch, the idea is that clip/limiting every channel + group will distort less than limiting them all at once, and you can save lots of headroom and have very transparent masters!)

I like the ozone 10 one can be good in combo with this

@@Streaky_com Thanks and thats what i will try

i watched a video the other day that shows most commercial releases are clipping, and some by quite a lot. apparently, mastering engineers are less concerned with digital clipping now than they used to be.

​@@JibberJabJones"If you ain't redlining, you ain't headlining."

I’ve not noticed this

At least some of the limiters will mess up the stereo image in the low end when left and right are unlinked if you check the stereo image meter.

He had to of been kidding... I would like to believe that he was kidding.

I forgot to add the greatest…next time 😂

Hey man can you elaborate? I use Kclip on all my transients but it destroys the low end (especially on a drum buss) and I don't have a multiband clipper. This sounds sick

@@akageorge3662 I keep trying to reply to you but my comments are being deleted.

@@gulagwarlord try replying to me, I'm interested

Attack on this limiter is not the same as attack on a compressor. Maybe a poor name choice. Google this question for more details. The very short version is that attack determines the amount of time where the limiter will allow the signal to be as close as possible to the brick wall before the release time takes any effect. If you set attack long enough release time doesn't do anything. You can test this by setting release time to something very very long. You'll see if you're attack time is set long. Your long release will never happen, but if you shorten the attack time, you'll get a very long release.

I use hardware and software for mastering..mainly Maselec for hardware

or the two can be absolutely different. It depends on how you choose to make them.. also, call them chorus/verse/bridge, call them part a/b/c, dont call them anything, whatever

@ agree.

ChatGPT howdy

Can do for extra level and less dynamics

okay, so tell us what he did wrong and correct him for people like me, who should know the right thing to do

@prod. vytorla Hi Vytorla, I'm not saying Streaky did anything wrong. My point was that we may have been taught using out of touch methods. An example that comes to mind is that we're taught to master at -14 LUFS for Spotify, but most of the top releases sit between -8 to -10 LUFS. That's a very noticeable difference in volume level.

@@TerryMeighan Bob Katz is working to turn -14 into a standard, but that requires the streaming platforms to all be on board. The issue with this, is that even with a standard, there is still a factor known as "perceived loudness". And even if all of the major platforms listened to Bob Katz, there'd be MANY places people could stream music, at any volume they want... and people might actually prefer those platforms instead, for that reason. But I think it's great that your teachers are teaching you to get used to -14, as an elementary starting point. It's also a great idea, because you can literally hear ALL perceivable dynamics in a mix. But In reality, this isn't at all what the pros are doing every time. Mastering Engineers may make a choice to go to -8 instead, if they like the sound better... or if the client asks them to. I've also seen an interview where an ME made a claim that ME's shouldn't be adding saturation during the mastering process. In reality, there are ME's throwing Saturn 2 over everything, if not using the Neve 542's or bouncing to an actual tape machine (mastering grade). There are also some ME's who are of the school of thought that you shouldn't ever go above or below 2 decibels in terms of compression, and there are those who break that rule. Likewise, there are ME's who say that you shouldn't ever use "a colour box", or add colour to any songs you master using exciters or harmonics generators; and yet, there are ME's who do it ALL THE TIME So... you kind of have to take everything people say, even professionals, with a real grain of salt and just find what works FOR YOU. I've literally asked Grammy Award Winning ME's "what equipment should I get for X?" and had totally different responses that they thought were "best for X, as opposed to Y". So, who is right, and who is wrong? This is where the ARTISTIC aspect of this science (of audio engineering) truly kicks in. Howie Weinberg, I believe, said it best: "if it sounds good, it's good" If you're trying to be scientific, and highly procedural, I think you can really miss the point. So, do what they tell you to do in the school, but get ready to explore, experiment and try to break some rules. See what you come up with. See if you can make it better with new methods. Dali, of all people, got flack from his own teachers. So... sometimes, it's like Will Smith said, "parents just don't understand"

Yeah don’t bother mastering to -14

@@Streaky_com Thank you !!!! But is it important that the True Peak is always at the point where you set it - like -0.1 or -1... or is it not a bad thing when it's down around -3 or -4 (eventhough you have set it at -1 for example) ? :)

Ok

No you just removing peaks

@@Streaky_com thanks for the clarification boss!

I have seen many posts from him which say tottaly different things all the time... i like the guy but he always changes what he says

i've done other videos on that

Loudness is about the shape of the waveform, not just volume

White Sea & Nicholas Di Lorenzo (Panorama) to name a couple others. I honestly love your content streaky & you've given a ton of good tips, but it does seem a bit disingenuous.

I think most are mixing and mastering…but chill it was just an intro nothing meant to disregard other RU-vidrs

@@Streaky_com TBF, we are chill Streaky. Pure Ventrue and I have clearly been subscribing to your channel for a fair amount of time - in my case, 4 years - so we know you have a habit of hyping yourself up (usually amusingly so). But what you said in that intro is just nonsense, it will be instantly challenged by anyone who watches several other professional engineer YT channels, and it just smacks of desperation to the detriment of your otherwise decent video here. Peace.

@@dougr5187 amen. Those were my thoughts exactly.

Yes, noticed that aswell! Great advice in the video, but is he really the ONLY pro mastering engineer on youtube? 🤔

No

@@Streaky_com Thanks :).

This dude DOESNT GIVE A FUCK

Keep that shit linked if you care about retaining the integrity of the recording in folk, jazz, classical etc. Unlinking is fine if your track already sounds processed af

Yes

I have no plans to do so sorry

@@Streaky_com Thank you for your reply Streaky, I am hoping one day you will do a mastering and mixing session on a Behringer Wing.

As much as needed

Never

@@Streaky_com Dan explained it great here (link at the end of my reply). Just load Bitter after your processing and see what happens with your output bitrate. It goes from 24 to 32. Not because the actual wav file became a 32 bit file, but because your DAW will process it that way. If you hear or not the effect… it’s pretty clear that you will never do unless you boost by a lot the quiet parts. But that doesn’t mean the argument “if we have a 24 bit mix file we don’t need to dither after we master it” is valid. We can choose not to, but it’s not because that file was 24 bit in the first place. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-2iDrbgfPjPY.html

Dan worrall words 👍👍

Many would beg to differ. Dithering 24 bit is technically correct. But it's debatable if it makes an audible difference. I realise it's your opinion, but 'never' is a bit final.

Never done for me

@Streaky thanks.. well that's interesting, have to try this.

Every single commercial release clips. Juts put a song in your daw and check the meter. Doesn't matter.

@@TakeHit0 yes, you're right . I did check it and most do clip ... crazy hahaha

@@TripianaVids clipping is only a problem when you can hear it. Otherwise dont let it bother you. Ive seen track go up to +1.3 db without any distortion.

Just use the input gain to make up the level needed

@@Streaky_com thanks, would you say -3 dB is a good level the signal should be at when it reaches the limiter in the chain?

@@Digital_Mozart It doesn't matter at all as long as you're not clipping your plugins

@@TakeHit0 thanks man

The manner which he's using this Limiter, is essentially, to "Clip" the audio. All clipping is, in essence, aliasing. What codec in what DAW can't process aliasing? (that's MY question, lol)

@@lashtal i don’t understand your question. Aliasing and codec are two totally different things.. aliasing can be reduced by oversampling wich introduces other artifacts, in his case he uses linear os wich introduces ringing, bad practice to me but who am I?