Limiter Trick They All Use

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WHO AM I:
I'm Streaky, a KZbinr and professional audio engineer from Henley, UK. I make videos sharing my knowledge of mixing & mastering from my 25 years of engineering. I've worked at some of the biggest studios in Europe including Metropolis Studios and here are some artists I've worked with - Ed Sheeran, Adele, Jonas Blue, Krept & Konan, Depeche Mode, Paul Weller, Skepta, Naughty Boy, Sigala & many more... I also have a weekly email newsletter that contains tips, tricks & discounts to cool stuff (www.streaky.com/aa?sl=KZbin)

[@jamzdrumz141]

Another great tip is to use mathematical subdivisions of your BPM when setting the limiter release time. For example at 120bpm a quarter note lasts for 500ms an eighth note is 250ms and a sixteenth note is 125ms. Allowing the limiter to pump and breath/undulate with the natural timing of the music, sounds more natural and musical and doesn’t stifle the natural flow of the music.

[@nikovaude]

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

[@jamzdrumz141]

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

[@aaronpolichar7936]

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

[@TerofiedBeats]

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

[@solo943]

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 .

[@Indigo_Jams]

I'm currently using on all my masters Pro-L2 as the final limiter with a "Streaky 1" preset that I got from one of your other videos. Almost no look-ahead, All Round, High Attack, Low Release, Stereo Channel UNLINKED, -0.1 Ceiling. Thanks Streaky!

[@vladimirslavicek3032]

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

[@Indigo_Jams]

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.

[@Devlife2]

The quality of my mixes drastically improved (I'm not a mix engineer) and I am really thankfull for that.

[@compoundaudio]

Remember, folks, you only need to dither if you're exporting at a lower bit depth

[@madsonit]

Nope… your daw processes everything in 32 even if it’s 24 bit file. So you need to dither. kzbin.info/www/bejne/aJqno5Wdm7Wdhrs

[@compoundaudio]

@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.

[@madsonit]

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

[@OfficialStevenCravis]

Streaky, your Ozone course is very good! I'd really like to see something similar to this video above, but for Ozone settings.

[@blessednech]

BRO !!! YOU JUST OPENED UP A CAN OF MASTERING FOR ME ! THANK YOU .

[@KutayYavuzMusic]

You are one of the few honest people on youtube! Thanks for the real info! I always leave -1.1db on the output just to get away from the streaming codec compression etc. You just set it to -0.1 and i am confused. Streaming converts to a lossy format and that could add even a 1db to our current mastertrack. I would like to know more about your opinion.

[@ezrabrownstein3237]

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)

[@schallfarben5614]

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

[@memeswillneverdie]

@@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,

[@stillgotyourmom]

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

[@L.DOT.P.]

I LOVE THIS FORMAT STREAKY... YOU'RE ON TO SOMETHING!!!!

[@axjajxa]

thank you!! quick and to the point, great video!

[@manwithaplan8543]

Can confirm, amazing results and great timing

[@Fire-Toolz]

This maxed out attack method is blowing my mind...I'm going to try it

[@josephpurdue7583]

Holy hell dude. Thank you. Thank you. Thank you. Just bounced down a track with my previous limiter settings and then your limiter settings. In your one the tracks is coming through so much brighter, and I can get an extra db out of it. Absolute legend. New subscriber.

[@screendrem]

I've watched this a few times. Excellent stuff. Thank you!!

[@baymax001]

"Only professional mastering engineer on KZbin", First I thought you were praising yourself then I realised IT IS THE TRUTH! 🧿

[@garrett6240]

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

[@russcontact]

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

[@FooltheFox]

Love the no bs video. Actually helpful 👊

[@SlugBeats]

thank you!!

[@tskolits]

Thanks for this! Very helpful!

[@anthonylynchmusic]

One of the few channels about music production I really trust, your videos are gold!!!

[@TheGurner1]

These settings work fine for me, as Streaky says, trying the lookahead a bit more or less, attack and release same thing - my old Mac Pro 2011 chews through it on 32X oversampling, offline of course - gives me a chance to practice my classical guitar while I wait ;-)

[@HzofArt]

This is right on time buddy 👍🏾

[@valjunemusic]

Top info man! Thanks a lot 👍😊

[@user-nq7wl4lp5d]

Hello, Streaky! Do you use complex plugins like CLA vocals or JJP vocals from waves? What do you think about them?

[@MoveTrueRecords_]

AMAZING!!

[@theDUCER.]

This is basically the Loud > Practically Clipping preset in Pro-L 2 for anyone who wants to quickly dial in the settings 🤙

[@ianwilliamson7972]

As always solid advice and useful tips. Imho best information on mastering on any social media platform. Thanks loads for sharing.

[@Ivan23indagame]

Thank U very much)

[@LeChapeauMusic]

All great tips for stereo mastering! Things can get super loud with these!

[@Mikey__R]

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.

[@LeChapeauMusic]

@@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.

[@Mikey__R]

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

[@LeChapeauMusic]

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

[@flipthetracksloops]

​@@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

[@ktryushi4744]

I agree with the true peak Streaky it needs to hit little bit harder but it makes the tracks also little bit distorted, if you know what you're doing, it's a tricky method. But if you have a good ears, you can hear the distortion at some tracks when they turn down the peak.... When I am in the club, I hear some of the famous tracks distortion and some of them are very clean tracks. Sometimes I am thinking some dj's and people on the crowd are just deaf lol. Anyway, thanks for the advice Streaky.

[@ezrabrownstein3237]

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.

[@Ash-gg2ql]

Can’t wait to try this tomorrow

[@mystikrebel1089]

streaky i do trust you mate but what do you think of smart limit or ozone 10 vintage limiter as im going to try to see how i add these tips to them

[@Streaky_com]

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

[@mystikrebel1089]

@@Streaky_com Thanks and thats what i will try

[@Tedbearbeats]

Do you use the pro L on every master ?

[@lazyailava]

Thanks, Left Right independant compression ❤‍🔥❤‍🔥❤‍🔥

[@MickeyBlood]

Thanks 👍🏿 🙏🏿 👊🏿

[@Sol7Studios]

Will there be a sale on The Deep Dive Mixing Course?

[@SamJessep]

The “distortion” bit was so good 🤣 Cracked me up x

[@XIII-rl3bn]

Tell me, do I need to enable dithering? when exporting a wav master in 44100 16 bit for uploading to sites or will this degrade the quality?

[@emmalynepairing3111]

Thankyou, very true!!!❤

[@Indigo_Jams]

Isn't 16x Oversampling the same as True Peak Limiting since the Limiter is literally taking more snapshots of sample peaks? I think I saw another youtube Null-Test 16x vs True Peak

[@Streaky_com]

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

[@EpithetMusicTV]

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

[@olm9476]

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.

[@calebrosazza]

Did this guy really just say that he's the only professional mastering engineer on youtube?

[@lashtal]

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

[@Streaky_com]

I forgot to add the greatest…next time 😂

[@Thisisamezing]

Just started making music and got stuck on mixing and mastering. Thank you sir for this channel

[@We_Run_Up_Hills]

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!!

[@We_Run_Up_Hills]

(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!)

If you don't link left and right, it can make the kick, snare (whatever's in the middle) sound a little on either side? Since one of the sides is being turned down more?

[@Streaky_com]

I’ve not noticed this

[@bassismyace505]

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.

[@Trackformers]

Good shit streaky!! Maxing out the attack freaked me out tho. 🤔 Is that really how the attack works?

[@user-rp9dq8se8t]

Mr streaky how can we increase perceived loudness without getting any louder and at the same time get more analog?

[@davejohnsonmusic]

A .01dB ceiling is pretty high. Surely you will get audible TP's and distortion over 0dB when encoding to a lossy format, where it's noticeable? For audio, I aim for a .05dB ceiling and for video, .07dB. I use the Transparent algorithm because I'm using another limiter to catch the peaks before the L2 that's already coloring the sound a bit.

[@Streaky_com]

These are the settings that work for me

[@louistalamona2678]

How much gain reduction maximum do you recommand ?

[@Hoolagun]

Correct me if i'm wrong but the point of setting your master out at -0.1db is to compensate for the digital interpolation that occurs between the samples, that could be exceeding your threshold undetected. Without true peak your DAW/meters will show you level by detecting sample points only and the interpolation inbetween, could be potentially reading a little higher and be undetected. So in theory using true peak, you wouldn't need to lower your output to 0.1db because it is showing you the true peak of the interpolation between your samples. But at the end of the day if it sounds good, it sounds good. Who cares.

[@JibberJabJones]

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.

[@Skrenja]

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

[@future_Victoryofficial]

Thank 🙇🏾 u

[@user-rp9dq8se8t]

You use this limiter ar the main mastering tool or also hardware? If so what kind

[@Streaky_com]

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

[@jblazemusic]

🔥🔥🔥🔥🔥!

[@gilldanier4129]

Only professional mastering engineer on youtube?

[@StevenSmethurst]

I've always assumed true peak would be needed on but thanks for clarifying

[@darrellroseborough7275]

Streaky can you master without hardware?

[@jameswatts9003]

why is it you set the ceiling so high? Isn't there a greatwer possibility for clipping with only -0.1 dbtp of headroom?

[@taks359]

Does it mean you think to have a -1 dBTP for streaming is useless ?

[@EpithetMusicTV]

oversampling and true peak are more or less one in the same (depending on sample rate and the amount of oversampling). Panorama Mixing & Mastering has a great video breaking this down. essentially by oversampling you’re allowing the limiter to pick up inter-sample peaks. a side effect of this is that the limiter will work harder and thus more gain reduction is what people are often hearing when they say they don’t like the sound of true peak limiting. in the pro l2 manual, fabfilter even recommend oversampling 4x if not using true peak which will in effect keep overshoots within a range of 0.1db. what streaky is referring to as all the mastering engineers true peak being above 0 on streaming services isn’t actually to do with limiters but rather leaving enough headroom for encoding. both spotify and apple recommend -1db to prevent overs once the music goes through their encoding processes. you can also test this by bouncing a wav and an mp3 at 0 or -0.1 db and you can see the overs in the mp3 which aren’t present in the wav.

[@a2bs333]

He was mostly reffering to Ozones true peak limiter.

[@flipthetracksloops]

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?

[@hdraudiovisuals1386]

Are still running the discount Sir?

[@SibzProductions]

You essentially use Pro-L as a clipper. That's actually pretty neat

[@assshakerstudios549]

I have the most trouble tuning it to Metal! Like Slipknit styles, thrash, death metal, djent, etc. Stuff where it's blast beats, then break downs to half time, where there's also 808s and low end stuff, times to drop c or b! Whatchu got for that?

[@stra_music]

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

[@dand6450]

Streaky you need to do some video on PRO TOOLS and CUBASE PRO 12 as well. Especially more video on protools.

[@dand6450]

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

[@CrankCase08]

What version of plugin is this? I have v1.0 and it's different.

[@SamJessep]

Would you use a clipper before the limiter?

[@Streaky_com]

Can do for extra level and less dynamics

[@JibberJabJones]

i'm super confused-doesn't a really long attack time mean that the transients aren't being fully caught? i really don't understand this one. wouldn't it mean that the limiter is never fully reaching its setting?

[@TheDwarfInvasion]

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.

[@viol8rmusic]

I have heard you say before to unlink the stereo. But wouldn't that make the mono skew as the two sides are pumping differently?

[@Streaky_com]

No you just removing peaks

[@viol8rmusic]

@@Streaky_com thanks for the clarification boss!

[@MRDUKG]

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

[@mafioso4152]

Is this for mix or master? I am new sry

[@razthesun]

First haha. Im always looking for your videos. You're a big inspiration to me.🎉🎉

[@gulagwarlord]

Dude, almost everything you are talking about are things I figured out on my own... albeit with other plugins. I make stuff that has to hit -3.5 LUFs sometimes, and a lot of what you're saying is helpful. A trick I've learned recently is to use multiband in Snap Heap to limit the lows and only clip the highs. I can get ridiculously loud without distorting.

[@akageorge3662]

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

[@gulagwarlord]

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

[@Vurtek]

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

[@Mikey__R]

Hi Streaky. You keep talking about getting it loud. Doesn't Spotify normalise to -14dB LUFS? Is slamming into a limiter really going to help you?

[@Streaky_com]

i've done other videos on that

[@TakeHit0]

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

[@wh9460]

He streak thanks, i dont need a coursejust someone tell mewhat i do wrong.

[@dougr5187]

Streaky - your videos are excellent (and thank you for this one). But with reference to what you say at 0:11 "the only professional mastering engineer on KZbin", that's surely incorrect? Justin at SonicScoop / Warren Huart (and David at MixbusTV?) are all professional mastering engineers, are they not?

[@pureventrue2357]

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.

[@Streaky_com]

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

[@dougr5187]

@@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.

[@AndrewCCM]

@@dougr5187 amen. Those were my thoughts exactly.

[@J.M.81]

Talking about True Peak - usually you set it somewhere in -0.1 to -1 .... but when I use Ozone 10 for example and going for -14 LUFS on my Meter the TP is around -3 to -4 .... is that sth. bad when it's not at the -1 region ?

[@Streaky_com]

Yeah don’t bother mastering to -14

[@J.M.81]

@@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) ? :)

[@MrDJSTRATEGY]

Give him. Credit yall. Cause 80% of other videos aren't even for modern hip/hop/rap

[@manuelkolak4482]

the video effects.. hahahah the best!

[@zephyr8037]

1:17 If you have bad pc turn it to 32x before you render hope that helped you reading this

[@Elias-st1vm]

How much of gain reduction is fine?

[@Streaky_com]

As much as needed

[@tk380514]

ok, so i have used Waves L2, DMG Limitless, and Fab Filter L, I have also used Glue Compressor and EQ to gain loudness to 10-9 LUFS, this trick you showed actually worked better than the Fab Filter L presets for EDM and i gained 1 LUFS extra with no distortion. I was able to A/B compare all 4 methods and acheive similair LUFS (I use Youlean as the measurement tool). This method was probably the best using my Genelec 8040B's and Sonarworks EQ for the room. Distortion was less and LUFS was slightly higher. Obviously i have now subscribed, cheers @Streaky

[@lukeroberts3464]

Similarities of Verse And Chorus The chorus and verse are different in a lot of ways, but there are also a lot of similarities between the two parts. It makes sense to note the similarities of choruses and verses so that you're able to build songs with different yet cohesive sections. They're Both Important Parts of A Song's Basic Structure. The two sections are equally important since they both serve the overall goal of a song. While a chorus may be more memorable, a verse tells more of a song's story, setting up the payoff for the catchy chorus. A verse and chorus can connect deeply with a listener and work in tandem to create a strong piece of music. They Both Incorporate Rhyme. One of the best ways to make a song memorable is to incorporate rhyme. Fortunately, both the chorus and verse utilize a strong rhyme scheme in order to maximize a listener's retention of a song. The Verse And Chorus Help The Listener Attach To A Song. Every songwriter knows that the chorus and verse are essential. These parts may be different, but at the same time, they both serve the main story of the song in collaboration with one another. As you can see, the chorus and verse are both essential to a successful song even though they have their fair share of differences. Hopefully, this guide makes it easier for you to decode these essential songwriting tools so that you can start crafting better songs. Enjoy writing tracks with a memorable verse and chorus! Question 🙋‍♂ does bridge,interlude,breakdown,break,post chorus can all be part of song structure and telling a story?

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

[@lukeroberts3464]

@ agree.

[@shylime4225]

ChatGPT howdy

[@80sBabyPB]

Respect Shifu😎

[@TerryMeighan]

Literally just finished the final honours year of my audio engineering degree, feel like the scholarly structure may be lagging as the info we get seems out of touch. Don't get me wrong the course was amazing and so were the tutors, but I see a lot on this channel that contradicts what we've just been taught. I get that there's more than one way to skin a cat but there's so much nonsense that's circulated. Developed my skills more on my placement than I did doing my degree, thanks to the one on one tuition from an experienced engineer. Kinda feel for the teachers as it's so hard to be able to teach 20+ peopple at the same time

[@prodvytorla]

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

[@TerryMeighan]

@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.

[@lashtal]

@@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"

[@alterethos]

I love the intro to this video, lol. "As the only professional mastering engineer on KZbin"

[@DavidAskerMusik]

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

[@ThisIsWar316]

I’m confused why unlinking the stereo channels wouldn’t potentially compromise the stereo imaging?

[@gasmoney9096]

This dude DOESNT GIVE A FUCK

[@gasmoney9096]

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

[@Ale-oc8tv]

If i go over -1 true peak db on Spotify will my track be distorted?

[@Streaky_com]

No

[@Ale-oc8tv]

@@Streaky_com Thanks :).

[@alexchad98]

got it.

[@mikalroyhansen9586]

love you man❤ Kh from Mik Roy from Denmark

[@jzilla_grudgegang]

Been cool to see for ozone 10

[@Streaky_com]

Ok

[@Janomix]

Very nice settings. Big Z has put years ago, but ever are nice to get a refresh. The real trick is that we need put L2 with that setting on every group buss, drums, basses, voices, synths, etc. getting almost 2 dB of headroom on each group, to push the final master buss with another L2 with these settings plus another L2 with the real maximum power maximization... and with various peaks limiter like SIR audio. Thank you!

[@MrSoulja205]

My beat super low Vs commercial beat but my peak and rms beat on the same level sometimes mines be higher but still playback at a lower volume

[@pedrovaz3301]

That sort of setting is more like clipping than limiting. Have you tried a good clipper?

[@Streaky_com]

Yes

[@prodbynextlvl]

🔥🔥🔥🔥🔥🔥

[@merrarimusic]

In Germany we say „Ehrenmann“❤️

[@RhythmWalkerKS]

“So do that on the A-B, then you’ll C” 👏

[@CATEYEZ9LIVESENTERTAINMENT]

Ok nice

[@karadytube]

I am trying to focus on your information, so please make less animation noise, thank you❤

[@petercastle4381]

Streaky did you get my email about putting your courses into DVD on Fri, 28 Apr, 11:02. I have no broadband where I live only mobiile internet. just sent it again.

[@Streaky_com]

I have no plans to do so sorry

[@petercastle4381]

@@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.

[@bugsh9188]

I appreciate this format. Plz do Saturn ❤️

[@lillightstruck5378]

pls guide me to the light

[@TripianaVids]

- 0.1 dB?? Will this not cause problems? I learned that it has to be -1 dB especially for the streamingplatforms

[@Streaky_com]

Never done for me

[@TripianaVids]

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

[@TakeHit0]

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

[@TripianaVids]

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

[@TakeHit0]

@@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.

[@madsonit]

1:27 - You DO need to use dithering even if you export in 24bit, as any adjustment you do to any file in any daw, even if it's just a 0.01db adjustment will take the file from the 24bit realm to the 64bit realm - that's how each DAW is working. Test it out with a plugin like Bitter after your master plugins and see how bitrate is over 24bit even if the file is 24bit and all you do is just limiting. Is it actually easy to hear? Not really. Unless if you take a really quiet section and raise that level super loud. But still. We need to clarify the confusion.

[@Streaky_com]

Never

[@madsonit]

@@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. kzbin.info/www/bejne/aJqno5Wdm7Wdhrs

[@solo943]

Dan worrall words 👍👍

[@TomVernonYorke]

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.

[@JM_2019]

-0.1dB headroom and no true peak limiting can definitely result in clipping.

[@Digital_Mozart]

I'm curious, before the signal reaches the Pro L-2 what level should the signal be/how much head room should you have before getting to the limiter. Also do you use similar settings when using 2 pro L-2's in series?

[@Streaky_com]

Just use the input gain to make up the level needed

[@Digital_Mozart]

@@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?

[@TakeHit0]

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

[@Digital_Mozart]

@@TakeHit0 thanks man

[@stelthtenau]

Hey Syreaky, how come your not a fan of the "modern" algorithm anymore?

[@Streaky_com]

grew out of it