Limiter Trick They All Use

[@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 🤣

[@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 .

[@jamzdrumz141]

Sometimes a fast release is best, yet trying musical subdivisions can be a great starting place. A more advanced tip is using different mathematical subdivisions in each frequency zone of a multiband limiter. Shorter times for the low end, and longer for the mid range and high frequencies. Depending on the genre and scenario of course.

[@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.

[@Byron101_]

UNLINK can cause phase problems with left-right information! LINK it.

[@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

[@Devlife2]

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

[@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

[@Nhiimusic]

incredible punchy video!

[@OfficialStevenCravis]

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

[@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.

[@anthonylynchmusic]

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

[@zephyr8037]

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

[@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.

[@ConnollyMusicCreation]

Just starting out on my mixing journey. Thank you for the killer content.

[@blessednech]

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

[@SamJessep]

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

[@screendrem]

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

[@tronmosesmedia4816]

This helped a lot. Thank you Streaky!

[@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.

[@manwithaplan8543]

Can confirm, amazing results and great timing

[@L.DOT.P.]

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

[@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? 🤔

[@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 ;-)

[@Fire-Toolz]

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

[@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

[@Tedbearbeats]

Do you use the pro L on every master ?

[@derSkeptika]

Der einzige Produzent auf KZbin wo ich bevor ich das Video gesehen habe bereits Like!

[@theDUCER.]

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

[@axjajxa]

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

[@VasiliZgRR]

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.

[@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

[@promisechinonso1395]

When can i use dither after applying limiter?

[@Middlestepofficial]

And if you have a food AD/DA converter, you can clip directly into the hardware. It becomes insanely loud and brutal. That hardware clipping distortion is the real silver bullet.

[@Sol7Studios]

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

[@ianwilliamson7972]

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

[@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

[@forevergethigh]

what about limiting settings , at drum buss chain or bass chain ?

[@uwimanasamuel447]

Ndagushimiye cyane streak

[@TheFY-cb6eb]

East African pliz use english he does not understand wat u say

[@LloydMajor]

Thank you for the class!

[@StevenSmethurst]

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

[@tskolits]

Thanks for this! Very helpful!

[@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."

[@iansteenblock5010]

​@@JibberJabJoneslink to that video?

[@Ash-gg2ql]

Can’t wait to try this tomorrow

[@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?

[@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

[@FooltheFox]

Love the no bs video. Actually helpful 👊

[@OopaOooopa]

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

[@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?

[@lazyailava]

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

[@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!

[@switchmuso]

I before e except after c... receive... seriously tho, every single thing you said was the OPPOSITE of what I've been doing.... have to re-assess my limiter choices... thanks, I think... system, two s's

[@emmalynepairing3111]

Thankyou, very true!!!❤

[@darrellroseborough7275]

Streaky can you master without hardware?

[@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.

[@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 😂

[@valjunemusic]

Top info man! Thanks a lot 👍😊

[@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?

[@bugsh9188]

I appreciate this format. Plz do Saturn ❤️

[@Trackformers]

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

[@Jimthehumanoid]

The only professional mastering engineer on KZbin? You sure about that?

[@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.

[@HzofArt]

This is right on time buddy 👍🏾

[@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"

[@taks359]

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

[@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

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.

[@MoveTrueRecords_]

AMAZING!!

[@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

[@SamJessep]

Would you use a clipper before the limiter?

[@Streaky_com]

Can do for extra level and less dynamics

[@MickeyBlood]

Thanks 👍🏿 🙏🏿 👊🏿

[@КонстантинКондрашин-г3э]

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

[@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.

[@prodbynextlvl]

🔥🔥🔥🔥🔥🔥

[@matienazemy1382]

2:30 this really caught me off guard hahah

[@hdraudiovisuals1386]

Are still running the discount Sir?

[@belgradeboy1977]

Hey Streaky, the link to Mixing Pyramid Method seems to be broken. Is this still available?

[@OopaOooopa]

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

[@louistalamona2678]

How much gain reduction maximum do you recommand ?

[@mafioso4152]

Is this for mix or master? I am new sry

[@Ivan23indagame]

Thank U very much)

[@JM_2019]

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

[@SibzProductions]

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

[@MrDJSTRATEGY]

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

[@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

[@SlugBeats]

thank you!!

[@SBTCP]

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

[@SBTCP]

@ agree.

[@shylime4225]

ChatGPT howdy

[@CrankCase08]

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

[@shalibhadrashah1873]

Cant download project file Preset of L2

[@80sBabyPB]

Respect Shifu😎

[@merrarimusic]

In Germany we say „Ehrenmann“❤️

[@ADTHYM]

The reason why I like your teachings because you always break the illogical orthodox mixing and mastering mindset.

[@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.

[@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

[@wh9460]

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

[@razthesun]

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

[@pedrovaz3301]

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

[@Streaky_com]

Yes

[@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 :).

[@future_Victoryofficial]

Thank 🙇🏾 u

[@RhythmWalkerKS]

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

[@schallfarben5614]

Man streaky, your „I am the only pro on yt“ and the click bait captions really turn me off. When i started out I thought it’s really cool to learn your tricks.. the longer I am in the game your videos become more entertaining as I find it funny to know more about mastering then you do and not beeing an mastering engineer. You use a limiter wich introduces phase smearing the way you use it and your ceiling and is too high for any codec btw, but how should you know? Congrats on how you got all the clients tho that’s the really secret to me.. cheers

[@lashtal]

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)

[@schallfarben5614]

@@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?

[@gilldanier4129]

Only professional mastering engineer on youtube?

[@jzilla_grudgegang]

Been cool to see for ozone 10

[@Streaky_com]

Ok