Loud Records - How I Use Fabfilter Pro-L2

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Being able to get a record to playback loud, while also sounding good, is a quintessential part of any recordist's job. Here's how I do it with the Fabfilter Pro-L2!
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[@mattmullin33609]

The attack knob is super interesting on ProL2. It’s more of a time-domain threshold for when the release kicks in. That’s why you’re not hearing clipping when you open the attack. With the attack fully open, you’re basically never really triggering the release function. The attack allows you to limit transients with a super fast release while limiting the parts in-between transients with a longer release. Super smart design. Not something I realized until very recently.

[@azomyte]

Didn’t know that tip about holding shift while adjusting gain, golden! Thanks

[@WeissAdvice]

Simple but super de-duper valuable.

[@raverone909]

Thank you for not only showing us tips with the L2, but also for demonstrating the simple but overlooked method of hiding your gain reduction meter off screen in order to actually listen with your ears.

[@WeissAdvice]

I almost always keep my analyzers and meters off, as much as possible. When I started back in the day I never really used them much, and because I'm used to not having that visual stimulus I find them distracting more than informative. I do like Metric A/B and Sonible:True Level because it gives me CONTEXT for the information, so that's the one exception. Or if I need to really quickly hunt down a resonance that's bugging me a frequency analyzer can make the process faster.

[@MrAkkaTinka]

As far as I know the attack knob doesn’t actually function as an attack like it would on a compressor, but it controls the „attack“ phase of the release - thought of it as a hold function, as seen in some other compressors or gates. So it shouldn’t really impact how the l2 turns down the program material. Great video as always, many useful tips that I will definitely use from now on! Thank you!

[@WeissAdvice]

Yea, it's not a typical attack like how a compressor acts. It's a two stage release or something like that. I have no idea, all I know is how it sounds.

[@Mike_Benz_]

@@WeissAdvice kzbin.info/www/bejne/gWfKeoiFa9aSaac kzbin.info/www/bejne/bYGodKKha7Frp8U

[@ati8153]

@@WeissAdvice if the attack time is slower than the transient duration it clips the transient so its kind of a knob for how much clipping vs limiting that u wanna get

[@Mike_Benz_]

The way you explained "True Peak" was really a great insight which I haven't heard anyone explain it that way before.

[@WeissAdvice]

Thanks Mike! I think if I could have explained inter sample peaking a little clearer on the fly it would have been even better.... but, meh, works for this vid.

[@EngeniusBeatz]

Wow true peak softens the transients!? This is why I follow this channel your understanding of audio and the implications of the plugins on the audio is unmatched.

[@WeissAdvice]

Yea, it's extra insurance against distortion.

[@dolapoinc]

I use the limiter similarly, but I had to run it back for "If you wanna catch these hands, don't..."🤣😂 glad I already subscribed lol

[@aherbs86]

same LOL

[@WeissAdvice]

Blame my fiancé, she dared me to do it LOLOLOL

[@tjmitch57]

Hi I like your striaigh forward approach in this video of all the videos on the fab filter limiter yours is the easiest to follow and understand thanks for taking the time to share this.

[@rome8180]

I never use anything but the "Transparent" mode. I do rock music, not hip hop. To me, Transparent sounds by far the best and impacts my mix the least. I also never touch the attack and release. I've messed around with them, but I never felt like I was improving anything. I felt like I was messing with settings for the sake of messing with settings and not because I was actually dissatisfied with what I was hearing.

[@THEFUTURESOUNDBEAT]

so far this is the best tutorial on Pro L2 for sure dam i was using it wrong now i got and i tested on my track feel like heaven now thanks

[@MusicByIanLtd]

Awesome video. I love the fact you're explaining what you're listening for and why. And it's live reaction to the material. Not pre-rehearsed to fit. I don't (didn't) use Pro-L2 because of my lack of understanding of how to use it. So thank you. Your video should have been sponsored by FabFilter. :)

[@WeissAdvice]

I'll hit them up for a signal boost but typically I don't take sponsorships. Only exception is Slate but that's because I do full length tutorials for their academy.

[@alphaomega6062]

I bit the bullet and bought this in the most recent sale, after hearing Mixerman sign it's praises. I haven't totally got my head around it yet so this video is going to be interesting.

[@WeissAdvice]

There's a lot going on, but it doesn't have to be too complex. Most of the tweaks allow me to get like 1db more level out of it at best. But, in a world where competitive loudness is still somehow a thing - sometimes that 1db is necessary.

[@PompeyProductions]

"if you wanna catch these hands, dont..." I'M OVER HERE ROLLING LAUGHING!!!!!!!!

[@WeissAdvice]

I'm just sayin. LOL.

[@undogmatic]

Kinda surprised Weiss missed the opportunity to talk about the Weiss DS-1-MK3

[@WeissAdvice]

Oddly enough, I have no affiliation with that Weiss. Not even a distant cousin or nothin'.

[@RedSpark_]

wow the gain compensation is a really nice feature. I'm just using the ozone elements maximizer and ADclip 7, both usually pretty cautiously, but I think I'm going to try pushing things a bit and see what happens!

[@WeissAdvice]

Ozone Maximizer is competitive in quality with Fabfilter. The "auto master" in Ozone, I'm not so much a fan of - but the actual quality of the maximizer is really good.

[@_allcap]

Great review. I would love your take on the Sonible smart:limit

[@WeissAdvice]

I love Sonible as a company. They did send me smart:limit but I wasn't really able to get it to sound the way I wanted. Frei:Raum and Smart Comp are my shit though.

[@aherbs86]

mind blown within 1:30. #facepalm. Thank you Matthew!!

[@WeissAdvice]

Thank you Adam!

[@djvoid1]

The hardest thing about it is getting your head around how the attack and release work. It's totally not how you'd expect

[@WeissAdvice]

Yea, it's like a two step release or something of that ilk. The "release" works like a more typical release but the attack is like the initial attack of the first release stage.

[@Ragg32]

The attack and release in pro L2 work different to other limiters…when the the lookahead is set to zero and the attack time is set half way or the longest time same with the release then it turns into a clipper, I came across another video explaining this about pro L2…panorama mixing & mastering channel

[@WeissAdvice]

That's my buddy Nick. Great channel. Yea his explanation is way better. Mine is really just what I'm hearing. His is why.

[@le-berry]

I use Weiss DS-1 MK3 and Nugen for intersample stuff

[@ReeseWitherknife]

Have you tried Firetheclip? Pretty great for drums. Also MO-TT is cool as part of loudness for drums.

[@WeissAdvice]

MO-TT is fire, love that plugin but it's a little tricky to use so I don't go there that often. Never tried Firetheclip.

[@IanJamesBeats]

I still use the stock ableton limiter...I don’t hate it but I should probably upgrade it.

[@WeissAdvice]

It's helpful to be able to work with something like that because it forces you to get used to mixing in a way where you minimize distortion and maximize your punch within the mix. But ultimately, yea, better gear does help.

[@BrainDeadTX]

Loved the video, what was the final LFUS? If you don’t mind asking , thanks

[@WeissAdvice]

I honestly don't know. I don't typically check LUFS. If it plays back fairly close in level to other records and doesn't sound noticeably distorted, that's my litmus. LUFS is just a number - which can be useful at times, but ultimately not nearly that important.

[@luvitluvitbaby]

I have Pro L 2 but I .generally use Weiss DS1 MK3. Any thoughts on that one?

[@WeissAdvice]

Aside from the absolutely incredible name, I don't really have any particular opinion on the Weiss. Haven't used it much.

[@mihneazoican2479]

I just want to know what the song is lol I love it

[@WeissAdvice]

It's called "Enjoy That" by Akon, and it is out now!

[@craigseganti8999]

So Im a producer - if I had the $$ Id just pay someone. So what’s the learning curve and how close can I get without becoming a mastering engineer with mostly presets?

[@carlinistal1295]

Great video as always! What are your thoughts on digital clipping to achieve a loud master? I've heard it's the usual way to obtain very loud -5 LUFS ish masters and in my own experience I just can't seem to get to those levels with a limiter...Thanks in advance! ❤

[@WeissAdvice]

Clipping is when dynamic energy is converted to harmonic energy. Limiting is the restriction of dynamic energy. Too much clipping becomes audible fuzz, no bueno. Too much limiting becomes very soft transients. Also no bueno. However, the right amount of limiting and a tiny touch of clipping that happens over a duration that too fast for the ear to really register - well - we get slightly harder transients with a slightly louder playback. It's a game of give and take for sure.

[@EngeniusBeatz]

If you had a choice of top 3 limiters which other two would you prefer?

[@WeissAdvice]

Invisible Limiter and Ozone Maximizer.

[@CAASIforYOU]

I was BLOWN AWAY when I turned off the TP limiting. Sounds booty with it on and I shake my booty with it off.

[@WeissAdvice]

I think a hair distortion just sounds better than a completely rounded out transient, really.

[@JSkyjsky]

how are you getting so loud while the levels are still at -12?

[@WeissAdvice]

The entire playback of the video is turned up a bit. So I'm recording my voice and the output of Pro Tools to DaVinci Resolve. Then I edit the video in DaVinci. The master out from DaVinci is turned up a bit so that the overall playback is fairly loud like most KZbin videos.

[@aaronthomas7790]

Couldn't get through the video to get to the tips with that vocal. I guess I'm an old man now.