If you’ve got buildup in the low mid-range, or harshness because of sibilance, the 元-LL allows you to hone in and process whichever specific range(s) you desire. What makes the 元-LL so great is that it allows for multiband limiting. Unique feature: Any plugin that has a wet/dry blend feature is a winner in my book, and this plugin has about half a dozen unique features, but the ability to preview the. The vintage limiter is great for adding coloration and vibe to your material if needed. The user interface is minimal and not distracting at all, allowing you to first and foremost focus on the sound.Īll of these features wouldn’t matter if it didn’t sound great - but it does. This is just a solid, straightforward, great sounding limiter. Unique feature: The leveler and stereo unlink controls, which can help you obtain loud volumes, while still maintaining the integrity of your program material. If I want a limiter that preserves the low end, and adds very little color or hype to a mix, I choose the Xenon.
What makes it so great is how transparent it is. The leveler section makes the Xenon even more useful. The transient stage is extremely flexible, and it’s easy to dial in a setting that won’t ruin the punch of percussive elements in your mix. Here’s another limiter that has a handful of great features, putting it above its competitors. Although I mentioned that this is a mostly transparent limiter, the transients, stereo image, frequency spectrum and other qualities can be affected by the Pro-L 2, so make sure to get the most out of this plugin by learning the tendencies of the different styles. I will say that I end up using ‘modern’ quite a bit more than the other styles, but each of them adapts to material in a unique way. Mastering Tip: Toggle through the styles to see what best fits your material. The true peak limiting and metering are must-have features that really give the Pro-L 2 an advantage over older limiter plugins. You can push it quite hard before the mix becomes compromised, and the visual feedback that it provides you is excellent, as is the case with every other Fabfilter plugin. It’s mostly transparent, but definitely has a sound, or should I say sounds depending on the “style’ that you choose. It’s set up as the final link in my default mastering chain because I can trust it. The Pro-L 2, however, is a consistent workhorse. Sometimes the low end suffers, other times the transients aren’t preserved to my liking, and other times the tonality of a master is negatively affected. Something I’ve noticed about most plugin limiters is that they can be a bit finicky, perhaps responding to a variety of pieces of program material unpredictably. It also adopted more loudness metering options including the EBU R128, ITU-R BS.1770-4 and ATSC A/85 standards. It features true peak limiting, a real-time level display that includes peak gain reduction labels, and up to x32 linear-phase oversampling.
It received numerous upgrades over its predecessor, the Pro-L, which was already a top-tier mastering limiter.
#Other limitier like sonnox oxford pro#
The Pro L-2 from Fabfilter makes its way onto at least three-quarters of the tracks I master, it’s that good.
Here are some of my favorite and most used limiter plugins. As I cover in-depth in my new online course ( Mastering In The Box), limiting is an invaluable tool for any mastering engineer, when used correctly, of course.
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