the limiter can (ab)used to fatten things up and add “epicness,” but one can overdo it… If you push too hard, too much bass is lost, and then it kind of has the opposite effect instead, just sounding bright and harsh.įinally: It’s always a bad idea to mess with this with tired ears after hours of work!ĭavid, when using Ozone… I usually just put it in the master track and run the assistant… and that’s it… all the previous work manually balancing each track is done, and with this ozone in the master, I feel it micro-shape the imperfections. But, failing that, making it fit by means of selective multiband compression is better than having the limiter desperately trying to squeeze everything in, all at once.įrom a more sound design point of view. If you want a natural, transparent sound, it’s better to get it right at the source, than trying to shape it in the master. Might add multiband compression before the limiter if there’s too much dynamic range in the low end (because that will make the higher frequencies pump if the Maximizer is pushed too hard), but for orchestral/hybrid, I find that unless you just need it REALLY loud (as in trailers, or “background listening”), a need for multiband compression might a warning sign that there are arrangement/mix problems. Rule of thumb (as least for traditional orchestra): It it doesn’t basically just sound the same, but louder, you’re overdoing it, or there might be mix issues. I typically just use Streaming, and then I manually tweak the Maximizer until I get climaxes sufficiently loud and intense, but without boosting the quite parts too much.
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