![]() However, you should use limiters carefully with vocals, or you could ruin the dynamics. It will make the vocals clear to listen to. If you are working on hip-hop then you can use limiters to cut off too high and too low dynamics range. People say a limiter is not ideal for vocals as it eats dynamics and makes the vocal dry in nature.Įffects should be used as per the demand of the genre. You always be as much as experimental in music. You can also use limiters in heavy drums.Īfter all, the sky is the limit. Limiters are also used with bass guitar where you need to make its dynamics more even as it is the building material of the harmonics of a song. Note: If you are using the DAW’s own limiter always aim for 1-3 dB’s of gain reduction and if you are using any third-party limiter always aim for 1-5 dB’s gain reduction.Ĭaution: Any more than 2dB of gain reduction your song gets started pumping, so beware of too much gain reduction. That’s it, the limiter is all set in your master. ![]() Now decrease the input gain until you are getting 2dB to 3dB reduction gain.If you have an auto function, let the compressor do it for you.Decrease the release slowly until you hear the sound gets distorting.At the point where you get the release losing impact turn back the attack a little.Now start decreasing the attack slowly until you hear the mix started to lose the impact.Increase the input gain about 10 to 10dB.Set the output (ceiling) at -0.5 to -0.2.Add the limiter at very last of the mix in the master channel.Here is a step-by-step procedure to use the limiter in the mix bus. Only use it if you want to master the song yourself. Note: If you are going to send your song for mastering, don’t put any limiter in the master. The mix bus and master channel is the only place where you should use the limiter. Let’s get the answer… Why a Limiter is Used? So, if the compressor is able to stop the clipping, why and where a limiter is used? Note: You should always match the RAW signal volume and processed signal volume by adjusting the makeup gain control. When the compression is applied in the correct way, you can increase the volume of the vocal WITHOUT CLIPPING. The simplest formula is – When you lower the threshold and/or increase the ratio you are compressing hard and when you go just opposite that means to increase the threshold and/or lower the ratio the compressor goes soft. Ohh, this math is complicated for you, don’t worry I also don’t like math. The rule of thumb is if you want to compress more you should be set the higher ratio(4:1, 6:1, etc) and if you want less compression you should set the ratio lower (2:1, 3:1, etc) ![]() If the vocal reaches -12 dB then the signal goes down by 2dB. That means whenever the vocal reaches -14 dB the vocal will be turned down by 1 dB. Let us take an example – Say you have set up the threshold -16 and your ratio is 2:1. That means that when the compressor kicks in how much it will turn the signal down. It tells the compressor about the amount of compression. Ratio is another important control of the compressor. Here if you set the threshold around -13dB then whenever the vocal becomes louder then -13dB compressor kicks in under the range. Now let us take some practical examples.Īssume you have recorded a vocal that’s overall dynamics is around -14dB but in some portions of the vocal the singer went extra loud and you get spikes up to -10dB. Threshold is measured in dB and you are always in negative measurement such as -1dB, -6dB, etc.
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