The limiter is the last process in my signal chain and the compressor is just before that.
We use very little compression for mastering.
Usually a ration of 1.2:1 and hardly ever more than 1.4:1.
We try to keep it transparent and avoid any kind of pumping. The attack time is set long enough to wait for the drum transients but short enough to not lag behind.
We use limiting on almost every project we do, unless it’s orchestral or something along those lines. To avoid clipping, the output ceiling is set to -0.1.
When limiting a song with drums, we usually push it as hard as we can while still maintaining it’s integrity, particularly in the low end. We listen very carefully to the kick drum to be sure the limiter is not causing any distortion.
In order to maintain an exciting low end, we try not to overdo it and we search for the sweet spot.
Limiting can add punch to a recording but pushing a limiter too hard can also take the punch out of a recording.
Each mix has it’s unique point of diminishing returns and when mastering an album, the overall volume is naturally determined by the softest song post limiting.
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