On tracks it doesnt really matter because of 24bit floating point math. IIRC REAPER calls a peak on something just under zero. I think that comes down to what designates an over though, which in my mind has to be more than zero. I'm not sure I've proven whether Limit Output comes before or after the AA filters.Ĭoming from another DAW where using compressors and limiters would keep me from getting red peak lights on instruments like acoustic drums with spikes of transients, REAPER has always seemed too easy to get overs, or at least an indicator suggesting one. There's some question of how well the antialiasing in ReaComp works at all, but any oversampling in any plugin anywhere makes it impossible to actually promise a hard limit. You need it to have all of the information. Threshold is your limit and Wet is your ceiling.ĭon't mess with the sidechain filters. If you to use it like the ones where you set the limit of the loudest input and then the ceiling for the loudest output.or whatever the call it.where you just turn down the one knob and the whole thing gets louder and more crushed.turn on Automakeup. The fastest ReaComp can do is RMS 2ms and PreComp 1ms and I'm not sure that's quite fast enough, but most of those lookahead things can't actually promise you a celing either. If your limiter has latency of its own, this is why. Most of the really popular ones out there work that way whether they tell you or not. With careful use of RMS time and PreComp, you can get something a bit more like the popular lookahead limiters that are out there. But it always had the "Limit Output" which really is just the simplest hard clipper. I've done a little bit of messing around trying to find settings that emulate the JS saturators that I've been using, and got some promising results. Turn up the knee and that clipping gets softer and softer and more like what we call "saturation". With all time constants at 0 and with a knee of 0, it's a hard clip right at the threshold. Set the knee at the level where you want things to start being affected some, and set threshold at the absolute maximum you want to see at the output. Without that thing checked, the threshold actually is the limit. When setting it inf:1 for brick wall limiting, this meant there could be input levels that were not high enough above the threshold to actually be clamped to the threshold so that some outputs were above the limit you thought you'd set.
#Other limitier like sonnox oxford full#
The old "weird knee" behavior had the "spread around" the threshold so that you got some compression below threshold and didn't reach full ratio until somewhere above the threshold.
Ozone Standard Maximizer (you have to buy the bundle to get the limiter) Toneboosters Barricade 4 is supposed to very good and is also inexpensive.ĭitto for TDR Limiter 6 which is the commercial version of the freebie above.
Its on sale today for $29 along with all the other Izotope elements plugs. The Ozone Maximizer is very good and you can get a stripped down version of it with Ozone elements.
Check out Venn Audio FreeClip, Gvst Gclip, SIR StandardClip and Kazrog Kclip. They can actually be more transparent than limiters if used to just catch some peaks. You should try those freebies and see what you think before buying something.Īlso You may want to try a clipper instead. If you are only taking a couple db's of the top of a random snare hit I don't know why you'd be hearing any tonal difference.
Hmmm the Sonnox Oxford limiter is very highly regarded.