How much db gain for limiting?

Asked by: Joseph Mosqueda

The more gain reduction you have, the more you’ll hear the artifacts of your limiter. In a good master, you don’t want to hear the limiter working; therefore, ideally the gain reduction limit you have on the limiter should be no more than 2.5 dB.

What is gain reduction on a limiter?

A specialty of the empress' ER and the Express er is the gain reduction limiter. Imagine your compressor had not only one. But two threshold controls one telling the compressor want to start

Should I put a limiter on my master?

Give yourself the “rule” that you will never put a limiter on your master fader while you are still mixing and you will go far. Rely solely on compression, EQ, and a your other bag of tools on a track by track basis to get things working nicely. If you limit while you mix, you will end up fighting with the limiter.

Should I put a limiter on every track?

It probably isn’t necessary, but you can put a limiter on as many tracks as you like. Instruments like synths and distorted guitars may already have a very small dynamic range so in my experience, there’s really no point in limiting them.

How do I set mastering limiter?

To set a limiter, first identify the loudest section of a song. This is the part where the limiter will react most drastically. It is best to check for distortion in this area. Once you’ve found the loudest part of the song, insert a limiter of your choice on your master bus and listen to your recording.

Where do you put the limiter on a chain?

Where do you put the limiter on a chain? A limiter should be the last step within your mastering chain. You can think of a limiter as an ultra-powerful compressor. Therefore, a limiter should be used sparingly so that your mix is amplified, but still dynamic.

How much limiting is too much?

The more gain reduction you have, the more you’ll hear the artifacts of your limiter. In a good master, you don’t want to hear the limiter working; therefore, ideally the gain reduction limit you have on the limiter should be no more than 2.5 dB.

What dB should a master be?

I recommend 1dB of headroom, so your master should peak at -1dBFS before you convert it to an mp3 or AAC file. The simplest way to ensure 1dB of peak headroom is to use a maximizer or mastering limiter in which you can set your output ceiling to -1dB. All good maximizers and limiters provide this function.

When should I use a limiter?

Limiters can be used in any situation where you need to cap the intensity of a signal at a defined level. For example, they can work well on percussion in situations where some hits are much louder than others and need to be tightly controlled.

When should I use limiter instead of compressor?

As a general rule, you use compressors on individual instruments and busses. If your vocal track is too dynamic, you wouldn’t want to put a limiter on it. The strong ratio of a limiter would squash your vocal too much, making it sound unnatural.

Why do my masters sound quiet?

It’s normal that your master sounds lower when you master to -16LUFS, because it *is* lower. That may or may not be a problem depending on where it will be played. Depending on the situation, you may need more than one master.

Which comes first compression or EQ?

Each position, EQ pre (before) or EQ post (after) compression produces a distinctly different sound, a different tonal quality, and coloration. As a rule, using EQ in front of your compressor produces a warmer, rounder tone, while using EQ after your compressor produces a cleaner, clearer sound.

How do you use sound limiter?

As a creative tool, a limiter can boost the perceived volume of a certain sound. It can also be used to restrain unpredictable effects or automated sounds that have too much dynamic range. You’d simply be using the Limiter as a heavy-duty Compressor (a Compressor with a very high ratio).

What order should a mastering chain be in?

Mastering signal chain example, from start to finish

  1. Step 1: Limiting. …
  2. Step 2: Corrective EQ. …
  3. Step 3: Corrective dynamics. …
  4. Step 4: Sweetening compression. …
  5. Step 5: Sweetening EQ. …
  6. Step 6: Sweetening limiter.

Should I use two limiters in mastering?

And the second one is set to add more gain to your mix now obviously you don't want to go too extreme with any of with either of these. It's just like the idea of compressing.

How much should I gain stage?

You want to aim for an average of -18 dBFS with peaks hitting around -10 dBFS. You never want a channel to go above -6 dBFS while recording. Set yourself up for success by keeping each track’s volume in this range!

How loud should I master for Spotify?


Target the loudness level of your master at -14dB integrated LUFS and keep it below -1dB TP (True Peak) max. This is best for lossy formats (Ogg/Vorbis and AAC) and makes sure no extra distortion’s introduced in the transcoding process.

Should I master at 14 LUFS?

The best mastering level for streaming is an integrated -14 LUFS, as it best fits the loudness normalization settings of the majority of streaming services. Although other measurements like the true peak value and other metrics need to be considered, -14 LUFS is the best mastering level when considering loudness.

Is 9 LUFS too loud?

He finds that avoiding anything over −9 LUFS sounds best. But tons of pop songs are mastered as loud as −5 LUFS or higher. The point is, the number doesn’t matter that much. You should mostly be focusing on making the song sound great.