04-03-2015, 09:17 AM
https://drive.google.com/file/d/0B-Pan_F...sp=sharing
Did a new version with the ceiling at -0.1 and didn't have clipping in Audacity but still had some with SSL X-ISM. It's so bad that the L3 can't prevent inter-sample clipping as well as the Oxford and Ozone (I already used both), even though to me it's the best limiter out there and an almost unique multiband limiter. Another thing: the L3 only allow output ceiling modifications in steps of 0.1 dB.
In this track in particular, the kick/snare are so punchy (my mixing goal was to make them the punchiest possible), as soon as I get the threshold down or especially the ceiling, they get wet. If I try to compensate with the Waves S1 setting, I lose loudness and stereo width.
I'm taking a look again at my lossless music library and see that half of the industry these days doesn't give a damn about inter-sample clipping to the point where I think it's too bad for those who have shitty conversion technology and probably won't even hear the distortion, especially since the one coming from their speaker/amp is probably bigger than the conversion one. Those 0.1 dB make all the differences in terms of dynamic range for us, but not much for them. Some time ago when I saw that almost everybody made their mastering at 0.0 DBFS, I didn't even ask myself questions.
Still, everything sounds great. Thanks for pointing me the inter-sample issue, that was the reason (without knowing) I stayed away from the Waves limiter and went for the Sony sometime, it managed "clipping" better but isn't as versatile.
Did a new version with the ceiling at -0.1 and didn't have clipping in Audacity but still had some with SSL X-ISM. It's so bad that the L3 can't prevent inter-sample clipping as well as the Oxford and Ozone (I already used both), even though to me it's the best limiter out there and an almost unique multiband limiter. Another thing: the L3 only allow output ceiling modifications in steps of 0.1 dB.
In this track in particular, the kick/snare are so punchy (my mixing goal was to make them the punchiest possible), as soon as I get the threshold down or especially the ceiling, they get wet. If I try to compensate with the Waves S1 setting, I lose loudness and stereo width.
I'm taking a look again at my lossless music library and see that half of the industry these days doesn't give a damn about inter-sample clipping to the point where I think it's too bad for those who have shitty conversion technology and probably won't even hear the distortion, especially since the one coming from their speaker/amp is probably bigger than the conversion one. Those 0.1 dB make all the differences in terms of dynamic range for us, but not much for them. Some time ago when I saw that almost everybody made their mastering at 0.0 DBFS, I didn't even ask myself questions.
Still, everything sounds great. Thanks for pointing me the inter-sample issue, that was the reason (without knowing) I stayed away from the Waves limiter and went for the Sony sometime, it managed "clipping" better but isn't as versatile.
Wolfstag.ca - Wolfstag Studios (recording, mixing, mastering)
Wolfstag.bandcamp.com - Wolfstag Records
Wolfstag.bandcamp.com - Wolfstag Records