![]() After recording to a Canon HF G26, I then used a Sony TV for my playback reference device, using the onboard speakers and then the same TV with AKG 702s. I did some tests, using the Bluthner concert recording preset, reduced volume to -9, Limiter threshold -12. Thanks, I think intensity sounds about right for Sharpness. One of the new limiters to me is as easy as my counting 1, 2, 3: It is in situ here the limiter can yield up its final purpose (that is) in lieu of the general limiting restrictions inherent within electronic circuitry, real world drawbacks seldom if ever encountered in the strictly live performance of acoustics wherein dynamics are free flowing and always accurately represented.Īs I may select any environment a recording space of my choosing based upon the overall theme of the arrangement presented to me, I use the limiter now to let a dichotomy of musical instrument and surroundings become very fashionably apparent to my listener as this I believe can become paramount to the fulfillment or only his understanding of any important historic musical piece. I am affirming through though the limitations of current electronics you have to impart still a sense of the real piano sometime situated inside a brick and mortar hall or room location. To me by far it is more about the limitations of current electronics than it is about the actual volume or decibel peaks reached by the acoustic played in a real room or the impression you get while physically seated within it. Which is when also you take your performance to people (perhaps just to leave them with one long lasting impression). My view today is any limiter usage is a concern whenever within your aim is consumer accessibility of modern media and speakers largely available publicly. Of course recently, I see it is possible to remove it from a multimillion-dollar structure and into my small kitchenette area with sink and dishwasher, so long as I’m wearing a Sony product, Sony headphones (MDR-7506), and got Waves NX, Abbey Road Studio 3 or Ocean Way Nashville from Waves. So, I was happily relieved at the release of v.5 with that limiter that possibly was either on or off only but also just maybe a tad over simplified without any extra control.Īnyhow a limiter once was a sort of thing seldom anyone but some professional mastering engineers could apply toward black eventful blobs of wax and pressers before a stylus and platter. Man, my dynamics engineering now is about as dynamic as I can get!Īdmittedly, before the release of v.5 likely I was bewildered or just plain confused about the limiter, really to the point of even intimidation. By them I get the exact peak heights I want at just the right crests factors or inclinations where they are very distinguishable from each other on various levels as performed entirely on an original acoustic. And let me just say about that polish, a very little goes a long way.Īll three of them (plugins) I use to control dynamics, peak dynamics especially. Which is simple to me to operate and add some polish. But on my latest I’m engineering, including works from Debussy, Schubert and Beethoven, I use the plugins in conjunction specifically with bx_masterdesk from Brainworx. Now I feel my tastes have been refined enough for me to venture off on my own and experiment with the Sonnox Oxford Range plugins, particularly Oxford Inflator and Oxford Limiter. So, I’ve been using machine learning as I can learn a lot indeed from it. Always helpful to me is an artificial intelligence (AI) based limiter that comes within iZotope mastering software. I turn often to another limiter whenever serious about my recording any solo piano. It might depend on the video however, if maybe it would become useful in it. Clearly it does as expected it limits peaks. Which get in the way of another instrument or voice. It seems fine when you’re wanting a basic recording only or need possibly to record a small part an accompaniment that otherwise without it leaves unwanted volume peaks. Version five (5) allowed just one variable it’s either on or off. Throughout its history however it’s been changed. It is itself limited to four (4) variables: a Switch (on-off), Sharpness, Threshold (dB), and Gain (dB). The Peak Limiter I find now within PIANOTEQ appears very basic.
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