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Adaptive Limiter in an instrument channel?


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I know the adaptive limiter should be used during mastering, but is there any reason I shouldn't add one to an instrument channel to avoid clipping. If this is reasonable, where would I place the limiter in regards to the reverb effect? ( before or after)

Thank you

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Another good reason not to use it as a normal insert on an instrument track is that it induces latency.

The best way to understand is experiment: try inserting an AdL on all your tracks (with the default 3 dB 'extra gain' setting) you'll notice two things: very high loudness that will probably "aurally strangle" the listener, and latencies that will make it hard to impossible to record anything with correct timing.

The only 'valid' reason to do it is because of the sound it imparts, as the honourable reverend has already pointed out.

Bottom line: once you now why certain 'rules' are there, you're free to break them. The AdLimiter could well 'sculpt' a synth sound just to where you couldn't get it via the synth itself. Although the humble Compressor (no extra latency!) could probably achieve pretty much the same, in a more predictable and less CPU-costly way.

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Thanks guys!

I probably should have been somewhat clearer, but never the less you guys have helped.

First off, I'm recording a Pedal Steel Guitar (rather than a instr, track).

I'm the last instrument to the track to be added. Vocals and band are done.

What is presenting the challenge is the way a Pedal Steel operates.

The PSG has a volume pedal that is constantly in use. This volume pedal is always moving with this instrument because the volume pedal on a PSG is the means of achieving it's sustain.

With the volume pedal and PSG; I'm going from completely fading out to sustaining as long as possible by applying full throttle to the volume pedal.

I've never used the gain plug. Don't even know where that thing is, but i'll give that a go today.

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The gain plug-in just works in the same way as the channel fader, only you can insert it between channel inserts, so it doesn't sound like it will help you in this case (but for future reference, it's in the Utilities menu).


If you need to reduce the dynamic range of a part, then most likely compression is what you need.


Also, don't ever be afraid to lower the faders on every other channel!

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Compressors are the worst with Pedal Steel and so it was also true here.

Compressors whether live or in the studio effect PSG tone.

It's ok, if your going for anything but pure old time country PSG.

I stuck a limiter on the channel, seems to help, but need to work with some settings.


Concerning the channel strip; signal paths of effect processors usually have a recommend path from instrument to amp/mixer.

Is the bottom slot for effects closest to amp or the top slot?

Thanks again

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Yes, signal path is top to bottom.


Everything affects tone, including limiters.


But with a compressor, you can set it up to work pretty much like a limiter, if catching a few stray peaks is your goal, but with gentler settings that affect the tone less.


Personally, if I wanted transparent taming of dynamics with Logic plug-ins, I'd employ subtle use of the Logic compressor's platinum circuit (if it's still called that in Logic X?) over the limiter or adaptive limiter any day.

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There seems to be a lot of misunderstanding about compressors.

Very true, especially amongst PSG'rs .

What would be correct settings to get this Compressor to act like a Limiter?


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Not sure if I'm following you.

My understanding is that you want to record the Pedal Steel and use a limiter as a precaution against clipping.

The problem is that all digital plug-ins are working after conversion has taken place and will not help you in avoiding a clipped audio file.




I presumed Reed was talking about going into the red after recording, to keep up with the levels already set in mix :shock:


Did I make an ass out of u and me?

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I don't really get why the instrument cannot simply be recorded clean, "as is", without any 'preprocessing'; 24 bit provides ample room for the full dynamic range of any instrument (or better: of our hearing), and if the dynamic range of the recording is too wide to fit in a mix, you can always compress (or upwards expand) it afterwards.
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