Lossless Limiting Live
Posted: Mon Jun 29, 2009 5:41 am
I don't care much for Compressors unless I have many tracks of music, so live they really don't come in handy unless I have other instruments than my synths, or I need to Sidechain certain instruments.
It's quite obvious to me when I route external Analog synths into Scope projects that the sound it quite more powerful, and therefore harder to control.
I have used Limiters, and the problem with that is that it changes the the sound too much of my synth, and while it keeps all channels to a certain level, while using my left hand comps the Analog synth just doesn't stand out the way I'd like it to.
So after years of head scratching I finally tried something new for live work and it's perfect.
I put LimFat on an AUX Channel w/ a Brick Wall setting. It appears that by using the full amount of the AUX on a channel I get the full Brick Wall effect. Using 60%-100% actually gives me softer settings per channel this way too.
But on the Analog Synth Channel I have a stock Limiter with a soft knee setting and the synth sounds FAT, while the comping channels fit perfectly.
Since I use the Analog w/ pads using 2 x zones for a full low end seperate from the Pads, this works just as well for the Bass drones as the leads.
This is very unorthodox, but it works very well.
It's quite obvious to me when I route external Analog synths into Scope projects that the sound it quite more powerful, and therefore harder to control.
I have used Limiters, and the problem with that is that it changes the the sound too much of my synth, and while it keeps all channels to a certain level, while using my left hand comps the Analog synth just doesn't stand out the way I'd like it to.
So after years of head scratching I finally tried something new for live work and it's perfect.
I put LimFat on an AUX Channel w/ a Brick Wall setting. It appears that by using the full amount of the AUX on a channel I get the full Brick Wall effect. Using 60%-100% actually gives me softer settings per channel this way too.
But on the Analog Synth Channel I have a stock Limiter with a soft knee setting and the synth sounds FAT, while the comping channels fit perfectly.
Since I use the Analog w/ pads using 2 x zones for a full low end seperate from the Pads, this works just as well for the Bass drones as the leads.
This is very unorthodox, but it works very well.