How Skrillex Uses Limiters and Clippers for Maximum Loudness
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Published 2024-06-10
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In our music production journey, we're quick to grasp the power of limiters, but there's a secret weapon often left out of the conversation. Clippers. These devices when working in parallel with Limiters, hold the key to achieving loud, punchy masters without sacrificing dynamics or falling victim to the dreaded, squashed sound of overlimting.
Your goal should be to create loud mixes before applying any mastering plugins. The instrumentation and frequency balance of your mix have a greater impact on the loudness you can achieve than the use of clippers and limiters on the master.
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đ KClip Zero (Free Clipper): kazrog.com/products/kclip-zero
đ Audija OScope ( Free Oscilloscope): audija.com/plugins
đ Newfangled Audio Saturate: www.newfangledaudio.com/saturate
đ Preserving Detail While Clipping (Article): www.newfangledaudio.com/post/saturate-1-7-0-preserâŚ
đ Isn't Clipping a BAD THING? (Article): www.newfangledaudio.com/post/isn-t-clipping-a-bad-âŚ
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âď¸ TIMESTAMPS:
Introduction: 00:00
What Are Limiters?: 0:43
What Are Clippers?: 1:44
Tips For Using Clippers: 2:28
Using a Clipper and Limiter Together: 3:58
All Comments (21)
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Whatâs your biggest challenge when trying to achieve loud masters from your mixes? For me, itâs remembering to build loudness into the mix itself, rather than relying too much on the master bus. Edit: I've received a few comments about the release control functioning differently on Pro-L2 compared to other limiters. While this is true, I aimed to keep this video focused on limiters more broadly (i.e., for 99% of cases). I should have added a note in the video to clear this up, so instead, I recommend reading this article by Jonathan Jetter: www.jonathanjetter.com/blog/fabfilter-prol2-timecoâŚ
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An important tip is to control the peaks with clippers and limiters at the track level first, then the group and master level. If you leave everything up to the master clipper/limiter, you will more than likely introduce unpleasant intermodulation to the track. Ideally you want the group and master level clipper/limiter to do as little work as possible, while majority of the work is handled by the track level clipper/limiter.
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Superb video! Well put and edited, thorough explanations which were easy to grasp. Thank you!
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I discovered this 10 years ago accidentally with Fruity Soft Clipper and FL Limiter. It's so satisfying to finally get a breakdown of what I was doing so often but didn't quite understand. Ty đ¤
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Quick and small thing but as far as soft/hard clipping goes, the difference is the "knee" of the wave shaper being used to clip the signal, similar to a compressor. Different clippers present this differently, and most don't give you number values, but effectively a hard clip is a knee of 0, meaning the signal before the threshold is not affected at all. And with "soft" clippers, you usually find a knee of between 3 and 6db, meaning that 3-6db before the threshold the signal is progressively more clipped, as to make the signal sound more transparent because it is less "squared-off" at the top. My favorite example of where this is displayed in number values is the clipper in TDR Limiter 6 GE. Good video, though. Didn't know K-Clip had a free version now. I will definitely recommend that to people. And also that oscilloscope.
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Straight to the point, excelent explanation/examples, and hella funny. thank you a lot!
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straight to the point! Love it <3
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AMAZING VIDEO!!! THE INFORMATION WAS SO CLEAR AND PRECISE!!! ALSO YOU HAVE A GREAT VOICE!!! :D
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Your videos are great Thanks bro
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Good video, thanks
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Great video, thank you.
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Genius Explanation saving so much time understanding loudness, just in 6 minutes.. thank you
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In addition to what has already been mentioned, you have to consider the leveling processing of channels and effects, the process of maintaining the amplitude of the master channel to receive the augmentation processing.
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For me the mixing stage is just getting the loudness of each sound correct in relationship to the other sounds in the mix not the overall loudness. I'll use my mastering chain to get the overall loudness of the track up without distorting any of the sounds. I run all my drums and sub through a clipper before the master and all my "drop" sounds through a limiter before the master and a clipper on the beginning of my mastering chain and it keeps everything from flooding the master chain
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Good context here đ. I'm finishing up an ep for a band right now. I wanted to see how far I could push track density and the crest factor, without any limiting. Throughout the session I've got small instances of comp and clipping...this is on individual tracks and group busses.(very small increments). Then on the mix buss there's just a little compression and saturation. I'm hitting anywhere from -11 to -9 lufs(integrated). This may be pushing it too far, but when it gets to the mastering stage it really won't need aggressive limiting.
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great info. play at 7.5 speed playback.
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thanks for the video, so informative :) and the Arnold moment.. pure cinema
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ok. what LUFS should be the final mix at? Before any master processing!
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at 3:20 where you say you need to take care of your transients before using clippers and limiters, what do you mean here, as in using compression, transient shapers etc? what should you be trying to achieve with your transients before you move on to clipping and limiting? thanks mate, great video
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So does it matter if limiter comes before clipper ?
