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Right on, man, my pleasure!
I definitely do a lot of transient shaping and “management” on my individual tracks and submasters before anything hits the Pro-L2 on my loud print bus. Things like compression, console- and/or tape-saturation, and occasionally distortion or clipper plugins help me contain and shape extreme transients at various places along the signal path before the master limiter does its thang.
It’s possible that accounts for the difference in our fav Pro-L2 settings.
Also … this thread has a Pro-L2 video I made which shows my typical workflow, and also includes some good discussion on the topic! Enjoy!
https://mixprotege.com/forums/discussion/limiter-mastering-question-please-advise/
mixprotege.com
Limiter/Mastering Question - Please advise
Dearest Mix Geniuses!I have a question that I’m hoping you all can help me understand more clearly.It is my understanding that it is generally good…