by VINXIS » 20 Jan 2013 02:49
Put pro-q with 3 bands in it... pro-c with a fast-medium attack and medium-long release. Pro-L with usually +2 gain, -0.02 dB, same attack and release as the pro-c... and uhhh, eliminating the <20 Hz area... yea, I necroposted didn't I... shet.
Well since this IS on topic, I only put these three because
Pro-q: Three bands only, not higher or lower amounts(excluding the cuts), with a raise in the low end, a small dip in the mid, and a raise in the high end.Mostly because tome... it brings out the liveliness of the track more, since there;s not much being cut. Also with a -2 dB output...
Pro-c: I always think compression is a major part in mastering more than in mixing (aside from sidechaining) because it can bring the dynamics farther and closer to each other, rather than the pro-l only limiting/creating a brick wall. I use it mostly just to create a higher amount of dynamics so I have a attack time in the fast-medium range, while I have the release in the medium-slow range. I also usually have the compression at around -10 while the ratio is around 3:1 or so. Since the dry is at -inf at the beginning, I turn it up to around -52 and turn the wet down to -3 or so.
Pro-L: This limiter is by far the best limiter I've see imo. It has the K ranges, the stereo transients, and gain reduction bar (or whatever it's called lol). Anyways, I turn the output down by how high it is above zero, so if it's 0.1, I'd turn the output down to around 0.03-0.07. I'd then turn the gain up to 2.0, then change to K-14 dB bars, and work from there so the avg. RMS level is around 0-4 at most times.