Limiters have been around since the 60’s. They’re an integral part of every music producer’s arsenal, and they’ve been the guardian of staying under zero dB for at least that long. It’s no less so for post production. If you don’t have great sounding and easy to use limiters in your tool belt, it’s going to be very difficult to get a professional-grade mix – much less a compliant one. But with the advent of the brick-wall, sample-accurate limiter, the game changed.
No more did we have to suffer using a compressor to try to protect our outputs at a high ratio, now we can crush the output to maximum ear-bleed and still never have the red-lights illuminate – well – on most NLEs.
Now with Adobe Premiere Pro and Davinci Resolve’s Fairlight page, the brick-wall limiter is back on the menu and creating incredible results with the flick of a few knobs.
With Fairlight’s new 1,000+ track count and hardware acceleration capability, can Adobe Premiere Pro’s Limiter stack up to Resolve’s version of the same plugin?
In this video, Mark takes us through a blow-by-blow contrast and comparison of the Limiter plugins in both NLEs, and he shows us which one is the winner for most effective and efficient to use in Post Production. Additionally, everything he demonstrates is in parallel to how the 90 hour Cinema Sound Education demonstrates best practices.
Post your thoughts in the comment section below.
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Adobe Audition 1-to-3.Learn Adobe Audition today!
Learn Adobe Audition the easy way, without all the difficulty, expense and time burn. Cinema Sound Educator, Mark Edward Lewis, takes you from the most basic understanding of Audition, to intermediate steps, and Hollywood-level sound mixing. The power of Adobe Audition can be yours in under 3.5 hours.