Master Rig Limiter V1 in Wavelab Pro

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Master Rig Limiter V1 in Wavelab Pro

hello everybody Andrew Blake from thedigitalaudiomanual.com today let's havea look at the limiter in the master rigin wavelab Pro but before we start Iwant to remind you that there's a linkbelow to the free content navigationguide which is an easy to navigatewebpage with links to all the content onthis channel and besides that in thenear future I'm going to begin addingtips and other bits of information thatwill only be available there you knowthings like simple steps that will getyou started and up and running quickthings that are in the videos but arewritten down in simple steps that serveas quick reminders when you needinformation down the road if you'reworking with programs like wavelab orCubase plugins or the cable guys shaperbox and many many other projects thatare in the works then I know you'regoing to find just like I have that thisis an invaluable study Aid and the otherthing I want to make sure you understandis that this is not a simple PDF this isa constantly updated page that has anyinformation that is new or anytimevideos are changed really anythingupdated and once you have it you willalways have the latest informationconstantly updated so if you haven'tgotten it already go to the link belowclick on it and save it to yourfavorites it's my gift to you and it'sabsolutely free Okay so let's getstarted the limiter are you ready herewe go so I already have the limiteropened up and the first thing you'regoing to want to observe is that there'sa couple of areas you can turn on andoff you have the transience area and theharmonics area let's play this thing ifI come down the transience area I canturn it on the minute I do I get bandsvisible up here as well turn it back offcome over the harmonics I turn that onnothing different here but it turns thecontrols on turn it offso right away on the left hand side wealready have the option to balance outthe mid or the side or to play with themcreatively let's play the song If I turnup the sideyou can definitely hear the differenceif I turn up the mid[Music]or downand what's great about these is youactually have a solo button so if I solothe sidesnow I can hear exactly what it doesgo to the midsforeign[Music]s I'm going to keep this wave scope openup here I find this to be reallyrevealing in terms of what you knowaffect certain processes are having onthe actual wavelet's do this again and have a lookwatch The Wave scope I'm going to turnthe side down[Music]obviously the wave got thinner turn theside back up[Music]obviously thicker we're not talkingabout what sounds better or worse herethat's up to you I'm just going to showyou how it works let's go over to themidobviously thickermore saturated on the baseturn it downit also diminishes the amplitude as wellso you have the balance optionsall right so next up we have thetransients let's look at this let'sdemonstrate the attacks first and seewhat happens now notice you have a bandone two and three and that correspondsto the band one two and three let's turnthe attack all the way up[Music]obviously you're getting more punch downin the low end[Music]take it downlet's try the mids the attack all theway upnot as obvious but it's therelet's try the high end attackobviously a snap on the high end[Music]next up we have the release now to myears what I hear the release doing letme turn the music up the release isbringing in whatever the band frequencyis more or less now this is coupled withthe transient sound so for example ifI'm in the mids and I turn the transientsound up I'm going to get a click on themids but if I use this release I'm goingto hear more of the mid frequency orless of the mid frequency to my ears itdoesn't seem to affect how much of theclick is in other words if I turn thisattack up I'm still going to get a clickon whatever my given frequency is howmuch of that frequency I'm going to hearthat's going to be determined by thisrelease so let me demonstrate this letme go down into the lowest first I'mgoing to turn the attack upso I'm getting a real punch down on thelow side but if I turn this release upI'm actually going to hear the bassfrequencies increase as welland if I turn this release down in thebase end I'm going to hear less bassfrequencies I'm still going to hear thesnap going on I can hear it kicking downtherebut I'm hearing less of the thicknessdown in the base sidelet's do the mids I'm going to leave themids alone from that I'm just going toturn up the releaseobviously the mid frequencies haveincreasedand downless mid frequencylet's go up to the high end I'm going toturn the attack all the way upobviously hearing the click up on thehigh endlet's turn the release upmuch more Sizzle comes in so itdefinitely increases the high end withit again that attack remains no matterwhat but how much of the high end actualfrequency comes in more let's turn itdown[Music]still has all the click but no Sizzle onthe high endso that's an interesting effect you canget the click of the transit I stillremove a lot of the high end frequencythat's in there with itand let's look at the gain now the gainthis is something that's the same on allthe different modules you wind upgetting this ability to rebalance thefrequency spectrum to whatever you dowith these changes if you need to bringsomething up or lower it now listen whathappens when I turn off the base gainobviously we're in the next room withthe base right let's turn it down[Music]let's try the mids totally brings in themid or removes ittry the high endobviously because that's the transientsso before we stop talking about thistransient for a minute let's kind ofunderstand exactly what's reallyhappening here and it's actually goingto be easier to see if we look at adifferent kind of plug-in here I'm goingto go back to my Steinberg my DynamicsI'm going to bring up the multi-bandenvelope shaper and in a way if youunderstand how these envelope Shaperswork you're going to kind of see whatthat transient operation in the limiteris actually doing on these envelopeShapers you have the ability to kind ofincrease the attack which I'm going toshow you once I start playing the songand you can increase and decrease therelease part of it which gives you someidea of why whatever particular bandthose transients are on is increasing interms of the sound of its frequency andalso how when you increase and decreasethe release it really has nothing to dowith the attack why the attack stays sostrong so let me give you this exampleand you'll be able to hear it foryourself we come back and solo this midbandlisten to what happens when I increasethe attack phase on this envelope shapersee you hear that smack sound in thereagain because what's happening is theinitial attack is happening and then itcontinues on through whatever you knowthe curve is now watch what happens whenI decrease the release on thisit gets softerthe frequency that it's you knowrepresenting gets quieter but thatinitial hit that's still very strongbecause guess what that attack is stillyou know up there listen what happenswhen I increase the release on thiswe're going to naturally hear more ofthe mid bandincreasing volume presenceand that's why the release on the tranceis and the limiter is doing thatsee that as I increase the release ordiminish it it gets louder or morepresentbut the initial attack that's what thisis right here let's go up to this midhigh band and again I'm going toincrease the attack a lotsee that you get the clicklet's bring down the releasenow we have nothing but the click reallylet's increase itsee how you can hear more of thatparticular frequency bandif you look down here at the knob it'sthe same thing it's a release knobthat's what's causing that to changeso hopefully that gives you some visualthat goes along with the way that thingssound all right we're gonna wrap it upright there as usual if you haven'tgrabbed your navigation guide be sure tograb that from the link below this videogives you a quick easy access to all thecontent on this channel ever growing andfree to use content is in orderconstantly being updateddo yourself a favor click on it downloadit save it to your favorites then makeit your go-to resource so the limiterand the master rig it's obvious thatthis is not just a limiter the soundshaping elements built into this limiterare you know go kind of Beyond a typicallimiter we really haven't even got tothe part of it being a limiter we'velooked at how it can shape the mid andthe side and then we've examined how itaffects the transients lots of optionsbuilt into this more than just keepingeverything at a certain ceiling so we'llcontinue to examine it as we move alongwith the whole goal being for all of usjust to be able to know how to use ourtools when we need them and not justbeing completely lost as always it'sgreat to have you guys here I'll see youon the next video