Small form factor Limiter for live use?

The Lounge Other Gear
#7

It looks like the RNLA will be the right choice then. It’s good to see that it has been discussed and recommended around the forum. I don’t mind coloring if it sounds good and it will probably only occur when pressed.

If I set Ratio to max and, attack to min and turn up gain will I have the maximizer without the gain fluctuations of a compressor? In the specs it says there’s no Limiter built in but if it can function as one then no problem.

My software limiter (MLimiterX) Cuts (lowers) peaks very well above the threshold and leaves the signal below pretty much unaffected and then I can raise the volume (ceiling).
That means that it keeps the dynamic relation between high and low without pumping. So this is my understanding of the use of a limiter.

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#8

+1 for the RNC.

I’ve worked with some top notch live engineers who use it on (after) the master.

#9

Never tried RNLA on the master or as a brick wall limiter. The colouring is subtle and wont go into any dirty territory like the EHX device.

@AdamJay uses RNC and shared a good technique using an in-line high pass filter with the sidechain input.

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#10

I am using the RNLA with a HPF in the sidechain for processing the stereo bus of electronic music (/techno).
However the attack (even in the fastest settings) is quite slow so the loud transients will still come through or even get emphasized. If you want to cut that transients the RNLA is not ideal IMO

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#11

RNC + Boss GEB-7
After reading @AdamJay post many moons ago.

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#12

If you can afford them, get a pair of Bogner Harlow pedals to run stereo. @Prints got me hip to this magic little box. You’ll get dynamic control but with the benefit of harmonic saturation. They can accept line levels just fine.

If you’re not familiar, the Bogner Harlow pedal has a Rupert Neve Designs transformer in it for natural transformer saturation/compression. My wife got it for me for Christmas. I’m in love with its sound. The way the transformer saturates the low end. I had been running experiments on it all weekend.

It has a transformer gain knob, a one knob compressor, and a tilt EQ knob. They’re all very usable, especially in combination. It is, technically, a “boost/compressor” knob.

I’ve been focusing on the different levels of saturation you get just based on how hot of an input you send it, regardless of the gain knob position. This transformer saturation has a natural compression to it. The one knob compressor tightens up the attack and adds in a heavier ratio compression.

So I ran the same loop through the Harlow, in mono. No compression or tilt EQ, just saturation only. First phrase is *no Harlow/Dry. Second is -10dB at input. Third is -6dB at input. Last is 0dB at input (all out of the MOTU).

All 4 phrases are “peak” level matched , and then played back in series.
All you hear is the natural compression of Neve transformer saturation.

I think it’s great for the Octatrack. Adds some “oomph!” and keeps peaks in check.

A little outside the box but who cares, if it works? I’m working on getting a second one for stereo use.

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OTO Machines FX - BIM BAM BOUM
Your Favorite Overdrive/Distortion/Fuzz Hardware FX etc. For Kick Drums
Effect pedals
#13

Alesis Microlimiter… I have one on the output of the Heat as insurance… Available for less than 50 euros if you hunt about. It sounds fine IMHO, especially as its just keeping the monitors safe :slight_smile:

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#14

@AdamJay’s new Bognor Harlow method sounds great but I also recently got an RNC and added the HPF loop trick and it does some impressive stuff. Analog Heat on the master ahead of it and it’s very easy to get live stuff sounding good.

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#15

Yea, the options really come down to one’s budget. Starting from the cheapest:

Alesis Micro Limiter
EHX Platform
RNC w/ HPF
RNLA w/ HPF

Saturation based:
2x Harlow
Analog Heat + one of the above.

Let your wallet pick your poison!

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#16

Oh thanks for this, would look really cute next to my microverb.

#17

I am going to test that pedal on the DFAM.

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#18

One other possibility, if a bit left field… Erica Synths Acid Box 3… there’s a review by Stimming, and it shows that even with the unit set to do nothing, it acts as a limiter in a pleasing manner… and its a grungy box of analog dirt too :wink: check out the video

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#19

Oto Boum maybe a candidate too ? Soundonsound-review reads amazing and I have & love my Oto Bim & Bam.

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#20

Thanks for sharing this tip @AdamJay. As I wrote earlier I want to try to maintain the dynamic relation except for the peaks being lowered so

  • have you had problems with loud peaks slipping through on the RNLA?
    Of course I’m not going full loudness with it so I’m not sure if this will even be a problem.

  • You said that the Harlow keeps peaks in check but does it avoid the pumping/gain fluctuations?
    Sounds like the Harlow will sound great on Electronica/IDM!

#21

Yes, must be so. Hainbach also uses the Boum in live settings.

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#22

Been eyeing this one for a long time now. That tax return is coming… Seems like a solid option to glue everything together on the end of the master.

#23

No, RNC and RNLA both have fast attacks. Any compressor set to 10:1 ratio or higher with a fast attack will limit.

It does, quite well in fact, as it enhances the bass rather than gets overwhelmed by it (which would make it react to heavily to it). Pay attention though, as it will distort instead of more traditional compressor artifacts “pump and suck” when overdoing it. You have to be able to control the level of what is going into it. Especially if you add in the one knob compressor, aka the “bloom” knob.
Sometimes I like the sound of just the saturation, without the one knob compressor. It still limits, but you can hit it harder without the unwanted artifacts.
When using the one knob compressor, you have to reduce the input level, the transformer gain, or a combination of the two. The good news is, this gives it a wide range of flavor when using it as a limiter.

When I had my RNC with HPF, I’d run a BBE with it, just to juice things up a bit amidst all the flattening, some times before the limiter, sometimes after.
With the Harlow, it does it all, and it never leaves the analog domain. Bogner makes another more full featured compressor pedal, the Lyndhurst. It has more control, but I have not had the opportunity to test it out, so I can’t report on its sound. I wonder if the Lyndhurst has less saturation capabilities since the Harlow is a “boost”.
These are the times I wish I had a retail job at a gear store. :slight_smile:

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#24

Analog Heat does this too. Found the same result when the AH was deactivated.

Was looking at these a while ago but they’re quite rare and the used prices have skyrocketed over the past couple years.

Not sure if it matters, but normally stereo processors like neve etc would be subject to some sort of component matching for consistency between L/R channels :thinking:

#25

Yep. I’ll have to adjust by ear and be extra mindful to minimize phase issues.
I plan to find the setting I want in mono first, and then activate the second with careful tweaks for stereo.

For studio stuff, I’ve just been using one unit and running the Left channel through it separately, followed by the Right.
It works for some pre-mastering flavor, for sure. Definitely makes bass lines pop in a unique way. And with this method there are no phase issues.

#26

The Boum is definitely a candidate! Sounds great and seems like I’ll get both boost and coloring/saturation with it. This guy Hainbach really speaks warmly of it :grinning:

Anyone here who’s been using it?

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