I don't own Ozone so I have no idea. I did have Ozone back in the day, like version 3 or 4 and back then the limiter was absolutely excellent. I suspect it couldn't have gotten worse.. so it's probably excellent. I know the guy who programmed it is a certified genius. He sometimes posted over at gearspace.Thanks a lot for such interesting insights.Forgot to mention how to use the two presets. First load the Pre-clipping Glue preset, set it so that it does all the heavy lifting. Don't be afraid to push it way into -6dB or more of gain reduction. It's slow so it will not easily distort. Then follow that instance with the Final Clipping preset and use that very sparingly. Usually you only need about 2 or 3 dB of gain for a good mix to hit -8 LUFS. If you have a compromised mix you can still hit -10 LUFS with this combo very easily.
If you want slightly more loudness and movement then shorten the release of the first Pro-L2 instance. A typical range would be between 3s and 10s. Anything faster than that can yield too hectic and distorting results.
As a bonus, you may not even need a masterbus "glue" compressor as the first instance of Pro-L2 does that part very well.
How would you compare Pro L2 vs the limiter of Ozone 11?
I don't think there are any inherently "bad" limiters any more. They are all mostly excellent and thus fall under subjective preference.
The reason why I use Thimeo Stereotool is simply because of it's incredible flexibility. However, when I just need some individual tracks or busses limited or very quick and easy setup for a demo track, I usually end up using either Pro-L2 or Sonible Smart Limit. In some very rare occasions when I need to have proper multiband processing, then I use DMG Audio Limitless, which is excellent for very complex or compromised material.
Statistics: Posted by bmanic — Thu Feb 15, 2024 11:57 am