리미터 상한 설정하기: 최적의 마스터링 결과를 위한 오디션

### 음악 마스터링을 위한 올바른 리미터 상한 설정 방법
* 🔊 올바른 리미터 상한은 **실제 피크 레벨과 오디오가 클리핑에 반응하는 방식**에 따라 달라집니다.
* 📉 리미터는 신호가 지정된 **피크 임계값에 도달하기 전에 감쇠**시켜 헤드 룸을 효과적으로 활용하는 것을 목표로 합니다.
* 🎛 ️ **리미터 탄도 및 샘플 간 피크**로 인해 출력이 설정된 상한을 초과할 수 있습니다.
* 🎯 **-0.3 또는 -0.2와 같은 권장치**는 이러한 효과에 대응하기 위한 추정치입니다.
* 🎧 적절한 상한선을 결정하려면 **클리핑과 오버의 영향을 테스트**하는 것이 중요합니다.
* 🎶 Spotify의 경우 재생 중 왜곡을 방지하기 위해 **-1 또는 -2dB 트루 피크**를 사용하는 것이 좋습니다.
* 🍏 Apple 디지털 마스터 제공업체로서 Apple의 인증 가이드라인을 충족하기 위해 **-1dB 트루 피크 리미터가 있는 별도의 버스**를 사용합니다.
* ❌ 실제 피크 리미터는 **개인 취향과 음질 문제**로 인해 사용하지 않는 것이 좋습니다.

리미터의 올바른 상한은 오디오 마스터링에서 왜곡을 방지하기 위해 오버 및 클리핑 효과를 오디션하는 데 달려 있습니다.

Spotify says negative two decibels. One mastering engineer will say negative point three. Another another one point two. Another another one point one. Another one another one negative one. That's about true Peak. There is so much noise but what exactly is the correct ceiling to set your limiter to, and the answer is it depends but not on what you might think. See, limiters aim to attenuate a signal before it reaches a nominated Peak threshold, and by preventing that ceiling going above the threshold, a signal can be raised to utilize all the additional Headroom, at which point a ceiling is set to dictate what the nominal peak level of the limiter's output will be. Now why did I say nominal? Because your nominal peak level or ceiling doesn't always correlate to the output peak level. Due to the ballistics of some limiters, they can overshoot several tenths of a decibel, and due to the nature of sample-based digital audio, there also may be some inter-sample Peaks present between two different sample points. In both of these instances

it will cause the output to go over the ceiling or the nominated peak level. Now, this is why you get various recommendations like negative 0.3 or 0.2 or 0.5. They're all guesstimates aiming to negate the side effects of limit and Sample-based audio. But I don't do guesstimates. I like assertive and definitive decision-making like you smashing the like button, clicking subscribe, and ticking the notification Bell. Without a limit of going over zero decibels would be a nightmare of clipping, distortion, and unusable audio. However, overshoots from a limiter and into sample Peaks are typically tenths of a decibel and span in the timeframe of single-digit milliseconds, sometimes longer. But the harmonic distortion introduced by digital clipping at this magnitude is around negative 50 decibels full scale below the nominal program material, which means it's often inaudible. When it is audible is in sustained passages of clipping or when

overs registers as whole integer values above zero decibels, where Distortion becomes really clear. So to audition this, what we're going to do is we're going to first add a hard Clipper after our metering. See, modern DAWs use 32-bit audio, so your signal never plays back clipping even when the meters are in the red. A hard Clipper at 0 Isabel's full scale effectively acts like the digital ceiling your audio will have when it's exported. Next, you want to add an AAC codec at 96 kilobits per second, and this is the normal audio quality Spotify streams to mobile, desktop, and tablet devices. When your master is transcoded to lossy formats, this is the process it uses, and it chews up Headroom and increases the Signal's peak level, so it's important to audition how these changes will sound on your master when a consumer hears it. So now we've got that, we're going to make three markers. We're going to find the loudest true Peak, the

louder short-term LUFS, and also make any markers for passages of sustained bass. I've already gone ahead and done this, and the max allier Fest is also the same passage with sustained bass. Here we're going to audition and identify both orally and visually how much of an impact the overs into sample peaks and signal above a ceiling is actually affecting what we hear. All right, so let's look at doing this. I'm going to start by sealing at negative 0.2 because that's usually where I have it at default. We have Ozone 10's codec enabled, okay, so that's enabled to 96 kilobits per second. We have a level meter so we can monitor our levels even though we're going to be using our ears to listen right now, and then after that, we've got a zero decibel hard clipping. So any signal going over zero decibel, we're going to assume it's going to be hard clipped, and that's why we've got that there for auditioning purposes. What we

can do here to sort of hear the effect of that clipping. We can bypass this on and off as well as visually look at what's being clipped down here. So let's monitor this. Firstly, this true Peak. I'm curious 0.1. What will happen there? Look at this peak level. Oh, that squashes a little bit. That kick there. Let me put that on the loop. They're very subtle. It's just a bit too hard for my life. I'm bringing that back down to point two. I don't think the Peaks are negatively affected by that clipping. I'm I know for a fact the base is. I know for a fact this low end here gets a bit funny. So let's audition this here. I wish now I know there's two sections of this audio. First is this sustain section and then this kick hit here for. No, I think that's not too bad. Let's have a listen here. Oh, it chokes it. Chokes the low end. That clipping when it hard clips that lowering gets really choked in. You can

hear that it's almost like that the energy in the low frequencies sort of like shift up a bit so that's ceiling at point two isn't doing me any satisfaction. I'm going to bring it down a bit at point four. At point four, that kick just sustains a bit bit better. I'll play it three times at point two and then three times at point four. Much better, much better. The clipping isn't as bad, like it's there but it's not bad. It's sort of works for the music. It's not negatively artifacts like crunching away. Okay, so we've monitored the true Peak and the Mac short term Alia fists typically. Now what I would do is I would take the limiter here, okay, and audition start to end. This is just your Peak and your Mac short term RMS section. So your loudest Point by average value, your loudest Point by Peak value, it just markers to set this ceiling. You still have to audition everything before you export it, but this at least for this particular

material. You know how I said it depends. 0.4 decibels is the ceiling based on what I've auditioned here. I might listen to the song, and there might be other sections where it's crunching up a bit, and I might back that ceiling off a little bit more, but this process will help you set your ceiling every single time consistently so you don't destroy your Masters. Because remember when I said at the start of the video, what exactly is the correct ceiling to set your limiter to, and the answer is it depends. This is the process. It depends on auditioning the overs and how the clipping sounds itself. Now I've left three elephants in the room. Firstly, Spotify's recommendations. Negative one or negative two decibel true Peaks. These are just recommendations because not everybody uploading to Spotify is going to be uploading masters from a dedicated mastering engineer. A lot of artists uploading to Spotify will Master it themselves. And to avoid emails from disappointed artists that their music is distorted during playback, Spotify gives

them a recommendation that is by far truly safe for them to adhere to. However, the process I've laid out for you negates this because you've already had the opportunity to hear the distortions present from the transcoding process and adjust your limiter accordingly. Next, Apple Digital Masters negative one decibel true Peak. Now, as a certified Apple Digital Master provider, my process for producing Apple Digital Masters is very different from what we've discussed, as it adheres to a very detailed and stringent guideline Apple has laid out for this certification. And to do this, I have a separate bus which takes the audio in from my A to D converter, and that goes through a true Peak limiter set to negative one decibel true Peak. And before delivering that file to a client, I convert the master using an Apple codec droplet and check for overs in the terminal to make sure there are no overs on the encoded format present. You're probably asking, Why use negative one decibel true Peak for Apple Digital Masters? Use a true Peak limiter.

everything you've said you don't want to do on these Masters why don't you just do that for all your Masters and call it a day. So, majority of my clients focus on genres like pop, hip-hop, rap, EDM, dance, and want to sound the biggest and the best, which means using every last bit of bandwidth available. And they're not necessarily concerned with pursuing Apple digital Masters as a distribution option. So, having a method to achieve big loud Masters in a careful and calculated manner is why I've presented to you the method I choose to go with. Finally, why all this, why not just use a true Peak limiter and avoid the kerfuffle. Well, I don't like the sound of true Peak limiters, and to be honest, I don't know why. Just when I use them, they don't work, and at least to my ear, they don't sound as good. But that's a topic for another video.

ARE YOUR Masters Being DESTROYED When You Limit Like THIS?

Hello. I'm Nicholas Di Lorenzo. I'm a mixing and mastering engineer and owner of Panorama Mastering Studio in Melbourne, Australia. I’m an Italian-Australian. born and raised in Melbourne.

This channel is for anyone involved in the music making process, artists, engineers, producers or musicians.

To stay up to date, hit the "bell" icon for alerts as I release videos weekly on all things audio, mixing, mastering and industry.

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Want to learn more about what I do?
https://panoramamastering.com.au 
@Panorama_Mastering

Panorama Mixing & Mastering

올바른 리미터 상한 설정하기: 가이드

올바른 리미터 상한 설정은 다양한 요인에 따라 달라지며, 신호가 지정된 피크 임계값에 도달하기 전에 감쇠시키는 것을 목표로 합니다.

5 데시벨과 같은 권장 상한 레벨은 리미터 및 샘플 기반 오디오의 부작용에 대응하기 위한 추정치입니다.

리미터와 샘플 간 피크의 오버슈트는 일반적으로 최소한의 짧은 시간 동안 발생하며, 들리지 않는 고조파 왜곡을 유발합니다.

최신 DAW의 오디션 신호 영향과 품질

오디오 신호의 오버는 0 데시벨 이상으로 피크가 높아져 왜곡을 일으킵니다.

0dBFS에서 하드 클리퍼를 추가하면 내보낸 오디오의 디지털 상한선 역할을 합니다.

96kbps에서 AAC 코덱을 사용하면 Spotify의 오디오 스트리밍 품질을 시뮬레이션하고 신호 피크와 디지털 상한이 마스터에 미치는 영향을 오디션하는 데 도움이 됩니다.

클리핑이 오디오 품질에 미치는 영향 분석하기

오디오에서 클리핑을 처리할 때는 실제 피크 레벨을 모니터링하는 것이 중요합니다.

클리핑은 저음과 저음에 부정적인 영향을 미쳐 저주파의 에너지에 질식 효과를 일으킬 수 있습니다.

클리핑 레벨을 조정하면 킥을 유지하고 전반적인 오디오 품질을 개선하여 부정적인 아티팩트를 방지할 수 있습니다.

리미터의 올바른 상한 설정하기: 마스터링 가이드

리미터의 상한을 설정하는 과정은 오버와 클리핑 소리에 대한 오디션에 따라 달라집니다.

Spotify에서 권장하는 마이너스 1 또는 마이너스 2 데시벨의 실제 피크는 셀프 마스터링 트랙에 대한 안전 조치일 뿐입니다.

Apple 디지털 마스터를 제작하는 과정에는 자세한 가이드 라인과 트루 피크 리미터가 마이너스 1데시벨로 설정된 별도의 버스가 포함됩니다.

팝, 힙합, EDM을 위한 마스터링: 색다른 접근법

많은 고객이 팝, 힙합, 랩, EDM과 같은 장르에 집중하며 크고 시끄러운 사운드를 우선시합니다.

이들은 배포를 위해 Apple 디지털 마스터에 반드시 관심이 있는 것은 아닙니다.

발표자는 고객이 원하는 사운드를 얻기 위해 신중하고 계산된 방법을 선호하여 진정한 피크 리미터를 피함.