![]() Selecting one of the same three options from the Time Scale menu makes that the widest, left-most strip (complete with Loudness Range bracket for Integrated mode) and assigns its numeric value to the big readout at the bottom. Three meter strips show the Momentary (accurate at any given moment), Short Term (a wider, slower analysis ‘window’) and Integrated (continuously averaged until the meter is reset) LUFS values together. Switching the Meter Scale to Loudness slides out a whole new metering section next to the Output and Gain Reduction meters, where you can select from a choice of four industry standard preset target levels (-9, -14, -23 and -24 LUFS) or use the Custom option to input your own, and switch the scale between Absolute and Relative for convenience. This can be surprisingly useful not only for setting Attack, Release and Lookahead times in the Advanced section, but also for comparing Pro-L 2’s limiting Styles to fully appreciate their differences. Most interesting of all, the Audition Limiting function solos the difference between the input and processed output signals - ie, it isolates the effect of the limiting, letting you hear just the ‘gain reduction’ and distortion. A much easier way to keep a consistent final output volume. Next to that, the Side Chain button activates an external sidechain input - useful when mastering stems that need to be limited to match a full master, or for creative purposes.Īs well as the previously available ability to automatically counter input Gain increases with Output Level attenuation by holding the Alt key while adjusting either, the new Unity Gain (1:1) button disables the Output Level knob and makes the same adjustment for you in the background. On the left, the DC button applies subtle pre-limiting DC offset filtering for the correction of asymmetrical 0dB displacement. Pro-L 2’s Output Level knob now shares a space with four buttons, each activating one of the plugin’s new ‘secondary’ features.
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