A/B Guide: Classic Master Limiter Settings for Rock, Pop, and EDMMastering is where a track’s final size, punch, and polish are determined — and a master limiter is often the tool that brings everything together. The Classic Master Limiter (CML) is valued for its musical character and ability to add perceived loudness without overly crushing dynamics. This guide walks through practical A/B comparisons and suggested starting settings for Rock, Pop, and EDM, explains how to listen critically, and offers tips for preserving dynamics while achieving competitive loudness.
How to use this guide
- Treat the settings below as starting points, not rules. Use your ears and your meters.
- “A” settings are conservative and dynamic; “B” settings are louder and more aggressive. A/B refers to toggling between two limiter presets (or plugin instances) to evaluate tradeoffs.
- Use true peak limiting to avoid inter-sample overs; aim for consistent loudness across genres while preserving character.
Mastering basics for limiter use
- Threshold / Input Gain: How hard you drive the limiter. Lower threshold (or higher input gain) = more gain reduction.
- Ceiling / Output Ceiling: Set this to a safe max (commonly -0.1 to -0.3 dBTP).
- Release / Recovery: Controls how quickly the limiter stops reducing gain after a peak. Fast release = more audible pumping; slower release = smoother gain but can reduce perceived punch.
- Lookahead: If available, allows the limiter to react preemptively to peaks; useful for transparent limiting but can increase latency.
- Character / Saturation / Analog Modes: Adds coloration and harmonic content that can enhance perceived loudness and glue.
- Knee / Soft Clip: Helps make limiting gentler; soft clipping can add pleasant grit but risks distortion if overused.
Use LUFS (Integrated) and true peak meters as objective targets:
- Rock: aim for around -9 to -7 LUFS integrated for loud masters; conservatively -10 to -8 LUFS if you want more dynamic range.
- Pop: around -8 to -6 LUFS integrated for radio/streaming competitiveness.
- EDM: around -7 to -5 LUFS integrated for club/streaming release; many EDM masters push louder but watch dynamic quality.
- Keep true peak ≤ -0.3 dBTP (or -1.0 dBTP for platforms that recommend it).
Listening checks before limiting
- Check balance and tone on multiple speakers and headphones.
- Make any tonal or dynamic changes earlier (EQ, multi-band compression, transient shaping) — use the limiter as a final polish.
- Bypass the limiter often while adjusting to compare dynamics and punch.
- Use spectrum and low-frequency meters to ensure no excessive sub-bass energy that eats headroom.
- Listen at both low and loud volumes; loudness perception changes with level.
Rock — settings and A/B comparison
Rock masters often benefit from preserved transients and a touch of analog warmth. Aim for punch and clarity in drums and guitars without flattening dynamics.
- Typical targets: -10 to -8 LUFS (A), -9 to -7 LUFS (B); true peak ≤ -0.3 dBTP.
A — Conservative / Dynamic
- Input gain: +0 to +2 dB (depends on mix level)
- Threshold / Gain reduction target: 1–3 dB GR peak moments
- Ceiling: -0.3 dBTP
- Release: 80–150 ms (slower to preserve punch)
- Lookahead: minimal or off
- Character: mild analog/tube mode (if available)
- Soft clip: off
Result: more transient detail and dynamics; sits well on albums.
B — Aggressive / Loud
- Input gain: +2 to +4 dB
- Threshold / GR target: 3–6 dB on loud parts
- Ceiling: -0.3 dBTP
- Release: 40–100 ms (faster; watch pumping)
- Lookahead: on for transparent control
- Character: moderate saturation; soft clip engaged lightly
Result: louder with more perceived glue; risk of reduced slam if overused. Compare A vs B: if drums lose snap or guitars feel smeared in B, back off gain reduction or increase release.
Pop — settings and A/B comparison
Pop typically needs clarity, vocal presence, and consistent loudness across dynamic sections. Limiters for pop should be transparent but can use subtle coloration for perceived fullness.
- Typical targets: -9 to -7 LUFS (A), -8 to -6 LUFS (B); true peak ≤ -0.3 dBTP.
A — Transparent / Dynamic
- Input gain: +1 to +3 dB
- GR target: 1–4 dB on peaks
- Ceiling: -0.3 dBTP
- Release: 60–120 ms
- Lookahead: moderate (2–10 ms)
- Character: neutral; minimal saturation
- Soft clip: off or very subtle
Result: vocals remain natural, transient integrity preserved.
B — Competitive / Polished
- Input gain: +3 to +5 dB
- GR target: 4–8 dB on loud parts (but not constant)
- Ceiling: -0.3 dBTP
- Release: 30–80 ms (faster for louder perceived level)
- Lookahead: on for tighter peaks
- Character: light tape/analog mode for warmth
- Soft clip: gentle for aggressive loudness (use cautiously)
Result: radio-ready loudness; watch for vocal pumping or sibilance. Use de-essers or multiband limiting if sibilance increases.
EDM — settings and A/B comparison
EDM often demands maximum perceived loudness and consistent energy, especially in low-end and transient-heavy material. Multiband limiting and saturation are common.
- Typical targets: -8 to -6 LUFS (A), -7 to -5 LUFS (B); true peak ≤ -0.3 dBTP (or -1 dBTP for some platforms).
A — Club-Ready / Balanced
- Input gain: +2 to +4 dB
- GR target: 2–5 dB on peaks
- Ceiling: -0.3 dBTP
- Release: 40–80 ms
- Lookahead: on for transparent transient control
- Character: medium saturation; punch-enhancing mode if available
- Soft clip: off or subtle
Result: big but controlled; retains transient punch and bass clarity.
B — Max-Loud / Aggressive
- Input gain: +4 to +7 dB
- GR target: 6–12 dB (especially for drops)
- Ceiling: -0.3 to -1.0 dBTP
- Release: 20–60 ms (faster to maximize loudness)
- Lookahead: on; multiband limiting recommended for low-end control
- Character: aggressive saturation/tape emulation; soft clip on for extra perceived loudness
Result: very loud and energetic; risk of pumping, flattened transients, and low-end smear. Use multiband limiting to preserve kick/sub clarity.
Multiband vs single-band limiting
- Multiband limiter: useful for EDM/pop with heavy low-end or vocal bands—lets you tame bass separately from mids/highs to keep punch.
- Single-band limiter: often more transparent and musical for rock and organic material.
Use multiband if:
- Low end triggers excessive gain reduction and reduces overall loudness.
- Different frequency regions require distinct release/attack behavior.
A/B comparison workflow (quick)
- Create two limiter chains or load two presets (A and B).
- Set A (conservative) and B (aggressive) per the genre presets above.
- Toggle between A and B while listening at the same monitoring level — use gain-matching to avoid loudness bias.
- Use LUFS and true peak meters to track targets.
- Choose the setting that preserves musical intent while meeting loudness goals.
Troubleshooting common issues
- Pumping: increase release or reduce gain reduction; try lookahead.
- Harshness or sibilance: use de-esser or multiband limiting on highs; reduce high-frequency saturation.
- Loss of punch: lengthen release, reduce GR, or use transient shaper before the limiter.
- Muddy low end: use high-pass on non-bass elements, use multiband limiter, or reduce low-frequency gain pre-limiter.
Final checklist before export
- LUFS integrated in target range for genre.
- True peak ≤ target (-0.3 to -1.0 dBTP).
- No obvious pumping, distortion, or lost transients.
- Listen on several playback systems.
- Bypass test to confirm limiter improves the track musically.
If you’d like, I can create exact CML plugin presets (A and B) with precise parameter values exported as text for your limiter plugin — tell me which limiter you use and whether you prefer more transparent or colored character.
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