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How does a limiter work?
03/10/2006

For the answer, we'll turn to our friends at Universal Audio, who practically invented compression and limiting as we know it today:

For a limiter to keep its output signal absolutely below a given level, it has to have two features: look-ahead, and a finite attack time. Look-ahead allows the limiter to do level detection on a signal that is advanced relative to the audio path. This gives the detector time to react to an incoming transient. Once the signal appears in the look-ahead buffer, the detected level must then converge to the incoming level within the look-ahead window. This can be achieved by using a FIR follower for the detected estimate. To understand what this means, let's review the process of detection:

For dynamic range control applications, signal detection should result in an estimate of the incoming signal's envelope. The detector should be relatively insensitive to modulation at audio rates, but should react quickly enough to accurately detect the short-term dynamics of the signal. Generically speaking, the detector should behave as a lowpass filter operating on the absolute value or square of the incoming signal. For proper signal tracking, the filter should be normalized to have a DC response of unity.

Traditionally, the lowpass filter used for detection is a first- or second- order IIR filter with different time constants for upward-tracking (attack) or downward-tracking (release) behavior. The historical reason for implementation as an IIR filter is that many detection algorithms are motivated by analog circuit designs. For peak limiting with look-ahead, it is necessary to use an FIR filter for tracking signal level if the detected output is to reach the signal level by the time the look-ahead period expires. Lowpass FIR filters can be designed using the window method, and normalized for unity gain at DC. The goal of the tracking filter is to have as short a length as possible (to minimize necessary look-ahead time), while having as small a bandwidth as possible to prevent excessive modulation on the audio path. In digital-domain applications, it is especially important to minimize modulation, because of aliasing concerns. Because of the many applications that demand time-limited, low-bandwidth windows, there is a vast array of window designs appropriate for detection in this situation. Choice of a reasonable window results in the ability to have true limiting of peaks while preventing the large amounts of distortion that can accompany fast changes in gain.





Other Techtips from March 2006:
March 31 - Managing UAD-1 plug-in latency in Pro Tools LE and M-Powered
March 30 - Quickie Guide to DAW Mixing, Part #22
March 29 - Quickie Guide to DAW Mixing, Part #21
March 28 - What Does "Breaking In Speakers" Mean?
March 27 - Using EQ During Recording
March 24 - Controlling room mics
March 23 - Public Service Announcement
March 22 - Effective EQing in a DAW
March 21 - Accessing Waves Plug-in Presets in a DAW
March 20 - Conserving Plug-in Resources in Windows XP
March 17 - Quickie Guide to DAW Mixing, Part #20
March 16 - Quickie Guide to DAW Mixing, Part #19
March 15 - Quickie Guide to DAW Mixing, Part 18
March 14 - Quickie Guide to DAW Mixing, Part 17
March 13 - Quickie Guide to DAW Mixing, Part 16
March 10 - How does a limiter work?
March 09 - Mid-side miking
March 08 - Quickie Guide to Mixing, Part #15
March 07 - Quickie Guide to Mixing, Part 14
March 06 - Avoiding hi-hat plosives
March 03 - Quick and easy pop filter
March 02 - Controlling the bass without a compressor
March 01 - More Advanced Shortcuts for Pro Tools


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