Good Limiter/Compression Settings for Radio Commercials

[r steele]

Does anyone here use Pro Tools to produce audio for radio or TV?

If so - can you share your favorite limited/compressor plug-in settings you use in your final mixes?

I've been experimenting, but have yet to find that overall solid, tight, sound I used to get from the Orban Audicy's plug-ins. Wish I would've made a note of those settings before I switched.

Thanks for your help.

[shrop]

Hi R !!

I use Protools LE for radio and TV commercials and I am struggling to get a full sound out of my MP3's. My PDF who uses Cool Edit Pro said he had the same problem in Cool Edit but fixed it by converting first to wav files then to mp3. I tried it to no avail. Most of the tips I have run across ( compression compression compression) don't seem to have any effect on this problem. All I get is a compressed thin sounding recording. I have tried all manner of compressors and plugins but the answer still eludes me . If you find a solution I would certainly appreciate the info.

Thanks.

Dave Shropshire

[r steele]

Thanks for the reply, Dave.

I'm thinking the solution may be to use a few pieces of outboard gear. Possibly an Aphex (sp?)

Like I said in my previous post. The Orban Audicy had some excellent, pre-defined, limiter/compression settings that I wish I would've made a note of before I made the switch. I have a friend who is still using one. I'm going to call him and get that information.

I would consider checking out some of those after-market Pro Tools plug-ins to see if they might help - but, holy crap, the prices are totally ridiculous. [img]images/icons/shocked.gif[/img]

[murph16]

Guys,
I don't know what you're struggling with, but I've been doing radio spots on PT (TDM and LE) for years. I really only concern myself with digital zero...(I use the L1 to master spots whether it's a WAV or MP3)
That gets the spot to a nice competitive level.
As for compression, I use as little as possible on the Master bus because as you guys well know, the transmitter gear squashes the crap out of everything...so the less I use to master it, the better it works with the station's audio chain.

I stick with 192k or higher if it has to be mp3.

The only thing I've been dismayed with is the translation some of my spots get when going to an AM station. When I've done big stereo spots that run on an AM/FM combo, how it sounds depends on how it's dubbed (L only, R only, SUM, etc) and how it's wired in the board. Some of my stereo effects get "washed out" and sound muddy on AM in mono. I'm getting into the habit of dubbing my own Mono versions for AM.

Here's how I look at it...
If you hit your mix hard with a limiter before it goes on radio...the station's limiter is gonna get a pretty straight line level of your spot and stick with it, making your spot just "sit there" at one volume throughout.
If you leave some dynamics in it...then the station's limiter, if it is set nicely, will be able to give it some character. At worst, it will blend nicely with all of the other spots and music. And if you've produced a big, dynamic spot, it may even stand out.

Just my observations...

[img]images/icons/cool.gif[/img]
Murph

[IOP Drummer]

Monitor your mixes through a radio summed to mono. Who cares if it's in stereo. If you are proud of your work (which i hope you are) make stereo mixes as well as mono mixes for yourself of resume. If you're in a situation where you can use stereo mixes then great. Still monitor it in mono out of really crappy speakers. For booming bass, try the maxbass plugin from waves. For a competitive level, use the L1 or L2 limiter from waves. Use compression in your mix to get a good mix, but don't compress the master bus. Just limit it (as mentioned above). Then your mix (if mastered right) should SOUND dynamic but be the same signal level throughout. Don't set your limiter for an output level of digital zero. Set it to a level slightly under what the station wants (0VU or digital 0). If you give them 0, then your mix will probably be slammed again cause their compressor's threshold is definitely under 0 and ratio at atleast 2:1.

[shrop]

Thanks for the replies... I'll definitely give those a try .. In the interim since my first post I also went into the MP3 Option converter and did some reading . Instead of going with constant bit rate ..I will try the variable bit rate setting with Encoding quality rate at Highest (which I always use ) and 320 Bit rate ( Note " I always go 192 or higher rate )

Thanks .

shrop

[resonans]

I also go with the L1 on the master fader (and MAYBEE a good multiband easily set before the L1).

I'm new to Pro Tools, but have produced radio commercials for 10 years now. I used Nuendo until 2 weeks ago, and in that software I used the Ultrafunk multiband and the L1 on the master. The Ultrafunk made the mix more alive and the L1 got the boost.

Anyone know of a good multiband for Pro Tools LE Windows XP? I saw the MC2000, but that's MAC only.

[Producers Never Sleep]

Hey r steele

If you get those Orban Audicy Settings....Send them to me ;-D

I've been trying to Emulate the Compression/Reverb and EQ of the Audicy for a while...
If the Orban wasn't so darn pricey I would buy one tomorrow.

Thx!