Do not crush the transients using a compressor. Let the limiter treat them.

Use a slow attack, slow-release compressor (multiband) behind the limiter instead of a fast-attack, fast-release compressor.

 

Last edited: Jul 19, 2020

I like to export my final mix then reimport it and add samples of myself snapping my fingers on every down beat.

 

dude is pretty much still awesome

 

So, he finally discovered what a limiter is for, congrats. Since when is this guy mastering for money?

Of course, no offense to you, @metaller, but this is noob stuff. Everyone who dares to call himself a mastering engineer should know this for years.

 

Yes. I knew that already. I rarely apply compression on things (other than Vocals or Live Drums) since they make the transients go away without much advantage. In contrast, limiting or saturation keeps the sound of the transients, while lowering the dynamic range.

Listen to this from 1:50 to 3:10 . This is limited to the death, but it hits so fucking hard. The saturation has kept the transients' power.

 

Last edited: Jul 24, 2020

Just give it some attack time and all is good.

Yeah, a bit squashed. Nonetheless Symphony X is great and sounds even (way) better when it's not limited to crappy 128kbps.