The whole subject makes me think about the approach in the first place. Why are you ending up with a stereo file you need such aggressive multi-band limiting on in the first place? You'd never do this to something sent to you by a client or whoever else would only send you a stereo file. I really think you are asking for a single jackhammer, when you really should be using some separate little chisels first.

The reason you do not find a tool of your liking is because there is no demand for one, normally. To continue the silly analogies, this is like walking into a fishing bait/tackle store at a marina and asking why you can't find big enough hand grenades for fishing off the dock.

You can get way more heavy-handed than I ever dare to use with just Ozone 11's Dynamics.

 

Last edited: Oct 15, 2025 at 7:06 AM

Theoretically yes, but the multiband compressors, like Ozone dynamics, doesn't achieve the faster attack/release times without distortions. Or in case of pro-mb it doesn't give the limiter vibes even at 0% times and 100:1 ratio

 

we can get to theoretical once we all understand what you are really trying to do. Because using the wrong tools can sometimes be a way to get some unique sounding stuff, if that is what you are doing. But in this case, I think you may not complely understand what is going on. You're trying to force a compressor or limiter (which is all a limiter is anyway, just with different focus and available parameters) to act like a clipper, then blaming your resulting “distortion” on the plugin parameters, rather than very fast gain reduction.

I'd really prefer to see this project you have going on, and then have a rendered waveform of the thing to look at. The reason why you are not finding good answers for your situation, or plugins that will do what you want; is because you are doing something that is likely fundamentally wrong. Or not suited to what you are trying.

What I think you really need, is a chain of plugins in a pretty deliberate sequence. You probably won't get it right for many tries. And I think you will end up with something like a nice EQ first to clean stuff up and make any more drastic cuts, then a clipper. I would use KClip 3, because I always do. And the magic Gold Clip (I do not have) is not multi-band iirc. Kazrog Kclip3 will do it. Then hit your maximizer, or a standard multiband limiter. You are almost guaranteeing distortion using a limiter with such quick attack, clamping down at like 100:1 or even infinity ratio if you had it available to you. This is a portion of why the old school way of doing this kind of thing would be to put a nice compressor, in front of your brickwall limiter. It's like why they started using those 2 layer barriers at racetracks, a guard rail in front of a wall on the highway, and an air bag between your face and the steering wheel Physics. There is nothing wrong with putting compressors as inserts in serial, theoretically at least. Remember that any compressor or limiter is going to create more artifacts, distortion, or call it saturation if you want; the more you make any one individual compressor work. This is why you see them get used in serial pretty often.

Kclip 3 can do multiband and I actually like the version prior to the newest updates where they changed the waveform display (new versions were switched to red waveform depiction).

When you load Kclip3, just leave it on Init preset. Switch it to 4 band. On the very left side is the Input trim control and on the far right is the output control. Next to the Input knob, there is a link button. Hit that, and when you move the input up and down, you will see it and the output knob going in opposite directions. Unlink them. Set the input, threshold and ceiling, and you can hit the little checkbox next to the mix percentage value to listen to only the delta, which is the difference between the settings results, letting you listen to only what you are clipping. You want to hear very little to almost nothing. Then relink the input and output and start raising the input again. Get it close, and then go to the individual bands you want to adjust. Tinker.

 

Last edited: Oct 15, 2025 at 10:09 AM

Thank you for the response, I think we are going out of scope. My question is if a real multiband limiter plugin does exist, the perfect form would be a Pro-L with infinite crossovers selectable and independent tresholds.

I could achieve that with a splitter, like i do now but maybe a more handy plugin exist and the community knows.

When I say theoretically is because a Pro-L or a L2 is a "high ratio compressor" but I can't definetely achieve the same results with a Pro-C with 0 attack and release and 100:1 ratio.

On paper is the same, but the sound it's definetely different. Wish I explained myself better now

 

I hope you don't mind me asking the AI about this.

Spoiler: Source: Grok KI

Yes, real multiband limiter plugins absolutely exist—they're a staple in professional mixing and mastering workflows, especially for taming frequency-specific peaks without squashing the entire signal like a broadband limiter (e.g., FabFilter Pro-L or Waves L2) might. Your description of an "ideal" setup (Pro-L-like transparency with infinite/selectable crossovers and fully independent per-band thresholds) is spot-on for advanced needs, and while nothing hits exactly infinite bands (that's more spectral processing territory, like dynamic EQs), several plugins get very close by offering highly flexible, user-defined crossover networks and true independent limiting controls per band. These outperform hacked-together chains (e.g., a splitter + multiple single-band limiters) in terms of phase coherence, CPU efficiency, and sound quality.

I'll break this down: why your compressor-as-limiter hack doesn't fully match, some top plugin recommendations that align with your vision, and community insights. These are based on current 2025 options, focusing on VST/AU/AAX compatibility for major DAWs like Ableton, Logic, or Pro Tools.

Why Pro-C (or Similar) at 100:1 Doesn't Sound the Same as Pro-L/L2
You're right—on paper, a compressor with 0ms attack/release and infinite ratio should act like a limiter, but in practice, it falls short for a few key reasons:

• Oversampling and Lookahead: Dedicated limiters like Pro-L use advanced oversampling (up to 32x) and true-peak detection to catch inter-sample peaks without aliasing or harsh artifacts. Compressors often lack this, leading to brittle highs or muddier lows.
• Release Algorithms: Limiters employ intelligent, program-dependent release curves (e.g., IRC in iZotope or adaptive recovery in FabFilter) that preserve transients better. A fixed 0ms release on a compressor can cause pumping or loss of punch.
• Brickwall Behavior: Limiters are optimized for "hard" ceiling enforcement with minimal distortion, often via feed-forward designs. Compressors, even at high ratios, introduce more gradual gain reduction, which subtly alters the envelope and timbre.
• Phase and Filtering: In multiband contexts, limiters handle crossovers with linear-phase or minimum-phase options to avoid smearing—compressors don't always integrate this seamlessly.

The result? Your Pro-C setup sounds "different" because it's more colored and less transparent. For multiband work, this gap widens due to inter-band interactions.

Top Multiband Limiter Plugins Matching Your Ideal
Based on your criteria (selectable crossovers, independent thresholds, Pro-L transparency), here are the closest matches. I prioritized plugins with flexible band counts (up to 16+), per-band threshold control, and mastering-grade sound. Prices are approximate (check for sales; many have trials).

Plugin Band Flexibility Key Features Matching Your Wishlist Sound/Transparency Price Why It Fits (vs. Your Splitter Chain)
MeldaProduction MLimiterMB Up to 4 bands standard; modular design allows chaining for "infinite" effective bands via their MUtility suite (e.g., add custom splitters). Fully adjustable crossovers (any frequency, steepness 12-120 dB/oct). Independent thresholds, ceilings, attacks/releases per band; global/master limiter; linear-phase mode; auto-release for transparency. Sidechain per band. Ultra-transparent, maximizer mode rivals Pro-L; minimal artifacts even at extreme settings. $99 (often bundled in MeldaBundle for $200+) Most "handy" single-plugin solution—modular like your splitter but integrated, with better phase handling. Community calls it a "Swiss Army knife" for custom multiband limiting without extra routing.

DMG Audio Limitless Up to 10 user-defined bands; highly selectable crossovers (drag-and-drop graphical editor, any slope/type). Fully independent thresholds, recoveries, and oversampling per band; iterative solver for perfect peak control; mid/side per band. Pro-L level transparency with adaptive intelligence—handles infinite-ratio limiting surgically. $250 (no frequent sales) Closest to your "perfect form": infinite-like flexibility via custom bands, beats Pro-C hacks in transient preservation. Pros like Dave Pensado swear by it for loud masters.
Waves L3 Multimaximizer 5 fixed bands (selectable crossover points via profiles; up to 16 in L3-16 version). Priority sliders act as relative thresholds (not fully independent, but tunable per band); arc release for smoothness; linear-phase crossovers. Bright, punchy like L2 but multiband—great for EDM/rock without mud. $29 (sales common) Affordable evolution of L2; independent enough for most, with better per-band control than basic compressors. Add a splitter for more bands if needed.

mcDSP ML4000 4 bands; adjustable crossovers (graphical, 24 dB/oct filters). Independent thresholds, ratios (up to inf:1 for limiting), gates/expanders per band; feeds into master brickwall limiter. Clean, mastering-focused; analog-modeled warmth optional. $199 (bundled often) True multiband dynamics into limiter—more surgical than Pro-C at 100:1. Graphical curves make tweaking intuitive vs. manual splitting.
Sonalksis MultiLimit 5 bands; linear-phase crossovers (selectable points). Independent narrowband thresholds + broadband master; "Smooth" parameter for transparency; true analog clip option. Distortion-free, fatigue-resistant—balances narrow/wide limiting perfectly. $100 Underrated gem for your use case: precise per-band control without Pro-L's single-band limits. Linear phase avoids splitter phase issues.

• If You Want "Infinite" Bands (Spectral Approach): Look at Melda MSpectralDynamics ($199)—it uses 1024 frequency bins for truly granular, per-Hz limiting (like a dynamic EQ + limiter hybrid). Crossovers are irrelevant; you paint thresholds anywhere. It's overkill for most but matches your theoretical ideal. Alternatively, Newfangled Audio Elevate ($199 bundle) uses ML-optimized multiband limiting (up to 26 bands) for adaptive, transparent results—Andrew Scheps loves it.
• Free/Cheap Alternatives: For testing, try LSP Multiband Limiter Stereo (free, up to user-defined bands with linear-phase mode) or Tokyo Dawn Labs TDR Limiter 6 GE ($60, modular with multiband options). They're solid but less flexible than paid ones.

Community Knowledge & Tips
From audio forums (e.g., Gearspace, Reddit's r/audioengineering and r/mixingmastering), the consensus is that "true" multiband limiters (signal split → independent limiting → sum) like MLimiterMB or Limitless outperform sidechain-only designs (e.g., older L3 versions, where bands influence a single limiter). Users echo your experience: compressor hacks work but introduce phase smearing and uneven recovery, especially in parallel processing. For EDM/mastering, folks recommend starting with 3-5 bands (lows at 100-200Hz, mids 2-5kHz) and A/B'ing against a splitter chain—plugins like these save routing headaches.

If you're in Ableton/Logic, demo MLimiterMB first—it's the most "Pro-L with extras" vibe. Got a specific DAW or genre? I can refine these recs further.

 

Last edited: Oct 15, 2025 at 10:22 AM

Haha, yeah, OP doesn't seem to want it clean and tamed so the OTT coypcats are good alternatives.

 

I can only assume you want one at mastering level? I say this because you seem to wish to boost loudness by band rather than compress.

Have a look at Newfangled Audios Elevate. Try their demo if in doubt. It allows for much more than four bands to limit. It is a different approach to most so while it seems like just a normal limiter, it isn't. You can select multiple bands yourself. It isn't cheap though. All the others do the job too just differently.

Trivia - The Lindell Audio 354E can be pushed hard and act exactly as intended a multiband limiter instead of just a compressor. It has the added benefit of the Neve tones it has built-in.