from what i understand

for loudness during mastering a maximizer is needed..

not a limitor, nor a compressor (with makeup gain)

is that correct?

if you could also explain what does a maximizer do over what do a limitor does

thank you

 

Generally speaking, a limiter is a compressor applied to a channel which has a high threshold and high ratio. They are designed to compress peaks which already high level to stop them hitting 0 and clipping, as such they don't usually require much if any make-up gain.
Maximizers tend to do the job of reducing the dynamic range more significantly.

They have been used to literally maximize how loud the track/channel can possibly be without clipping, much to the majority of the professional industry's dismay. They also tend to have a 'look forward' option to assess the audio just before it actually needs to be processed, that way it can make the compression less noticeable.

 

Clippers/Limiters/Maximizers/Compressors....
It depends on your material, how you mixed it, processed, and even performed, recorded.
Even exciters, eqs, distortion, saturators may have power, fatness, dirt, balance and colour...not just maximizers and clippers, they maximize what you mixed up to maximum loudness and then squash/clip until death (and after that you even may have squashed and clipped tracked and not so loud as your reference which is way louder, punchier, bigger and less squashed) ... It is from the start to the end of your work...

 

Maximizer is the same thing as limiter. Just sounds a bit like marketing talk.

 

Loudness is not only about the master bus , Maximizes can be used on master bus in goal of achieving loudness .
usually i don,t use regular compressor on master buss instead i use multi-band compressor .

 

@SineWave: couldn't agree more!
Even if, technically, there's one difference in the workflow :
Originally, by design, the maximizer is a limiter with an auto make-up gain. As you lower the threshold, the output gain is automatically raised.
In a limiter, you have to adjust the make-up gain manually (when it starts to limit the signal, you can hear it decreasing if you don't touch the output gain).
But in reality manufacturers often don't care and label maximizer or limiter as they please, and as their marketing dictates it.

Ps : if this difference is relevant in your choice of plugin, I would pick a limiter for any task, because it allows to A/B his action with a matched gain, which isn't possible in a "real" maximizer

 

Usually we use a compressor for the punch and glue,and the limiter to add loudness.

 

You can produce and mix for loudness too. Not just slap a limiter or a maximizer on the master. The final glue compressor might even just have the needle barely moving.
So no, you don't have to use a maximizer in order to achieve loudness. There are other techniques that can up the loudness (or percieved loudness).

 

Fek, you just took the words out of my mouth while i was writing

Everything all the guys said should be helpful to the OP. If i may add, the best way to achieve max loudness is during mixdown and not after. Individual compression/expansion/limiting on the channels and busses to optimize levels, is a good way to "arrive" at a mixdown that needs little to no compression/limiting, when going for a final master. This of course always depends on the musical material and the type of music one makes, also the type of media it is geared towards.
With that said, personally i will use compression only when it's of utmost necessity. If i can get away with it by using volume automation i will, even if it takes more time. Yes i'm old school like that alright, but i hear loud as fuck monstrosities almost everyday, and it doesn't sound good. If i can suggest one thing, is use those comps for the sake of your music not for the sake of being loud.
Cheers :D
PS: An alternative way to achieve loudness is using a levelling amplifier. Historically, these are predecessors to compressors and typically they have just 2 knobs, gain & peak reduction. Typical parameters like ratio, attack and release were built in the circuit and ratio-wise they would sit between a comp and a limiter, around 5:1 with a slightly fast attack and slow release. Probably the best known levelling amp is the Teletronix LA-2A and still to this day it's been used from anyone who's someone. It even enjoys multiple digital renditions as almost every major plugin vendor has a version of it. Imho, UAD's version is the most true to the original machine but each to their own of course :D

 

Compression, Limiting, EQing!!, Clipping, Saturation

 

Of course my friend,the final loudness is not all about a limiter on the master.But it helps.