The New Art of Limiting
Featuring full loudness metering and DMGAudio's state of the art algorithms this is not your traditional dynamics processor.
Limitless implements multi-band dual-stage processing that intelligently separates dynamics and transients, and generates the smoothest possible gain reduction curves.
See what we mean: download the demo.
Limitless lives up to its name, making masters louder than you ever thought possible, while being intuitive and familiar. 10/10.
When a plug-in sounds great and is absurdly comprehensive, yet easy to use, you have to dig pretty hard to find anything to complain about, and I haven't even mentioned the many little touches that help to elevate Limitless above the herd. I can't recommend Limitless highly enough. Not only is it immensely flexible and capable of a lot of very transparent gain reduction, it's also more affordable than many alternatives, and surprisingly economical on CPU load.
Limitless brings music forward where others push it back. It retains more depth than the competition and maintains a robust stereo image, even when pushed beyond the point that other limiters fall apart.
Sonically, it's rich, clear and capable of high levels with impressive sound quality. It has been very interesting changing the cross-over slope on-the-fly and hearing the changes in tonality. This is a killer app.
its a winner for sure. i mastered a whole album today - 17 songs - and no problems. it went quickly. big, fast and solid.
S Husky Höskulds
Throw all other limiters in the trash.
The most transparent limiter i have ever used!
Dom & Roland
With bar raising code and mind shattering clarity even with as little as a 2db crest, it's game over.
I've tried dozens of stereo and multi band limiters trying to find one that really preserved dynamics instead of just claiming to. After messing around with Limitless for about 10 minutes I realized DMG had actually pulled this off in a huge way. I'm blown away by this thing. I've told several friends about it already and basically forced them to download the demo. I would recommend reading the manual, it does a very good job of explaining how it works and the way to get the best results. I'm guessing a lot of big name plugin companies are headed back to drawing board...
Producer / Mixer / Engineer. Credits include: Avril Lavigne, Jason Derulo, Christina Aguilera, Christina Perri, Pentatonix, Elle King, Daughtry, Gavin DeGraw
- Cutting edge peak limiter to complete your mastering chain.
- Iterative solver algorithm provides the gentlest, most transparent limiting.
- Dual-stage dynamic handling separates transients and dynamics.
- Beautiful, minimalist user interface.
- Bit-transparent linear phase crossover.
- Inter-sample (True-) peak suppression.
- High-pass filter for DC removal.
- Simple and advanced modes: simple is click and bounce; advanced allows fine-grained control.
- 64x oversampled pre-limiter clipper with multiple clip algorithms.
- Noise-shaped dither with adjustable noise shaping intensity.
- Full integrated EBU R-128 Loudness metering.
- Extensive graphing and feedback.
- Windows VST, VST3 and AAX as 32+64bit, RTAS 32bit
- Mac VST, VST3, AU and AAX as 32+64bit, RTAS 32bit
- 6 band variable-slope Linear Phase crossover.
- State of the art iterative numerical solver for optimally smooth gain reduction.
- Dual-stage limiting to separate dynamics and transients.
- Style menu provides quick access to useful limiting characters.
- Variable stereo linkage.
- Full gain staging on input, clipper, limiter threshold and output ceiling.
- Master and per-band release controls.
- Loudness weighting control - to optimise for bass or perceptual loudness without EQ.
- Simple four-control interface.
- Advanced section for precision control.
- Spectrum analyser for crossover configuration.
- Time-plot to highlight peaks and visualise the clipping process.
- Loudness History with EBU R128 compliance.
- Freely-resizable UI.
- Mac Retina support.
- 8 A/B banks.
- Gain-lock to protect gain staging whilst auditioning presets.
- Configurable zoomable PPM and GR meters.
Windows System Requirements
- Windows XP / Vista / Windows 7 / Windows 8 / Windows 10
- 32bit or 64bit
- ProTools 7 or newer.
- A host that supports VST or VST3, such as:
- Steinberg Cubase
- Steinberg Nuendo
- Steinberg Wavelab
- Sony ACID Pro
- Ableton Live
- Cockos Reaper
- Magix Sequoia
- Magix Samplitude
Mac OS System Requirements
- OS X 10.5 or newer, including Sierra (10.12)
- Intel Mac
- ProTools 7 or newer.
- A host that supports VST, AU or VST3, such as:
- Apple Logic (32bit or 64bit)
- Apple Garageband
- Steinberg Cubase
- Steinberg Nuendo
- Ableton Live
Specifically not supported (might work, but I can't test/support these platforms): Windows 95/98, OS X 10.0,10.1,10.2,10.3,10.4
1.04 -> 1.05
- Fix 32bit Carbon UIs on OSX.
- Fix pop when adjusting clipper drive.
- Prevent pops on enabling/disabling clipper.
- Add two new clipping shapes.
- Ceiling/Threshold text-entry - assume minus sign prefix.
- Clip/Dither can be enabled/disabled by clicking their headers.
- Threshold Pre-Clipper setting.
- Allow independent Separation control for Transient limiter.
- Added defence against non-numeric audio on input.
- Parameter in Advanced DSP to use ITU filter for ISP processing that never exceeds TP ceiling.
- "Lock" button now has right-menu for locking different subsets of controls.
- Pref to show Clipper GR on main VU GR.
- "Copy to manual" icon next to character menu.
1.03 -> 1.04
- Fix automation issues in ProTools.
- Fix occasional fade-in at start of render.
- Fix preset load arrows bug.
- Fix bug with long lookahead and ISP enabled.
1.02 -> 1.03
- Update AU validation.
- Allow all AUs to use Cocoa UIs on 32bit mac.
- Improve speed of session recall for AUs.
- Fix mousewheel on 2nd screens.
- Fix rare pop condition.
- Loudness follows Transport pref.
- Update OpenGL implementation.
- Allow disabling of OpenGL via pref - requires session reload.
- Improve latency reporting.
- Improve UI resize handling.
1.01 -> 1.02
- Fix time-graph alignment
- Fix AU validation for Logic X/El Capitan
- Fix redraw crash
- Added Azuolas presets
- Fixed bug whereby saving a preset disabled left/right preset arrows
- Pref for filled GR draw on time graph
- Exporting of Loudness Data. (right-click history graph)
- Lock-out gain link control when gains are locked
- Updated manual
- Fix handling of presets a/b load/save
- Pref to ensure Ceiling doesn't jump after gain-link is disengaged
- Fixes for Sync mode on time graph
1.00 -> 1.01
- Massive OpenGL overhaul
- Add pref (default ON) to optimise CPU at expense of latency
- Disable OpenGL for RTAS
- Fix denormal in loudness metering issue
- Optimise hard knee clipping
- Fix "save as default" button
- Fix GUI reloading
- Preserve Loudness data after a render (preference)
- Fix AutoListen bug
How Limitless works and a guide to Limiting
The Threshold control on a limiter is really an input gain. Limiting at the threshold and then turning the gain up is the same as turning the gain up and then limiting at 0dBFS.
The simplest limiter adds gain and clips. It wouldn't be much of a limiter, but it would make things louder. A more sophisticated limiter will work out how much gain is reduced when clipping and release it gently. More sophisticated still is the technique of delaying the audio (lookahead), to allow a gentle attack time. There's a problem with having one release time though, which is that either you set the release time short, so that it recovers quickly after a peak, and suffer it sounding aggressive on loud sustained material, or you set it long and have dips in level after every transient. In general, a compromise here is a bad compromise.
One solution to this problem is to automatically adapt the release time to the duration of the transient. This improves matters, but it depends on how well the algorithm adapts to your specific material. A better solution, and one that many engineers adopt, is to use a pair of limiters - one to control the dynamics, and another to catch the peaks. This is the strategy that Limitless adopts, but in an integrated way - the dynamics limiter allows transients to pass, configurably, letting the second stage catch the peaks.
Limitless also goes further, with a linear phase crossover of up to 6 bands. By separating out the bands we can prevent the scenario where one loud frequency drags down everything else. Multiband limiters have a reputation for sounding aggressive, when in fact they can achieve much greater transparency (as Limitless will demonstrate). The bad rap appears to be a consequence of the release time issue described above.
To a mathematician, limiting is a delightfully well specified problem. The peaks reach but do not exceed 0dBFS. Given another constraint, it's possible to formulate the problem in such a way that a numerical solver can be built to achieve certain criteria. In Limitless, the operating principle is that the most transparent limiting is a fixed gain reduction - so we strive for maximal smoothness of the gain reduction signals. With the constraints of peak limiting and maximal smoothness, we designed a numerical solver, which per-sample solves to find the gentlest possible adjustments that will prevent clipping.
So here's Limitless. It can be louder than other limiters without audible distortion, but that's not the point. Using Limitless you can achieve pop loudness without losing your dynamics. More importantly, Limitless is designed around modern loudness standards, so it's easy to target a specific Loudness - full metering and history is built in.
Another trick a lot of top-flight engineers use is clipping the signal before the limiter, to reduce the work the limiter has to do to peaks. Limitless features a full-spec clipper with massive oversampling, so you can achieve the "clipped convertor" effect inside the box. And at the output is a simple but thoroughly modern dither.
We're excited to introduce Limitless to the DMGAudio range, because now you can build a pro-grade mastering facility just from DMGAudio processors and a DAW, and you'll have the best gear money can buy whatever your objective.
On the other hand, if you just need to squeeze 6dB out of a render to test it on a big system tonight, Limitless makes it a 1-click affair, and it'll sound better than any alternative.