^ Indeed!
threshold, makeup gain (and sometimes dry/wet mix) are always going to be different. Attack, Release, Ratio, Side-Chain config are what is important if you’re looking to glean some magic from others.
A limiter is nothing more than a compressor with a ratio of 10:1 or more, and a very fast attack.
Fortunately Rytm’'s attack is about as fast as they come in analog hardware. 0.03ms is practically instantaneous.
Now, there is some concern about bass frequencies being distorted at such fast attack times, due to the wave cycle time of such frequencies. But limiting will generally introduce distortion, and as long as you like the way it sounds, go for it.
This is my default live stage limiting setting: Ideal for techno, house, electro (but not electro house because really?, i mean really?)
Fastest attack for true limiting.
Release at A1 which is the faster of the two auto release settings, and, IMO, the best “set and forget” release setting
Ratio at MAX because again, limiting.
SideChain EQ (SEQ) at HPF to allow the control of the compressor to be less influenced by low end frequencies prominent in such dance music styles, reduces the sucking and swelling and gives a good even sound, preventing the big gain rise when the low end is reduced, removed or muted during breakdowns and interludes.
As mentioned again and again, threshold is level dependent. But what is important is that 2 pixel wide vertical bar next to MUP. This is the gain reduction meter. The lower it goes, the more you are compressing.
I personally find it sounds great somewhere around the space between the MUP characters and the circular MUP parameter graphic, as pictured.
Mix at Full Wet because limiting means nothing goes beyond the limit, and a bit of dry signal mixed in will reintroduce dynamics that will exceed the peaks. In other words, the person running the PA will like you, very much.
MUP to taste. Not too heavy or you will distort. Enough to get back the volume you’ve lost from gain reduction, but no more.
VOL just enough to get a good level into wherever your Rytm’s output is headed next.
These settings are for the entire stereo mix, out of the stereo output (no individual outs utilized).
These are the settings I’ve been using the past couple years for live performances.
Used in this performance for reference:
A4 output (which also has drums) goes through an FMR RNC with HPF SC, configured in as much of the same manner as possible (except not as fast attack and no auto release setting)
nnice