I'm just using these things to alleviate the 'dang it why is everything so freaking quiet?!?!' problem - and as a way to avoid using any volume automation. So if my processing reduces the realism and natural balance of the sound I'd never know it.
I started doing this when working on tv scores where I just had to compose-compose-compose-PRINT!Īlso my program material is by no means a realistic orchestral sound - it's always got some orchestral textures in it, alongside war drums and electronic drums, and hybrid drones and textures, etc.
That way of working isn't for everyone, but it works for me. That way there's no surprises when I un-bypass the thing later on and go, 'Whoa nelly, what just happened?' So when I balance sounds and apply individual eq and compression it's always 'in context' with what's going to happen to those sounds downstream. So definitely 'mixing INTO the limiters' - actually an even more extreme version of that process. While I'm doing sound design, selecting sounds, building a template, composing, mixing.
I don't apply it to an existing mix, it's always in place and active. Well, one thing about how I use it is that it's ALWAYS on my stem sub-masters.
