The limiter
A compressor with a very high ratio and lookahead: it prevents the signal from exceeding a ceiling. Loudness is obtained by pushing the signal into the limiter (input gain) while the ceiling stays fixed.
Parameters
- Ceiling: −1 dBTP as a starting point for streaming.
- Gain / input: how much reduction is requested (1–3 dB = transparent, beyond 4–6 dB you hear pumping and distortion).
- Release: automatic or 50–200 ms; too short distorts the bass, too long pumps.
- Oversampling (4x–8x) and true peak mode to catch the peaks between samples.
Inter-sample peaks
The converter reconstructs a continuous wave between samples: two samples at −0.1 dBFS can generate a real peak above 0 dB. Conversion to MP3/AAC/Ogg adds further peaks: hence the −1 dBTP margin.
Clipping as a choice
In aggressive genres a clipper (soft or hard) is used before the limiter to cut the shortest transients of the kick and snare: you gain loudness with less pumping. It should be used on very short times; on the bass and the 808 it produces harmonic distortion, sometimes intended.
Workflow
- Clipper on the drum bus or the master for 1–2 dB.
- Limiter with oversampling, ceiling −1 dBTP.
- Check LUFS, true peak, listen in mono and on small speakers.
Example
Master of a rage track in A minor: soft clipper at −1 dB to smooth the snare transients, limiter with 3 dB of reduction and automatic release, true peak −1 dBTP, result around −7 LUFS.
Real-world example
Playboi Carti's “Whole Lotta Red” (2020) is often cited for its deliberately saturated and distorted sound: clipping and saturation are part of the rage aesthetic, not a mistake.