So I'm gonna show you today, a plugin that I've been using recently. Now it's not new plugin, but I've been told so much about it. I did use it a while ago. Thought it was okay. Thought it was a little bit deep. Didn't want to get too involved. Then the more people I spoke to about it. And the more people I got into, then I thought okay, I'll give it a go because I don't like to change things too often. And if you watch my channel, I don't like to keep chopping and changing all the things that I use all the time. I like to learn things well and get the most out of them before I put them into my chain. I've got to work fast. I've got to work well. And I've got to be consistent to get really good master tracks for people all the time.
So if I keep chopping and changing, I'm not gonna get that consistency. I'm not gonna understand what something's doing. So that's why I don't rush into things. This is really good. I really like it. I've been playing with it now for a couple of weeks. So, I thought I'd share it with you on the channel. I think you should download it. I think you should give it a go. And tell me what you think in the comments because I'm loving it. I can get things mega loud with it. But that's really not totally what I I'm after. I'm really after getting things sounding dynamic. And I don't want to hear a limiter. I want to hear…because basically if I let something fly over zero on the meters. You're gonna get distortions. You're gonna get all stuff happening.
So I don't want that to happen. But sometimes I don't like the sound of crushing something through a limiter just to get level on it. And that's what this thing is really good at. It's really good at getting things loud without crushing it to death which is what we all want from a limiter. I usually use the Pro-L 2 because that's always been my go-to for that reason. I think this is cleaner than the Pro-L 2. Sometimes Pro-L 2’s got a sound to it, which is cool. And that's why you use certain limiters because they have a sound, some of them. So like the old Waves L2 had a brilliant sound to it, still does. Really poppy sound. So sometimes I use that if I want that poppy sound. But this seems really clean. Sounds really fast and nice. And there's a few other little things that I do on it, which I've been playing with.
I'm no expert on it. I've just been playing around with it. Getting the sound that I like. I'm gonna show you what I've been doing with it. If you've got any tips and tricks, things that I've missed. I don't know, or stick it in the comments below. I'd love to know, share that with you and the community that's in here that are all sharing their knowledge together. So it's the Newfangled Audio Elevate. So let's jump in. I'll play the track. I'll play it all the time. It's an easy one to do, because it's not offensive to anyone. And I'll just play through, and I'll start talking to you about what I'm doing and why I'm doing it.
So here we are inside. Now, let me work from the left to right. There's like meters here. So you got peak and RMS. You can check those out. Then we have the in and out. This is just so you can see all the metering. These three different areas, game reduction, filter bank, get onto those in a minute. You've got these little things that turn stuff on and off, so you can see, different stuff. We get used to that. Up here there is an active and so a bypass essentially. And there's this match level here, which is really cool. So what that's a unity gain. You get that one to one on the Pro-L 2, and that's what you use on there. So what essentially what it does. It matches the input level to the output. So that you'd not fooled just by it being loud. You can hear what it sounded like before and after. So you can A/Bing between the two. Super helpful. Because then you can tell whether you're over pushing it. Or exactly what the parameters are doing to hear exactly what's going on. Really helpful. So, I'm leaving that in for the moment.
Up here, you've got a few different skin colors basically – newfangled, modern and twin turbo. So I've been using the modern, it's standard. Output here, you've got manual or automatic. So, you can put on a manual and put it to -0.2 if that's what you want to do or 0.1. Whatever you wanna do. So basically, you can do that there. Again, RMS and peak meters at the end. So let's dive into the juicy bits. You've got the main parameters here. You can see there's four different, submodules, a filter bank, a limiter, transient, and clipper. These all work, you can have them on or off, obviously.
But with the main parameters here, this is where you can select exactly what's going on. So if you can look here. Limiter links up to the limiter EQ. Transient emphasis that goes up to the transient section, and obviously clipper goes to the clipper. So you've got true peak here. You can have that on or off, depending what you want. Now the great thing about this thing. Which this is what I love about it, is you can select how many bands of limiting you have. And which essentially means, also how many bands of EQ you have. So what this is gonna do, you can make it so it's adaptive to the sound as it's going. Depending on how many bands you have to selected. So a lot of limiters are just one band. So everything's controlling it.
So you don't get…if you've got loads of bass going in, that's gonna control the limiter. And then you're not gonna be able to get as much level, because the bass is sucking up too much level. But with this, if you say I'm not going do 26 bands. That's cool. But not for this demo. Let's just stick to like 10 bands just to keep it easy. And what this is doing, you can see if you go into where it says, filter bank here, these are all the different crossover points that you can select and move around. So you can see each band has its own section. So if I move that, I can move that crossover to there. I can move that crossover over. And then, I can also go back to normal or I can do custom ones where I mess around with them, myself.
So this is just a way of splitting up the frequency so that you don't get stuck with just standard like top and all that. It's like a multi-band compressor, loads of them altogether. So it can move, but if you've got loads of them on. It can really move nicely with it. But you'll see it does control it quite well. You're coming in quite loud when you're at this stage of the game. So you've got limited gain here. So obviously, how much you want to put on and you to turn on and off. You've got the speed, how fast or slow you want the limiter to react and then you've got ceiling. And because I set the ceiling up there. I guess that changes it there. I don't know. I haven't tried that before. So no, it doesn't. But you can set that ceiling. Which I'm guessing will be how much you want to limit.
And then, you've got the adaptive speed and adaptive gain for these two. Then you go onto the transient. So you can have them really emphasized, or you can have them quite clean. So that's really something you've got to use your ears for the transient section. You've got us hear what's going on. See how fast they're hitting and see what you're getting out of them. And then, we've got a clipper which essentially has just got a drive on it. And then, you can change the shape of the clipper. I love the UI on this. It's really cool. Isn't it? The way it does that. If we go into, we don't need to worry about the filter bank, because we've set up with 10. We're just gonna go with the standard stuff at the moment. But obviously you need to use your ears. You can move it around. There's a lot to do with it.
You go into the limiter. So I'm putting a bit of gain on, and we've got some adaptive gains. And here, this is where the cool bit is. Is that you can change the amount of gain you are putting on each channel. So this is working as an EQ effectively. Because you're moving the amount of level you've got. And the great thing about this, you've got loads of bass coming in. You can actually just turn the bass down a bit so that it's rebalancing the mix a little bit of this section. The reason that's good. Because when you're mastering a lot of the time, the limiters when you're pushing into an image. It can start sounding quite bright. So with this, you can actually nudge the level down by half a dB or something at the last moment.
So it is just not going bright. So your before and after can sound pretty similar to each other. Rather than having to compromise on your EQ before this to get this work right. Because normally when you are limiting, your EQ into the limiter. Because you need to consider the limit going to be really bright. Or there's too much bass. So I'm going to not put as much bass on. But then, you might then want to turn the limiter off. To leave the mix really dynamic, say for a streaming master. And then you haven't got, it sounds totally different. So really this way you can adapt this at this point. So that you don't have to compromise for the more dynamic version. If you want to do a smash version. That sounds the same. Hope that made sense, didn't in my head.
So I'll play the track, I'll show you what I'm doing. I'll do a little active and stuff so that you can see what's happening. And you'll be able to hear, you'll be able to see exactly what's going on with this. And then you'll see exactly what I'm saying. Where you can hear with this track in particular, there's a kick that's quite heavy. It's quite a strong kick. So I'll just tweak that down a little bit and you'll hear that it gets a little bit bright. So I'll move those down, but you can then hear that, it just works so well of just keeping it the before and after together. So, let's go for that. (Music playing).
So you can see just from me playing around with that. How you can really affect the low end and you can really save it. Save it towards the end so that you can change some EQs around. And really get it sounding a little bit different towards after you've done all of your EQs and stuff. Obviously this is pretty flat. So it's still quite moody in the low end. I probably would tighten that up and smashed it about a bit in the low end to get that tighter before it got to this stage. But it's good because at least it'll show you the extremes of what you can do.
So it is a great limiter, Newfangled Audio Elevate. Check it out. I love it. I'm going to be using it a lot because I think it's brilliant of what you can…the manipulation of the stuff you can do. Now I talk a lot about like processing in this. And I'm talking a lot about really changing stuff. So if you are wanting to learn exactly how to master the way that I master every single day. Then there is a link below to a course that I run. So you want to check that out. Hit the link below. That'll take you there. Great to have you on board. Till next time. Bye.