My bad, I’ve not tried this new L2, the L1 is what I have.
I’m excited to get this now! But the L1 lookahead did distort a tad so I’m wondering if the L2 does the same.
Did you try this version,Kyle? You heard the lookshead distort a bit?
I suspect it’s more of a processing argument from pushing the lookahead to far past where it should go naturally.
If you are looking for sweet saturation L2 added some Styles that will make you love it even more
Look a ahead is supposed to still give distortions on very short settings
I usually use the tape simulator in Ozone, so I never tested that aspect of L2. But I sure will in my next projects
Source :
https://www.fabfilter.com/help/pro-l/using/advancedsettings
Style
FabFilter Pro-L 2 comes with eight advanced and highly program-dependent limiting algorithms, which all have their own distinct character. One is not better than the other; they are all great, and they all go very loud if you want them to. It is best to select the appropriate algorithm depending on what kind of effect you want to achieve: some are designed to be as transparent as possible, while others may add a nice punch or flavor.
The default Lookahead, Attack and Release values are good starting points but feel free to tweak these to get the best possible results. Here's a short description of all algorithms:
- Transparent: As the name says, this algorithm is designed to stay true to the original sound and feel as much as possible, avoiding pumping effects and coloring. It works great on most program material, but especially on rock and pop music.
- Punchy: Of all algorithms, this one is the most apparent. When pushed, it becomes quite punchy and will introduce a bit of pumping, which can add some nice flavor. Since it's fairly 'safe', minimizing distortion most of the time, it works miracles on single tracks, like vocals, bass or guitar and can give a nice edge to beat-oriented music.
- Dynamic: By enhancing transients before actually applying limiting, this algorithm excels in preserving the original punch and clarity of your audio. It's great on rock music, but it can work surprisingly well on other types of audio as well.
- Allround: This algorithm is designed to work well on almost any program material, striking a good balance between loudness and transparency.
- Aggressive: As the name implies, this algorithm uses an aggressive yet smart, near-clipping style of limiting. This works wonders on EDM/trance music but also shines on rock, metal or pop.
- Modern: As the new default style in Pro-L version 2, the Modern algorithm sets the new standard for all-purpose, transparent limiting. It can achieve very high loudness and allows for very near-zero lookahead settings, while still sounding extremely clean and natural.
- Bus: Especially nice for (drum) bus processing and individual tracks, this algorithm is not meant to be transparent, rather the opposite. Think glue, pump or squash!
- Safe: No distortion ever, that's what this algorithm is designed to achieve. It's perfect for delicate acoustic and/or classical music, or individual instrument tracks.
