k2k audio Parameters
| Parameter | Range | Default |
|---|---|---|
| Threshold | -24.0 – 0.0 | -1.0 |
| Release | 10.0 – 500.0 | 100.0 |
| Lookahead | 0.0 – 5.0 | 0.0 |
| Dry/Wet | 0.0 – 1.0 | 0.5 |
Threshold — The output ceiling in dB — signal will not exceed this level. Labeled “Ceiling” in the UI. Signal below the ceiling passes through untouched; signal that would exceed it is held down. Set to −0.1 to −1 dB for mastering-style transparent peak control; lower values (−6, −12) push the limiter into more audible “loudness pumping” territory.
Release — How fast the limiter releases its gain reduction once a peak passes, in ms. Fast release (10–50 ms) recovers level quickly — louder, more aggressive, can sound pumpy. Slow release (200–500 ms) is more transparent but allows momentary level dips after loud peaks. For mastering, 50–200 ms is typical; for tracking, faster values work better.
Lookahead — How far ahead in time the limiter peeks at the signal before deciding to clamp it, in ms (0–5). With lookahead, the limiter starts attenuating before a peak arrives, catching it cleanly without a click. Without lookahead, the limiter has to react after the fact — fine for soft peaks but can let sharper transients sneak through. Mastering use: 1–3 ms is standard. Lookahead introduces equivalent latency, so leave at 0 if latency matters.
Dry/Wet — Equal-power blend between dry (0) and the limited signal (1). For mastering use, leave at 1. The 0.5 default exists for parallel-limiting workflows where you want the controlled peaks of the wet signal mixed with the natural dynamics of the dry. Node-specific — the FX-slot version handles wet/dry at the mixer.
Additional controls
Stereo Link — How channels are linked. Dual — each side independent (can shift the stereo image when one side hits the ceiling). Link — both follow combined detection (preserves the image; the standard choice for masters and busses). Always use Link unless you specifically want asymmetric peak control.
About Limiter (Native)
A limiter is essentially a compressor with infinite ratio and a fast attack — anything that tries to exceed the ceiling gets clamped down hard. Use the Compressor for shaping dynamics; use the Limiter as a peak-control safety net or for loudness maximization at the end of a chain. Heavy limiting (more than a few dB of gain reduction) is a tonal effect, not a transparent control — past that point you’re working with the limiter’s character, not with neutral peak management.
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