I'm using Elephant for years now, and I'm a very satisfied customer. I'm not an engineer, just a musician, and Elephant helps me to finish my backing tracks before the gigs, and give them the power needed for a big nice sound. To be honest, as I said, I'm not an sound engineer, and never tried to work with the settings, as I don't know what they do. I just use the presets and everything is just fine.
I wanted to express my gratitude to the developper for this wonderful plug-in, which by the way is not expensive, and is doing miracles, at least for me.
Thank you sir, thank you...
I was at an awards evening a few days ago and it occurred to me just how much I have come to rely on the Elephant Limiter.
Like most professional mastering engineers, I own a range of top quality limiters (including the old L2 hardware even). However, in my chain anyway, nothing seems to equal the Elephant in terms of getting the best out of the song. I chose it almost 100% of the time.
And it has served me well … in the last little while alone it has seen songs I have mastered go to #1 iTunes, sell double platinum, #2 hot 100, #1 iTunes metal, make the ARIA charts (our equivalent of the RIAA), #1 country radio, over 15 million streams on Spotify alone, win song of the year, artist of the year and so on. All with the Elephant as limiter.
I just wanted to say how much I genuinely appreciate your work on the Elephant. Thank you so very much for such an outstanding limiter!
All the best
Year after year after year, Voxengo Gliss remains the heavy-weight champion in all my work when it comes to surgical and dynamic EQing (linear-phase 8x oversampling settings). I repeatedly pit Gliss against new contenders. It always comes out on top, taking out Waves C4/C6 without breaking a sweat and has dominated every dynamic EQ that has emerged since. It just sounds better in every way, whether it's a shelf or a node or a low/high-pass filter. Plus it's more flexible. People don't realize that every node is potentially a powerful transient shaper. Also, the harmonic saturation mode is not to be underestimated. For thrills, I once opened Gliss EQs on every track of a mix with a wide saturation Q and a few tenths of a dB gain. It sounded better than all but one of the console emulations on the market at that point in time, crushing many expensive well know console knock-offs.
I cannot say enough good things about Gliss. It is a legendary classic in my view that may well be the end all be all of linear-phase EQs. And now that it is compatible with AAX, there's no excuse for everyone not to be using it.