Featuring full loudness metering and DMGAudio's state of the art algorithms this is not your traditional dynamics processor.
Limitless implements multi-band dual-stage processing that intelligently separates dynamics and transients, and generates the smoothest possible gain reduction curves.
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In the wrong hands, “Next to Normal” could be impossibly bleak, a melodramatic descent into one family's private hell. Under the direction of Robert Barry Fleming, Tantrum Theater's impeccable. Jan 30, 2015 Brief overview of Compassion - an outstanding compressor plugin that can be won in the next episode of In The Loop (ep 7). Aug 18, 2011 Dave Gamble, owner of DMG Audio, has drawn on years of experience at Novation, Sonalksis, Brainworx and Focusrite, to come up with the vision and creation of Compassion – a highly flexible and configurable dynamics processor plugin, that fits.
- Limitless lives up to its name, making masters louder than you ever thought possible, while being intuitive and familiar. 10/10.
- When a plug-in sounds great and is absurdly comprehensive, yet easy to use, you have to dig pretty hard to find anything to complain about, and I haven't even mentioned the many little touches that help to elevate Limitless above the herd.I can't recommend Limitless highly enough. Not only is it immensely flexible and capable of a lot of very transparent gain reduction, it's also more affordable than many alternatives, and surprisingly economical on CPU load.
- Limitless brings music forward where others push it back. It retains more depth than the competition and maintains a robust stereo image, even when pushed beyond the point that other limiters fall apart.Ady Connor
- Sonically, it's rich, clear and capable of high levels with impressive sound quality. It has been very interesting changing the cross-over slope on-the-fly and hearing the changes in tonality. This is a killer app.Alan Silverman
- its a winner for sure. i mastered a whole album today - 17 songs - and no problems. it went quickly. big, fast and solid.S Husky Höskulds
- Throw all other limiters in the trash.Nate Wood
- The most transparent limiter i have ever used!Dom & Roland
- With bar raising code and mind shattering clarity even with as little as a 2db crest, it's game over.Marc Royal
- I've tried dozens of stereo and multi band limiters trying to find one that really preserved dynamics instead of just claiming to. After messing around with Limitless for about 10 minutes I realized DMG had actually pulled this off in a huge way. I'm blown away by this thing. I've told several friends about it already and basically forced them to download the demo. I would recommend reading the manual, it does a very good job of explaining how it works and the way to get the best results. I'm guessing a lot of big name plugin companies are headed back to drawing board...Kyle MoormanProducer / Mixer / Engineer. Credits include: Avril Lavigne, Jason Derulo, Christina Aguilera, Christina Perri, Pentatonix, Elle King, Daughtry, Gavin DeGraw
Features
- Cutting edge peak limiter to complete your mastering chain.
- Iterative solver algorithm provides the gentlest, most transparent limiting.
- Dual-stage dynamic handling separates transients and dynamics.
- Beautiful, minimalist user interface.
- Bit-transparent linear phase crossover.
- Inter-sample (True-) peak suppression.
- High-pass filter for DC removal.
- Simple and advanced modes: simple is click and bounce; advanced allows fine-grained control.
- 64x oversampled pre-limiter clipper with multiple clip algorithms.
- Noise-shaped dither with adjustable noise shaping intensity.
- Full integrated EBU R-128 Loudness metering.
- Extensive graphing and feedback.
- Windows VST, VST3 and AAX as 32+64bit, RTAS 32bit
- Mac VST, VST3, AU and AAX as 32+64bit, RTAS 32bit
Sound
- 6 band variable-slope Linear Phase crossover.
- State of the art iterative numerical solver for optimally smooth gain reduction.
- Dual-stage limiting to separate dynamics and transients.
- Style menu provides quick access to useful limiting characters.
- Variable stereo linkage.
- Full gain staging on input, clipper, limiter threshold and output ceiling.
- Master and per-band release controls.
- Loudness weighting control - to optimise for bass or perceptual loudness without EQ.
Vision
- Simple four-control interface.
- Advanced section for precision control.
- Spectrum analyser for crossover configuration.
- Time-plot to highlight peaks and visualise the clipping process.
- Loudness History with EBU R128 compliance.
- Freely-resizable UI.
- Mac Retina support.
- 8 A/B banks.
- Gain-lock to protect gain staging whilst auditioning presets.
- Configurable zoomable PPM and GR meters.
Windows System Requirements
- Vista / Windows 7 / Windows 8 / Windows 10
- 32bit or 64bit
- ProTools 7 or newer.
- A host that supports VST or VST3, such as:
- Steinberg Cubase
- Steinberg Nuendo
- Steinberg Wavelab
- Sony ACID Pro
- Ableton Live
- Cockos Reaper
- Magix Sequoia
- Magix Samplitude
- AudioMulch
Mac OS System Requirements
- OS X 10.7 or newer, including Mojave (10.14)
- Intel Mac
- ProTools 7 or newer.
- A host that supports VST, AU or VST3, such as:
- Apple Logic (32bit or 64bit)
- Apple Garageband
- Steinberg Cubase
- Steinberg Nuendo
- Ableton Live
Specifically not supported (might work, but I can't test/support these platforms): Windows 95/98/XP, OS X 10.0,10.1,10.2,10.3,10.4,10.5,10.6
1.08 -> 1.09
- Improved HiDPI support
- Support VST2 getEffectName for some rare hosts
1.07 -> 1.08
- Fix AU validation in old not-really-supported versions of Logic
- Reaper key entry improvements
- HiDPI support in Cubase and Studio One on Windows
- Improvements with discrete parameters drag/mousewheel
- Fix resetting loudness meters bug in Limitless
- Fix disappearing meters
![Dmg compassion review pdf Dmg compassion review pdf](/uploads/1/3/4/3/134370821/159090212.jpg)
1.06 -> 1.07
- Fix for loudness not resetting until playback starts in some DAWs
- Time plot correctly aligns to bar position when sync mode on
- Grouped undo when editing parameters for multiple selected bands or for sanitised crossover frequencies
- Shift-Ctrl/Cmd-click on Threshold text label to show/hide an extra decimal place
- Fix crash after long period of use
- MIDI learn via right-click on parameter
- Fix crash when setup window open in more than one instance
- Undo/redo incorporates loading of presets and banks
- Correctly reinstate prev/next buttons status on opening window or loading a session
- Mac build now requires 10.7 or later
- Improve menu position when opening a menu would cause it to appear offscreen
- AAX Mac window focus improved
- Fix potential crash when file saving fails
- Accept ',' for decimal point when entering value by text
- Fix potential crash when closing UI
- Fix crash when closing UI with text box open
- Fix crash with text entry on touchbar MacBook Pro
- Prevent Cubase/Nuendo right-click menu from appearing when right-clicking on a clutter bar button that accepts right-clicks
- Support for mono->stereo AU
- Installer searches for existing VST plugins folder for 64-bit plugins on Windows if run for first time
- Correctly sign Windows installers with Codesigning cert
- Improve text and layout for Windows installers
- Improve install descriptions and logo for Mac installers
1.05 -> 1.06
- New invisible ITU ISP algo.
- Options to save banks/presets to store A/B banks.
- Fix for recall of A/B settings
- OpenGL improvements
- Reduce graphics overheads
- Improve text editing on 64bit mac
- Improve VST3 automation
- Improve mousewheel handling on windows
- Improve keyboard handling
- Support VST3 GR metering in Studio One
- Improve automation resolution in Logic X
- Fix to disable dither on bypass
- Fix Input gain automation in ProTools
- Fix bug where resetting loudness statistics could show an over-read.
1.04 -> 1.05
- Fix 32bit Carbon UIs on OSX.
- Fix pop when adjusting clipper drive.
- Prevent pops on enabling/disabling clipper.
- Add two new clipping shapes.
- Ceiling/Threshold text-entry - assume minus sign prefix.
- Clip/Dither can be enabled/disabled by clicking their headers.
- Threshold Pre-Clipper setting.
- Allow independent Separation control for Transient limiter.
- Added defence against non-numeric audio on input.
- Parameter in Advanced DSP to use ITU filter for ISP processing that never exceeds TP ceiling.
- 'Lock' button now has right-menu for locking different subsets of controls.
- Pref to show Clipper GR on main VU GR.
- 'Copy to manual' icon next to character menu.
1.03 -> 1.04
- Fix automation issues in ProTools.
- Fix occasional fade-in at start of render.
- Fix preset load arrows bug.
- Fix bug with long lookahead and ISP enabled.
1.02 -> 1.03
- Update AU validation.
- Allow all AUs to use Cocoa UIs on 32bit mac.
- Improve speed of session recall for AUs.
- Fix mousewheel on 2nd screens.
- Fix rare pop condition.
- Loudness follows Transport pref.
- Update OpenGL implementation.
- Allow disabling of OpenGL via pref - requires session reload.
- Improve latency reporting.
- Improve UI resize handling.
1.01 -> 1.02
- Fix time-graph alignment
- Fix AU validation for Logic X/El Capitan
- Fix redraw crash
- Added Azuolas presets
- Fixed bug whereby saving a preset disabled left/right preset arrows
- Pref for filled GR draw on time graph
- Exporting of Loudness Data. (right-click history graph)
- Lock-out gain link control when gains are locked
- Updated manual
- Fix handling of presets a/b load/save
- Pref to ensure Ceiling doesn't jump after gain-link is disengaged
- Fixes for Sync mode on time graph
1.00 -> 1.01
- Massive OpenGL overhaul
- Add pref (default ON) to optimise CPU at expense of latency
- Disable OpenGL for RTAS
- Fix denormal in loudness metering issue
- Optimise hard knee clipping
- Fix 'save as default' button
- Fix GUI reloading
- Preserve Loudness data after a render (preference)
- Fix AutoListen bug
How Limitless works and a guide to Limiting
The Threshold control on a limiter is really an input gain. Limiting at the threshold and then turning the gain up is the same as turning the gain up and then limiting at 0dBFS.
The simplest limiter adds gain and clips. It wouldn't be much of a limiter, but it would make things louder. A more sophisticated limiter will work out how much gain is reduced when clipping and release it gently.More sophisticated still is the technique of delaying the audio (lookahead), to allow a gentle attack time.There's a problem with having one release time though, which is that either you set the release time short, so that it recovers quickly after a peak, and suffer it sounding aggressive on loud sustained material, or you set it long and have dips in level after every transient. In general, a compromise here is a bad compromise.
One solution to this problem is to automatically adapt the release time to the duration of the transient. This improves matters, but it depends on how well the algorithm adapts to your specific material.A better solution, and one that many engineers adopt, is to use a pair of limiters - one to control the dynamics, and another to catch the peaks.This is the strategy that Limitless adopts, but in an integrated way - the dynamics limiter allows transients to pass, configurably, letting the second stage catch the peaks.
Limitless also goes further, with a linear phase crossover of up to 6 bands. By separating out the bands we can prevent the scenario where one loud frequency drags down everything else.Multiband limiters have a reputation for sounding aggressive, when in fact they can achieve much greater transparency (as Limitless will demonstrate). The bad rap appears to be a consequence of therelease time issue described above.
To a mathematician, limiting is a delightfully well specified problem. The peaks reach but do not exceed 0dBFS. Given another constraint, it's possible to formulate the problem in such a way that a numerical solver can be builtto achieve certain criteria. In Limitless, the operating principle is that the most transparent limiting is a fixed gain reduction - so we strive for maximal smoothness of the gain reduction signals.With the constraints of peak limiting and maximal smoothness, we designed a numerical solver, which per-sample solves to find the gentlest possible adjustments that will prevent clipping.
So here's Limitless. It can be louder than other limiters without audible distortion, but that's not the point. Using Limitless you canachieve pop loudness without losing your dynamics. More importantly, Limitless is designed around modern loudness standards,so it's easy to target a specific Loudness - full metering and history is built in.
Another trick a lot of top-flight engineers use is clipping the signal before the limiter, to reduce the work the limiter has to do topeaks. Limitless features a full-spec clipper with massive oversampling, so you can achieve the 'clipped convertor' effect insidethe box. And at the output is a simple but thoroughly modern dither.
We're excited to introduce Limitless to the DMGAudio range, because now you can build a pro-grade mastering facility just from DMGAudio processors and a DAW, and you'll have the best gear money can buy whatever your objective.
On the other hand, if you just need to squeeze 6dB out of a render to test it on a big system tonight, Limitless makes it a 1-click affair, and it'll sound better than any alternative.
STOP! Before you go plugin shopping, specifically for compressor plugins, take a look at this loving review by Gary Hiebner on Compassion by DMG Audio.
With so many plugins on the market—especially compressor plugins—how do you choose the perfect one? DMG Audio's Compassion has made this choice much easier. They have developed a plugin that could be the only compressor you’ll ever need. It has everything from analogue emulation compression to modern sounding compressor types with advanced circuit algorithms, and more. I will cover some of the features of this unique compressor plugin in this review. With so many features this is a plugin that you will never get bored of. Every time you use it there's potential to learn something new.
Step 1 – What Makes this Plugin Special
The Compassion compressor is packed full of tools. It has compression, expansion/gating, side-chaining, transient shaping, and limiting capabilities. Which makes this more than just your average compressor! What makes this plugin very special is its visual graph aids. There is an audio window display that shows the waveform and the compression effects on the audio signal. This comes in handy when customizing the attack, release, threshold and ratio via the waveform. You get real-time visual feedback via the waveform graph that is in my opinion the biggest selling point with this plugin.
This visual guide will really help novices get their head around how compressors actually work and how they affect the audio signal path. I remember not quite understanding compressors when I first got into computer music production. It took quite some time until it made sense. Now with these visual aids, Compassion will really assist the beginner, and its advanced features will entice the intermediate to advanced user as well.
Step 2 – Presets/Modifications
Compassion comes with a few nifty presets, but what is very interesting is its Mods feature. Mods are a form of preset but with more configurable options. You can alter specific parameters and save them as a modification. This is a different way of looking at presets and is where you can find some of the compressor emulator modifications. The Mods are broken up into Characters, Compression Styles, and Utility functions.
You can also save your own Mods for later use.
Step 3 – Advanced Mode
Here in Advanced Mode you have access to many more features that allow you to tweak your compression settings further such as the shape of your attack and release curves. For example: you can reshape your Knee in the graph.
You can even dial in negative compression values, which can completely change the way your compressor reacts to the audio, giving it a gradual increase to the threshold.
Step 4 – Transient Shaper and Side-Chain
The Transient shaper is very handy: after most compression you can lose some of the edge to your sound. The transient shaper will help bring back some of that edge. With the Advanced Section you can further tweak the transients.
The side-chaining features are amazing. There is an EQ section with high and low-pass filters with adjustable slopes, plus bell peak types. You can also add noise into the side-chain for more analogue response. Plus, there is the option for an external source as a side-chain source.
Step 5 – Preset Examples
Here are some audio examples so that you can hear the results of Compassion. I have used the presets that have come with the plugin. But so much more is possible with it.
Here is an example of the Bassline Smash preset on one of my synth bass lines.
Before:
After:
This is the Drum Transnap preset before on a Kick sample. You can really hear how the Transient Shaper affects the attack of the Kick.
Before:
And after:
Here is the Drums Bus preset on the drum channel of my one track.
Before:
And after:
There is also a Bus Compression preset called Main Bus. Take a listen how it affects the track.
Before:
After:
Compassion can also be used for creative processing: I have dialed in some settings using the Transient shaper and some of the other parameters in the compressor. Take a listen how it alters the sound quite drastically. You see how it can be used as an effect as opposed to a corrective tool on your audio.
Before:
After:
Dmg Compassion Review And Ratings
Conclusion
Dmg Compassion Review And Reviews
We're just scratching the surface of what is possible with Compassion. There are many other features to this compressor plugin. But once you get deeper into it you will find these hidden ‘gem’ features. I hope this demystifies some of Compassion’s interface and shows you some of the possibilities of this amazing plugin.