Rockruepel LIMIT.ONE Mastering Limiter
The Rockruepel LIMIT.ONE Mastering Limiter blazes a new path to offer a better way to accomplish a very necessary function in a territory almost completely left alone to one other device. The LIMIT.ONE is a neo-classic transformer based analog limiter! Brick-wall limiting, level control for mono or stereo tracks and new sound shaping possibilities - all in one box!
The new limiting circuit design of the Rockruepel Limit.One improves your control when working with high or uneven audio levels. Built to get the most out of your dynamics and leaving the audio signal wave intact, this limiter is ready to take on the 21st century and its new audio formats and platforms.
Rockruepel adapted and optimized the use of a current-controlled attenuator placed between two Pikatron transformers, this element keeps the original shape of sound wave while setting a limit. The limit.one features a multi-dial switch to control the precise point of the limiting threshold accessing a wide range from +2dBu to over + 22dBu. Elma switches for Output gain up to 5dB of make-up gain and a 4 speed setting from slow to fast. The unit can operate in mono or stereo and has a hard wire bypass. An alternate output allows splitting of the signal for mastering applications.
The ED-Mod. (aka Electronic Dance- Mod)
Inspired by engineers who work with electronic music, the ED-Mod sets a smooth High Pass Filter on the limiting circuit for a richer and lower frequency sound. Obviously creating more of an effect than actual brick wall limiting this allows mix and mastering engineers to get a more dense stereo track with lots of bass. The limit.one has found its place in many studios around the world and can already be heard on dozens of grammy and platinum awarded records.
Rockruepel started with the successful tube compressor series consisting of the comp.one and its successor, the comp.two. This boutique compressor has been an insider tip for recording, mixing and mastering and received several nominations. Now, with the debut of the limit.one , all of the ultra-hi-fidelity sound and build quality that Rockruepel users have come to know and love, is available in a whole new audio toolkit that maximizes the incredibly valuable balance of both volume and dynamics in ways never before possible.
Rockruepel LIMIT.ONE Mastering Limiter Features
- Complete analog circuitry
- Precise level control with new multi dial
- Stepped Elma output and time constants switches
- Real Hardwire Bypass
- Alternate output for 2nd feed
- Mono or stereo
- The ED-Mod sets a smooth High Pass Filter on the limiting circuit for a richer and lower frequency sound
- Precise limiting LED
- Transfromer balanced inputs
- Aluminium chassis with 6 millimeter front plate
Rockruepel LIMIT.ONE Mastering Limiter Specifications
- Frequency Response: 40Hz 15 kHz ± 0,35 dB, 20Hz 20 kHz ± 0,73 dB
- Max Output Level ( 40Hz kges -40dB ): +24dBu
- Power Consumption: 5Watt
- Signal-to-noise ratio: pGer ⪴ -75 dBqs ( CCIR 486 ) & pFr ⪴ -85 dBq ( Bandwidth 10Hz 30 kHz )
Rockruepel LIMIT.ONE Mastering Limiter Includes
- IEC Power Cable
- Quick Start Guide
Rockruepel LIMIT.ONE Mastering Limiter Downloads
What We Think
With the Rockruepel LIMIT.ONE, Oliver and the Rockruepel team have made a truly remarkable limiter designed for the new, high resolution / high dynamics style of mastering which take advantage of the new ways that listeners are purchasing taking delivery of music. Different than a "peak" limiter, this analog brick wall limiter design retains clarity throughout the audio signal. No more distorted high frequency range when hitting it harder! The LIMIT.ONE will keep more dynamics which are visible within the resulting waveforms, and it helps to avoid the phenomenon of "audio sausage" (heavily limited and compressed audio where each song waveform's dynamic intro and fade-out lend the illusion of a sausage link in the edit window). The results speak for themselves.
As for the construction, Rockruepel set the bar incredibly high right from the beginning. The COMP.TWO is loved the world over for it's incredibly durable build and bulletproof dependability (oh, and the sound quality isn't too shabby, at all - in fact, that's what really wins folks over). So, the construction features of the LIMIT.ONE will be quite familiar to those who know the COMP.ONE (discontinued) and COMP.TWO (current)... but that's where the similarity ends. The LIMIT.ONE is very intelligently designed with audiophile high resolution mastering in mind. So, the multi-dial "limit" (threshold) control is so incredibly cool. Basically, it's a very fine-resolution control that basically has 10 turns for completing the full range. With each complete rotation of the dial, the outer ring will advance or decrease by one where the inner ring displays the fine resolution. So, in some regards, this control feels like you are trying to crack a safe. But unlike safe-cracking, mastering is a legal and far more effective way to make a living.
So, if you're a mastering engineer - or even a mixing engineer who is looking for something different to add to the toolkit (yes, it does some really interesting things on individual elements such as bass, snare drums, room mics [YES!], and more) - then the LIMIT.ONE will be a purchase that you'll be glad that you made.
- Front End Audio
1 Review Hide Reviews Show Reviews
Build quality is fantastic, very solid. The switches for the output and speed are very solid and have a satisfying firmness when switching. "Limit" knobs that look like little combination locks are a really innovative way to not only have really accurate recallability and yet a massive amount of threshold control.
The ED-Mod puts a low cut in the sidechain, which honestly makes it behave more like a compressor than a limiter but it's nice to have the extra functionality to experiment with.
Four speed settings make this very quick to set up - I tend to hit stuff hard and then switch the speed settings to find the one that feels best, then I dial back the limiting to a good amount.
Another plus is that it has two outputs so you can mult the output to an alternate processor or to a meter.
The pikatron transformers have a great sound and they have a great way of tightening up the bass and adding a nice tone to it. It does something nice to the bottom.
While I dig it on the masterbus, I've found it works excellently on individual sources. It's really amazing on vocals before an opto compressor to shave off the really loud parts or to reel in a bass part. Fun to put on single drums or on a tom bus to make the toms explode. Or on the entire drum bus with the ED-Mod engaged. The multiple timing settings really add to the versatility.
On masterbus I've found I like it better running it in unlinked mode with the limiter whacking down random transients that jump up on the left and right channel . Since it's not a compressor and not always acting on the signal unless the threshold is crossed, do any weird ducking or anything when hit. I find I hit the limiter harder in unlinked mode.
Also because it's got two seperate channels with two sets of controls (instead of stereo ganged with a single set of controls) it adds to the versatility. Aside from being able to run it on two separate mono tracks (vocals and snare for example) if you have an MS setup, you can run the limiter in MS for even more fun. The majority of big transients are in the middle (kick and snare) and I've found that running this limiter through an MS setup I can hit the middle hard and barely hit the sides and end up being able to do more limiting than in stereo without the master sounding crushed. (Just for clarity - I'm talking about patching this limiter into an existing MS setup you have. The limiter does NOT have an MS mode. Just that if you have an MS setup already, try patching this in and running it in MS mode)
Overall, it initially comes off as pricey but because of the dual controls and dual mono ability, the low cut filter for the sidechain, and multiple timings, this is a limiter that you can move around your setup and use for a lot more than just final limiting on the masterbus so the price actually isn't that bad for something of this quality.
The only reason I gave it 4 stars instead of 5 is because of the lack of any kind of gain reduction meter. It has the fun little lights with the hammer icon on them so when it lights up you know you're "hammering" down the peaks and it's limiting but still, there's plenty of situations where I want to limit a specific amount - for example 2 db and I've had to resort to all kinds of tricks in the daw to figure it out, for example putting meters before and after the hardware insert to try to figure out how much it's shaving off. It's kind of a shame to make a limiter as versatile and useful as this and then to "limit it" (ugh pardon the pun) by not giving you an ability to see how much you're actually limiting. Like I said, this unit can be used in a lot more situations than just master bus limiting and it really would benefit from having a gain reduction meter of some sort.