Compressor vs Limiter in Mastering

The two tools side by side

	Compressor	Limiter
Job on a master	cohesion: make the track move as one	set the final level, keep peaks under a ceiling
Ratio	low, often 1.5:1–2.5:1 on a master	above 10:1; many use about 20:1; infinite for a brickwall
Detection	usually average (RMS) level	peak level
Attack	slow enough to let transients through	fast; digital limiters often look ahead
Release	set to the groove of the track	fast, so the track does not stay turned down
Place in the chain	early, after corrective EQ	last, before dither

Ratios above 10:1 are generally considered limiting; most limiters work around 20:1, and a true brickwall limiter has an infinite ratio (Sound On Sound).

How a compressor works

Above the threshold, the compressor reduces the level by the ratio. At 2:1, a peak 4 dB over the threshold comes out 2 dB over it: 2 dB of gain reduction. Attack is how quickly it reacts, release how quickly it lets go, and the knee how gradually it starts. Makeup gain brings the overall level back up.

On a master the goal is a small, steady amount of gain reduction, typically 1 to 3 dB on the loudest sections, with an attack slow enough to keep the drums' attack. Many masters need no compressor at all.

How a limiter works

A limiter is built to stop peaks from passing a ceiling. It senses peaks rather than average level and reacts quickly. Too fast an attack distorts transients; too slow lets short peaks overshoot. Digital look-ahead limiters solve this by analysing the signal slightly early, through a short delay, so gain reduction starts before the transient arrives.

A true-peak limiter also controls the peaks that form between samples when the signal is reconstructed or encoded. That is the measurement streaming guidance uses: Spotify recommends true peak below -1 dBTP, and below -2 dBTP for masters louder than -14 LUFS. See true-peak limiting explained.

Which comes first?

The compressor first, the limiter last. The compressor shapes the dynamics of the whole track; the limiter then sets the final level and catches what is left above the ceiling. Reversed, the compressor would reduce a signal whose peaks have already been flattened and could raise them again with its makeup gain.

The full order of a mastering chain is in the mastering chain, step by step.

How much limiting is too much?

Listen for the signs: drums lose their snap, the track pumps on loud notes, and distortion appears on transients. When they appear, back off.

Loudness gained in the limiter is often taken away later. Spotify turns masters louder than -14 LUFS down on its default setting, and Apple notes that songs mastered loud are played back at a lower volume with Sound Check. Compare versions at matched loudness before deciding.

In Quantara

The studio's chain ends in a true-peak limiter set to your ceiling, and the master preview reports the integrated loudness and true peak of the result. A free account includes one free export per account (MP3 320, with a watermark), no card required. Open the studio.

Frequently asked questions

Which is better, a limiter or a compressor?

Neither: they do different jobs. A compressor shapes dynamics; a limiter keeps peaks under a ceiling. A master often uses a little of the first and always needs the second.

What comes first, a limiter or a compressor?

The compressor. The limiter goes last in a mastering chain because it sets the final peak level; only dither comes after it.

Is limiting the same as compression?

A limiter is a kind of compressor with a very high ratio, peak detection and a fast attack. Ratios above 10:1 are generally considered limiting.

Do I need a compressor on my master?

Not always. A well-balanced mix often needs only a small EQ move and a limiter. Add compression when you can hear that it makes the track more cohesive at matched loudness.