CEILING takes the peaks off and adds nothing else to the sound. Want to know what it is removing? Press DELTA and hear only that.
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Ableton Live 12 · Suite or Standard with Max for Live
Take the peaks off and add nothing else. Most do a second thing you did not ask for, and the ones that do it well hide the moment the ceiling stops being a ceiling.
CEILING is built the other way round. It adds no colour, the ceiling you set is the ceiling that comes out, the meter reads true peak, and everything it costs is in the questions further down, with the number next to it.
Settings, not presets. Type them in and move on.
Ceiling −1 dB · Knee 0% · Oversample 4x
Raise IN GAIN until the middle column of the meter moves only on the loudest hits, and stop. The limiter after it stops working so hard and sounds like itself again. It is the setting most people need and never make.
Knee 30–40%
The corner stops being a corner, and the snare keeps its shape instead of flattening the instant it touches the ceiling. Start at 30% and go up until the stick comes back.
DELTA on
The output becomes only the part being cut. If that sounds like music instead of crackle, you are taking too much. Switch it off, and bring IN GAIN down until it stops sounding like music.
Knee 0 to 100%
At 0% the corner is hard and the clip is exact. At 100% the signal starts bending well before the ceiling. One control, and it reads the same in every session. Next month you want to know what you did, not remember how it felt.
$15, one-time · through Gumroad · instant download · free updates
IN and OUT GAIN, ceiling from −24 to 0 dBFS, knee from 0 to 100%, oversampling from 1x to 16x, SAFE CLIP, DELTA, and a true-peak meter for input, reduction and output. Latency of 50 samples in every mode, and Live compensates. Two panel finishes. Everything automatable.
On a phone, the panel shows in parts, top to bottom.
Capture with DELTA on and IN GAIN at +16 dB: the output became only what is being cut.
PUNCH, the compressor from the same bench, has the same interface and the same 50 samples of latency: swapping one for the other in the chain moves nothing in time.
What a great product, it's easy to use, intuitive, and makes coming up with chords, basslines, and melodies much faster. A really useful addition to my library.
I was looking for something like that! It works like magic!
An excellent, well thought out and made plugin.
Dope tool to get the low end right. Thanks!
Gracias por tan fantástica herramienta para LIVE.
oh? oh. ooohhhhhhhhhhh… yeeeeeesssss.
Public reviews from the Gumroad store, as written there. Reviews left without a name show as anonymous, like on the store. See them on the store.
I make Max for Live devices and I make my own records. Every clipper I used did a second thing I had not asked for. CEILING was written the other way round, and everything it costs is in the questions below, with the number next to it.
Found a bug? Write me. It gets fixed and you get the fix for free, through the same download link.
No, it is being honest. The output reads true peak, not sample peak. At a −0.3 dB ceiling, the signal between two samples measures about +0.9 dBTP, and that is what a streaming encoder sees.
Clipping inside an oversampler does not hold the ceiling when the signal comes back to the base rate: the filter rings, and the ringing goes over the ceiling. Measured with SAFE CLIP off, a 15 kHz tone pushed 12 dB into a −0.3 dB ceiling came out at +2.33 dBFS at 2x. SAFE CLIP locks the output at the base rate, and ships on. The cost is alias rejection: at 16x, from 65.8 dB to 21.3 dB.
Clipping asymmetric material generates DC, in the worst case measured −35 dBFS, and there is no filter after the clipper, because it would push peaks back over the ceiling. DELTA sounds like crackle, not music: that is what a clipper's residue is. And even at 1x it is not zero latency: it is 50 samples, always, and Live compensates.
64-bit DSP, written in gen~. The oversampling is a polyphase cascade, not a resample, and the switch does not change CPU: measured flat across the five modes. Constant latency of 50 samples in every mode and at every rate, so you can switch modes mid-session without anything moving.
Live 11, no. It needs Live 12 with Max for Live, on either system. Live Intro and Live Lite cannot run Max for Live devices. No internet, account or key. Instant download through Gumroad, one file.
A clipper for the end of the chain: takes the peaks off, meters in true peak, and plays only what it is removing when you ask.
Through Gumroad · instant download · free updates
Ableton Live 12 · Suite or Standard with Max for Live
Download, drop it in, use it on every machine you own for as long as you own them. Updates land in your Gumroad library for free. Found a bug? Write me and it gets fixed.
