A limiter typically thins the low end slightly and brightens the top end of the material it processes

Because the lowest frequencies carry the highest amplitude content (kick, bass), they hit the limiter most often. The gain reduction triggered by these low-frequency transients reduces their own level and briefly reduces all frequencies simultaneously, resulting in a slightly thinner, punchier low end. The high-frequency content, which rarely drives the limiter itself, is effectively proportionally louder after limiting — creating a subtle brightening effect. Both effects are small when limiting is moderate (1–3 dB gain reduction) but increase as the limiter works harder. Hearing and accounting for these side-effects before EQing prevents over-compensating with additional processing.

Examples

A/B the limiter at different threshold settings while gain-matched. At -2 dB GR: minimal change. At -8 dB GR: low end noticeably thinner, top end noticeably brighter. This informs how aggressively to master.

Assessment

After engaging a limiter, a student adds significant low-shelf boost to compensate for ‘lost bass’. Without re-checking with the limiter bypassed, how might this cause problems? What is the more methodical approach?