Updated October 2026 · Levels and metering explained
Clipping happens when a signal goes above the maximum a system can handle, and the peaks are cut off, which adds harsh distortion. Limiting is a controlled process that reduces peaks before they reach the maximum, so the level is held without a harsh break. Limiting can prevent clipping, but heavy limiting flattens the sound.
Limiting and clipping are often mentioned together, and beginners sometimes treat them as the same thing. They are not. Clipping is damage that happens when a signal exceeds the maximum the system can carry. Limiting is a deliberate process that reduces the peaks of a signal before they reach that maximum. One is an accident and the other is a tool, and understanding the difference helps you choose the right response to a loud sound.
This post explains what happens in each case, why clipping sounds harsh, how a limiter controls peaks and when limiting goes too far.
In digital audio, there is a maximum level that the system can store. When a signal rises above that level, the top of the wave is cut flat. The flattened peaks add new frequencies that were not in the original sound, which the ear hears as a harsh, crackly or distorted tone. Clipping cannot be fully undone, because the information above the maximum was never stored.
Clipping can happen at several points in the chain: at the input, inside a plug-in, or at the export. Any stage that is pushed too hard can clip, and the damage is usually obvious on headphones.
A limiter watches the signal and reduces its gain whenever the level would exceed a set ceiling. The reduction happens quickly and smoothly, so the peak is held at the ceiling rather than being cut off abruptly. The result is a louder, more controlled signal, with the peaks tamed before they can distort.
A good limiter works in very short moments, and it recovers gradually afterwards. The speed of those actions decides whether the result sounds natural or squashed.
A clipped waveform has sharp corners, and sharp corners contain high-frequency content that the original sound did not have. The ear hears that content as roughness, grit or crackle. The harshness is most noticeable on loud, sustained sounds, such as a voice shouting or a cymbal crash, and on sounds that repeat quickly.
Limiting that is too strong removes the natural dynamics of the sound. The louder parts are held down, the quieter parts are raised, and the whole signal feels flat and tiring. This is the squashed sound that many listeners dislike. A little limiting is often invisible, but heavy limiting is obvious, especially in music with a wide dynamic range.
If clipping has already happened, the best response is usually to re-record or re-export with lower levels, since the damage cannot be fully repaired. If the signal is hot but unclipped, a light limiter can hold the peaks and protect the rest of the chain. Set the ceiling a little below full scale, and use only enough gain reduction to catch the loudest moments.
Limiters are powerful, and they can be misused as a loudness button. Use them to control peaks, not to make the whole recording louder. If you find yourself using heavy gain reduction, the level needs to be set lower earlier in the chain, or the mix needs more dynamic control.
A limiter does different work on a single voice, on a mix and on a master. On a voice, it catches the loudest words so the level can be raised without clipping. On a mix, it can control the sum of several tracks, catching peaks that appear only when the parts combine. On a master, it sets the final ceiling for delivery, and it is the stage where clipping most often appears if the earlier levels were too hot.
The key is to set the ceiling at the stage that needs it. A limiter on every track can build up gain reduction everywhere, and the sound becomes uniformly flat. Place the limiter where a peak problem actually occurs, and check the gain reduction it shows.
When a mix sounds dull after limiting, remove the limiter from one stage at a time and listen again. The stage that restores life is usually the one that was working too hard.
The behaviour of limiters varies widely between products, and the settings that suit one may not suit another. The principles above apply broadly, but judge each limiter by ear, on the material you are working on.
Peaks are easiest to check in the finished file. The LUFS meter shows the true peak alongside the loudness, which helps you spot clipping that a sample meter can miss. The Vocal Checker shows clipping in a recording you own. For the level basics, read the limiter settings post in this series.
Integrated LUFS, true peak and streaming targets. Runs in your browser, nothing is uploaded.
Not fully. The information above the maximum was lost. Re-record or re-export with lower levels.
Yes, if it is set to catch the peaks before the maximum. It cannot fix a signal that has already clipped.
The limiting is too heavy. Reduce the gain reduction and set the level lower earlier in the chain.
A little below full scale, leaving headroom for the export and playback.
