Orra Cream Limiter
Loud, clean, and true-peak safe, with a signature Cream.
A true-peak brick-wall mastering limiter with a multiband engine, so your master gets loud without pumping or inter-sample overs. Scout dials in a mastered starting point in one click, Auto Loudness lands you on a streaming target, and Cream adds the warmth.
Intro price through July 25
Secure checkout by Lemon Squeezy
How it works
Loud and true-peak safe, coloured by Cream, dialed in by Scout
True-Peak, Brick-Wall
The output never exceeds the ceiling you set, enforced on the true-peak level. It oversamples internally and catches the inter-sample peaks a plain limiter misses, the ones that reappear as clipping once your file is encoded to MP3 or AAC.
With TRUE PEAK on, the ceiling you set is the ceiling the streaming platform actually sees. A default −0.1 dBTP is loud out of the box; −1 dBTP leaves headroom for lossy codecs.
The ceiling you set is the ceiling they hear
Multiband, Not Broadband
The engine splits the audio into frequency bands and limits each on its own. A loud kick only ducks the low band, so it can not modulate your mids and highs, which removes the pumping a broadband limiter produces.
Every band gets to use its own headroom, which is what lets a master get loud before it sounds squashed. Per-band recovery keeps the low end from pumping while letting the top stay dense.
Loud, without the pump
Cream, the Signature Colour
Cream is a per-band saturation applied after the band split, so its harmonics get true-peak-limited too. One curve family tapered across the spectrum: tube-style warmth in the lows smoothing to tape-style softening up top.
Because it is peak-normalised, Cream adds loudness, the waveform fattens and the master gets louder without pushing the limiter harder. At 0% it is fully bypassed and bit-clean.
Thick lows, silky highs, more loudness
The Scout button and the Cream knob
Under the hood is a full mastering limiter: four Styles, per-band control, true-peak metering, and every knob automatable. But two features are what make it Orra, the ones you will reach for on every master.
A mastered starting point, fast
Play a loud chorus and press SCOUT. It listens to a few seconds of your mix and reads five things that actually decide how to master it: your dynamics, your tonal balance, how transient-forward it is, how wide it sits, and how finished it already is. A hot, dense mix gets treated as a near-finished master and handled gently, not smashed.
From that read it sets a Style, a Cream amount, a Release, and a Stereo Link, drives you onto your loudness target, and bakes the result into a static setting. Then it hands you the controls: every knob it touched is yours to push, pull, and dial in by hand.
Loudness that softens, not squashes
Cream is a per-band saturation applied inside the multiband engine, after the crossover split, so its harmonics get true-peak-limited too. One curve tapered across the spectrum: tube-warm even harmonics in the lows smoothing to tape-style softening up top. Thick lows, silky highs.
Here is the part that matters: because Cream is peak-normalised, turning it up fattens the waveform and drops the crest, so the master gets louder after the ceiling without pushing the limiter any harder. Reach for it before you lean on INPUT. A healthy Cream and a little less drive beats maximum drive every time. At 0% it is bit-clean.
The move most limiters can't make
Loudness usually costs you dynamics: push the limiter harder, get louder, get flatter. Cream breaks that trade. It adds density and level by fattening the waveform, not by clamping harder, so you land on a loud streaming target with the master still breathing. Set it by hand, or let Scout dial it in as a starting point, either way the loudness is yours to shape from there.
Land on target, metered honestly
Scout gets you a really great starting point. From there, Auto Loudness holds you on a streaming target and honest metering shows you exactly what the limiter is doing, so nothing is left to guesswork.
Pick a target (Spotify −14, Apple −16, or type your own) and Auto Loudness adds or removes drive until the master settles there, then holds a near-fixed drive so the dynamics are preserved. Works on quiet mixes and already-hot ones alike.
When it has settled, Commit bakes the drive the servo found into the INPUT knob and switches Auto off, with no jump in level. You keep the loudness as a plain, static setting you can tweak by hand, no live servo running under your master.
Metered honestly, start to finish
An EBU R128 loudness panel shows momentary, short-term, and integrated LUFS plus loudness range, with a 60-second history and your target line. A BS.1770 true-peak meter watches the final output, and a zoomable Scope draws your waveform against the live gain-reduction trace, so you can see exactly what the limiter is doing and where.
Gain Match lets you A/B against bypass by tone, not just volume. DELTA lets you hear only what the limiter is removing. And you stay true-peak safe the whole way, so what you hear is what streaming plays back.
Master it loud
Loud, clean, and true-peak safe, dialed in by Scout and coloured by Cream. A really great starting point, yours to refine from there.
Intro price: $29 through July 25, then $49.
Pairs well with
Orra Space
Five reverb spaces and a tape delay, cross-pollinated. Set the space before you master it loud.
Explore Orra SpaceOrra EQ
16 bands of parametric EQ with per-band dynamic saturation and 17 saturation algorithms. Shape the tone before the limiter.
Explore Orra EQ